Course Catalog 2021-2022
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Insidious Chapter 2
In Memoriam 1942 – 2013 | ★ ★ ★ ★ ROGEREBERT.COM Choose a Section REVIEWS INSIDIOUS CHAPTER 2 ★ ★ | Simon Abrams September 13, 2013 | ☄ 13 "Insidious: Chapter 2" is a puzzle movie with too many unnecessary pieces and not enough essential ones, but it's superior to its predecessor in a few basic ways. The first sequel to James Wan's "Poltergeist" homage/ripoff features a couple of set pieces that Print Page are thoughtful enough to be scary. This goes a long way in a film where characters constantly explain why and how supernatural Like 21 happenings occur. And unlike its predecessor, this sequel doesn't overuse jump scares and loud noises. For better and worse, 0 screenwriter Leigh Whannell has brought the same klutzy ambition to the "Insidious" films that he did to the first three "Saw" movies (Whannell did not script "Saw"s 4-7, though he did co-write "Chapter Two"'s story with Wan). His ideas for "Insidious: Tweet 6 Chapter 2" are spectacularly misconceived, but they're also the main reason why the movie isn't that bad. "Insidious: Chapter 2" starts where the last film left off. The Lambert family is still haunted. The body of Josh Lambert (Patrick Wilson) is possessed by the spirit of a mysterious bride in black, and his wife Renai (Rose Byrne) doesn't know it—I mean, she should know it, after looking at a ghost-revealing photograph taken by Elise (Lin Shaye), a dead medium, but Renai is presumably not in her right mind after seeing this photo.Elise previously warned Renai that moving is pointless since her son is haunted, not the Lamberts' home, but Renai and not-Josh move back into Josh's childhood home anyway—which is also odd since Renai is told, both in the last film and "Chapter 2," that Josh was also haunted as a child. -
Supernatural Aspect in James Wan's Movie the Conjuring Ii
SUPERNATURAL ASPECT IN JAMES WAN’S MOVIE THE CONJURING II A THESIS Submitted to the Adab and Humanities Faculty of Alauddin State Islamic University of Makassar in Partial Fulfillment of the Requirements for Humanities Degree By: KURNIAWATI NIM. 40300112115 ENGLISH AND LITERATURE DEPARTMENT ADAB AND HUMANITIES FACULTY ALAUDDIN STATE ISLAMIC UNIVERSITY OF MAKASSAR 2018 1 2 3 4 5 ACKNOWLEDGEMENTS Alhamdulillahi rabbil „alamin, the researcher would like to express her confession and gratitude to the Most Perfection, Allah swt for the guidance, blessing and mercy in completing her thesis. Shalawat and salam are always be delivered to the big prophet Muhammad saw his family and followers till the end of the time. There were some problems faced by the researcher in accomplishing this research. Those problems could not be solved without any helps, motivations, criticisms and guidance from many people. Special thanks always addressed to the researcher’ beloved mother, Hj.Kasya and her beloved father, Alm. Alimuddin for all their prayers, supports and eternally affection as the biggest influence in her success and happy life. Thanks to her lovely brother Suharman S.Pd and thank to her lovely sister Karmawati, Amd. Keb for the happy and colorful life. The researcher’s gratitude goes to the Dean of Adab and Humanity Faculty, Dr. H. Barsihannor, M.Ag, to the head and secretary of English and Literature Department, H. Muh. Nur Akbar Rasyid, M.Pd., M.Ed., Ph.D and Syahruni Junaid, S.S., M.Pd for their suggestions, helps and supports administratively, all the lecturers of English and Literature Department and the administration staff of Adab and Humanity Faculty who have given numbers helps, guidance and very useful knowledge during the years of her study. -
Focus 2016 World Film Market Trends Tendances Du Marché Mondial Du Lm Pages Pub Int Focus 2010:Pub Focus 29/04/10 10:54 Page 1
FOCUS WORLD FILM MARKET TRENDS TENDANCES DU MARCHÉ MONDIAL DU FILM 2016_ focus 2016 World Film Market Trends Tendances du marché mondial du lm Pages Pub int Focus 2010:Pub Focus 29/04/10 10:54 Page 1 ISSN: 1962-4530 Lay-out: Acom*Europe | © 2011, Marché du Film | Printed: Global Rouge, Les Deux-Ponts Imprimé sur papier labélisé issu de forêts gérées durablement. Imprimé sur papier labelisé issu de forêts gérées durablement. Printed on paper from sustainably managed forests. Printed on paper from sustainably managed forests. 2 Editors Martin Kanzler ([email protected]) Julio Talavera Milla ([email protected]) Film Analysts, Department for Information on Markets and Financing, European Audiovisual Observatory Editorial assistants, LUMIERE Database Laura Ene, Valérie Haessig, Gabriela Karandzhulova Lay-out: Acom* Europe © 2016, Marché du Film Printed: Global Rouge, Les Deux-Ponts 2 Editorial As a publication of the Marché du Film, FOCUS FOCUS, une publication du Marché du Film, sera will be an essential reference for professional une référence incontournable pour tous les partici- attendees this year. Not only will it help you grasp pants professionnels cette année. Elle vous aidera the changing practices of the film industry, but it non seulement à appréhender les pratiques en con- also provides specific information on production stante évolution de l’industrie cinématographique, and distribution around the world. mais elle vous informera également de manière plus spécifique sur les secteurs de la production Once again, we are glad to collaborate with et de la distribution dans le monde entier. Susanne Nikoltchev and her team. With this part- nership, we aim to provide you with valuable Nous avons le plaisir de collaborer de nouveau insight into the world of film market trends. -
Critical Essays on James Wan
H-Announce Critical Essays on James Wan Announcement published by Matthew Edwards on Tuesday, February 12, 2019 Type: Call for Papers Date: May 31, 2019 Location: United Kingdom Subject Fields: Film and Film History, Popular Culture Studies Critical Essays on James Wan Deadline for abstract submissions: May, 2019 Full name / name of organization: Matthew Edwards/ Independent Scholar Contact email: [email protected] Fernando Gabriel Pagnoni Berns/Universidad de Buenos Aires (Argentina). http://artes.filo.uba.ar/la-literatura-de-las-artes-combinadas-ii contact mail: [email protected] Critical Essays on James Wan Edited by Matthew Edwards and Fernando Gabriel Pagnoni Berns Critical essays are sought on the cinema of Malaysian/Australian director, screenwriter and producer James Wan. As 2018 marks Wan’s first incursion into superhero cinema with Aquaman, a film that reportedly is DC Films’ biggest worldwide grosser, critical attention on the director keeps intensifying. With huge critical and box office successes such as Saw (2004), a film that kickstarted a whole franchise, The Conjuring I and II (2013 and 2016), films that started a whole filmic universe, together with Death Sentence (2007), Insidious I and II (2010 and 2013), Furious 7 (2015) and Dead Silence (2007), it can be argued that we are facing a new Hollywood auteur with an identity of his own. Still, there is a striking lack of critical studies on the works of James Wan, even Citation: Matthew Edwards. Critical Essays on James Wan. H-Announce. 02-12-2019. https://networks.h-net.org/node/73374/announcements/3703216/critical-essays-james-wan Licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License. -
X-Files: Seasons 10 and 11 Trading Cards Checklist
X-Files: Seasons 10 and 11 Trading Cards Checklist Base Cards # Card Title [ ] 01 My Struggle [ ] 02 My Struggle [ ] 03 My Struggle [ ] 04 My Struggle [ ] 05 My Struggle [ ] 06 My Struggle [ ] 07 Founder's Mutation [ ] 08 Founder's Mutation [ ] 09 Founder's Mutation [ ] 10 Founder's Mutation [ ] 11 Founder's Mutation [ ] 12 Founder's Mutation [ ] 13 Mulder & Scully Meet the Were-Monster [ ] 14 Mulder & Scully Meet the Were-Monster [ ] 15 Mulder & Scully Meet the Were-Monster [ ] 16 Mulder & Scully Meet the Were-Monster [ ] 17 Mulder & Scully Meet the Were-Monster [ ] 18 Mulder & Scully Meet the Were-Monster [ ] 19 Home Again [ ] 20 Home Again [ ] 21 Home Again [ ] 22 Home Again [ ] 23 Home Again [ ] 24 Home Again [ ] 25 Babylon [ ] 26 Babylon [ ] 27 Babylon [ ] 28 Babylon [ ] 29 Babylon [ ] 30 Babylon [ ] 31 My Struggle II [ ] 32 My Struggle II [ ] 33 My Struggle II [ ] 34 My Struggle II [ ] 35 My Struggle II [ ] 36 My Struggle II [ ] 37 My Struggle III [ ] 38 My Struggle III [ ] 39 My Struggle III [ ] 40 My Struggle III [ ] 41 My Struggle III [ ] 42 My Struggle III [ ] 43 This [ ] 44 This [ ] 45 This [ ] 46 This [ ] 47 This [ ] 48 This [ ] 49 Plus One [ ] 50 Plus One [ ] 51 Plus One [ ] 52 Plus One [ ] 53 Plus One [ ] 54 Plus One [ ] 55 The Lost Art of Forehead Sweat [ ] 56 The Lost Art of Forehead Sweat [ ] 57 The Lost Art of Forehead Sweat [ ] 58 The Lost Art of Forehead Sweat [ ] 59 The Lost Art of Forehead Sweat [ ] 60 The Lost Art of Forehead Sweat [ ] 61 Ghouli [ ] 62 Ghouli [ ] 63 Ghouli [ ] 64 Ghouli [ ] 65 Ghouli [ ] 66 Ghouli -
Fright—In All of Its Forms—Has Always Been an Essential Part of the Moviegoing Experience
SCARY MOVIES Fright—in all of its forms—has always been an essential part of the moviegoing experience. No wonder directors have figured out so many ways to horrify an audience. FINAL TOUCHES: (opposite) Director Karl Freund and makeup artist Jack P. Pierce spent eight hours a day applying Boris Karloff’s makeup in The Mummy (1932). This was the first directing job for the noted German cinematographer Freund, who was hired two days before production started. (above) John Lafia scopes out Chucky, a doll possessed by the RES soul of a serial killer, in Child’s Play 2 (1990). Lafia made the 18-inch, half-pound plastic U ICT doll seem menacing rather than silly by the clever use of camera angles. P PHOTOS: UNIVERSAL UNIVERSAL PHOTOS: 54 dga quarterly dga quarterly 55 BLOOD BATH: Brian De Palma orchestrates the scene in Carrie (1976) in which UNDEAD: George A. Romero, surrounded by his cast of zombies on Dawn of the Carrie throws knives at her diabolical mother, played by Piper Laurie. De Palma Dead (1978), saved on production costs by having all the 35 mm film cast Laurie because he didn’t want the character to be “the usual dried-up old stock developed in 16 mm. He chose his takes, then had them developed crone at the top of the hill,” but beautiful and sexual. in 35. Romero convinced the distributor to release the film unrated. PHOTOFEST PHOTOFEST ) ) RIGHT BOTTOM VERETT; (boTTOM right) right) (boTTOM VERETT; E RTESY: RTESY: U O RES/DREAMWORKS; ( RES/DREAMWORKS; C U NT/ ICT U P NT NT U ARAMO P ARAMO P ) ) LEFT ; (boTTOM left) © © left) (boTTOM ; BOTTOM ; ( ; MGM EVERETT OLD SCHOOL: The Ring Two (2005), with Naomi Watts, was Hideo Nakata’s first CUt-rATE: Director Tobe Hooper got the idea for The Texas Chainsaw Massacre PIONEER: Mary Lambert, on the set of Pet Sematary (1989) with Stephen GOOD LOOKING: James Whale, directing Bride of Frankenstein (1935), originally American feature after directing the original two acclaimed Ring films in Japan. -
This Document Is for Planning Purposes, We Kindly Ask That You Do Not Link out to This Document in Your Coverage**
**This document is for planning purposes, we kindly ask that you do not link out to this document in your coverage** Netflix 2021 Film Preview | Official Trailer YouTube Link (in order of appearance) Red Notice (Ryan Reynolds, Gal Gadot, Dwayne Johnson) The Harder They Fall (Regina King, Jonathan Majors) Thunder Force (Octavia Spencer, Melissa McCarthy) Bruised (Halle Berry) tick, tick… BOOM! (Lin-Manuel Miranda) The Kissing Booth 3 (Joey King) To All The Boys: Always And Forever (Lana Condor, Noah Centineo) The Woman in the Window (Amy Adams) Escape from Spiderhead (Chris Hemsworth) YES DAY(Jennifer Garner) Sweet Girl (Jason Momoa) Army of the Dead (Dave Bautista) Outside the Wire Bad Trip O2 The Last Mercenary Kate Fear Street Night Teeth Malcolm and Marie Monster Moxie The White Tiger Double Dad Back to the Outback Beauty Red Notice Don't Look Up 2 2021 NETFLIX FILMS (A-Z) 8 Rue de l'Humanité* O2* A Boy Called Christmas Outside the Wire (January 15) A Castle for Christmas Penguin Bloom (January 27)** Afterlife of the Party Pieces of a Woman (January 7) Army of the Dead Red Notice Awake Rise of the Teenage Mutant Ninja Turtles A Week Away Robin Robin A Winter’s Tale from Shaun the Sheep** Skater Girl Back to the Outback Stowaway** Bad Trip Sweet Girl Beauty The Dig (January 29) Blonde The Guilty Blood Red Sky* The Hand of God* Bombay Rose The Harder They Fall Beckett The Kissing Booth 3 Bruised The Last Letter from Your Lover** Concrete Cowboy The Last Mercenary* Don't Look Up The Loud House Movie Double Dad* The Power of the -
Open Final Version of Thesis.Pdf
The Pennsylvania State University The Graduate School College of Communications HORROR GLOBAL, HORROR LOCAL: A CROSS-CULTURAL ANALYSIS OF TORTURE PORN, J-HORROR, AND GIALLO AS CONTEMPORARY MANIFESTATIONS OF THE HORROR GENRE A Thesis in Media Studies by Lauren J. DeCarvalho © 2009 Lauren J. DeCarvalho Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts August 2009 ii The thesis of Lauren J. DeCarvalho was reviewed and approved* by the following: John S. Nichols Professor of Communications Associate Dean for Graduate Studies and Research Matthew F. Jordan Assistant Professor of Media Studies Thesis Advisor Marie C. Hardin Associate Professor of Journalism Jeanne L. Hall Associate Professor of Film and Video *Signatures are on file in the Graduate School. iii ABSTRACT The overbearing effects of Hollywood continue to blur the lines of distinction between national and global cinema, leaving scholars to wonder whether the latter type of cinema has since trumped the former. This thesis explores the depths of this perplexity by looking at the cultural differences in post-1990s horror films from three countries: the United States, Japan, and Italy. Scholarship on women in horror films continues to focus on the feminist sensitivities, without the slightest regard for possible cultural specificities, within the horror genre. This, in turn, often collapses the study of women in horror films into a transnational genre, thereby contributing to the perception of a dominant global cinema. Therefore, it is the aim of the author to look at three culturally-specific subgenres of the horror film to explore their differences and similarities. -
Jung, the Shadow, and the X-Files
JUNG, THE SHADOW, AND THE X-FILES By JENIFER JENSEN A capstone submitted to the Graduate School-Camden Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Master of Arts Graduate Program in Liberal Studies Written under the direction of Greg Salyer And approved by ______________________________ Greg Salyer Camden, New Jersey May 2019 CAPSTONE ABSTRACT Jung, The Shadow, and The X-Files by Jenifer Jensen Capstone Director: Greg Salyer This capstone explores Jung’s theory of the shadow, personal unconscious, and collective unconscious, using The X-Files as its narrative transport. When television show The X- Files premiered on September 10, 1993, no one anticipated its impact on a generation of television viewers. The X-Files is an American pop cultural mainstay. The paradoxical brilliance of the show is that it both influenced and interpreted popular American culture. Something vital about our time in history speaks through the stories it tells. It is not the only science fiction television show to create legions of fans, spawn movies, books, comics, and general obsession in American geekdom. But it is the only television show which began in 1993, ran for almost a decade, and then returned, fourteen years later with episodes seeking transcendent answers about what it means to be human, and the possibility of knowledge, truth, and power in the era of Trump, fake news and social media. ii 1 Jung, the Shadow, and The X-Files Introduction – The X-Files I am interested in exploring Jung’s theory of the shadow, personal unconscious, and collective unconscious, using The X-Files as its narrative transport. -
The Chinese Film Industry: Features and Trends, 2010-2016
THE CHINESE FILM INDUSTRY: FEATURES AND TRENDS, 2010-2016 Jinuo Diao A Thesis Submitted for the Degree of PhD at the University of St Andrews 2020 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/19497 This item is protected by original copyright The Chinese Film Industry: Features and Trends, 2010-2016 Jinuo Diao This thesis is submitted in partial fulfilment for the degree of Doctor of Philosophy (PhD) at the University of St Andrews December 2019 Candidate's declaration I, Jinuo Diao, do hereby certify that this thesis, submitted for the degree of PhD, which is approximately 80,000 words in length, has been written by me, and that it is the record of work carried out by me, or principally by myself in collaboration with others as acknowledged, and that it has not been submitted in any previous application for any degree. I was admitted as a research student at the University of St Andrews in September 2015. I received funding from an organisation or institution and have acknowledged the funder(s) in the full text of my thesis. Date 18 December 2019 Signature of candidate Supervisor's declaration I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of PhD in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. -
“Madness” As the Driving Force Behind the Monstrous in the Insidious Film Series
Outskirts Vol. 35, 2016, 1-20 Female “madness” as the driving force behind the monstrous in the Insidious film series Maja Pandzic This article offers a feminist reading of the Insidious film series through identifying the links between the monstrous and the female characters in the narrative. In reading the monstrous as the product of the anxious heroine, I draw upon Barbara Creed’s understanding of the “abject” and classify it as that which strives to destabilize the system of traditional gender roles confining female protagonists. I also maintain that the home in the films is presented as the primary site of horror because it is in fact the location of heroines’ imprisonment; of their false attachment, as the home in our society is principally a place concealing patriarchal power relations. By drawing upon Jane Ussher’s research on disorders I underscore anxiety in women as a social construct and a reasonable response to their repressive lives in patriarchal society. The anxiety of female protagonists is the result both of being overburdened with domestic/maternal duties and their inability to attain self-fulfilment. I propose the reading of the monstrous in the films as the combination of two strategies of resistance Ussher claims are central to battling this socially constructed/contracted “madness”. Firstly, it represents the rejection of idealized femininity. Secondly, it is a product of engagement in creativity, through which the heroine voices her distress. By thoroughly analyzing the experiences of female characters—a mother of three (Renai), two single mothers (Lorraine, Michelle) and a teenage girl (Quinn)—I not only trace the emergence of the monstrous to the climax of their anxiety but show that the demons with whom they share numerous similarities, are in fact disrupting the traditional family, punishing or forcing male protagonists to accept a share of domestic and parental duties, and thus improving the status of female characters. -
Read It Here, but Take a Seat First
Case 3:16-cv-00908-JAG Document 5 Filed 03/29/17 Page 1 of 85 PageID# 883 UNITED STATES DISTRICT COURT EASTERN DISTRICT OF VIRGINIA Richmond Division GERALD BRITTLE § § VS. § CIVIL ACTION NO. _____________ § TIME WARNER INC.; § TRIAL BY JURY DEMANDED § § WARNER BROS. ENTERTAINMENT INC.; § § NEW LINE PRODUCTIONS, INC.; § § RATPAC-DUNE ENTERTAINMENT LLC; § § JAMES WAN; § § JAMES WAN PRODUCTIONS, INC. § § ATOMIC MONSTER INCORPORATED § § CHAD HAYES; § § § CAREY HAYES; § § DAVID LESLIE JOHNSON; § § GARY DAUBERMAN: and § § DOES 1 to 10, inclusive § Deadline.com Case 3:16-cv-00908-JAG Document 5 Filed 03/29/17 Page 2 of 85 PageID# 884 TABLE OF CONTENTS PROLOGUE…………………………… .................................................................................. ..- 6 - I. INTRODUCTION…………………………. .............................................. ……………. - 10 - A. THE DEMONOLOGIST AND 1978 PRENTICE HALL AGREEMENT – SUBSIDIARY MOVIE RIGHTS GRANT & NO COMPETING WORK PROVISION ....................... - 23 - B. THE COLLABORATION AGREEMENT - NO UNILATERAL GRANTS OF RIGHTS AND BRITTLE’S EXCLUSIVE RIGHT TO USE THE WARREN CASE FILES....... - 28 - C. AMENDMENT TO PRENTICE HALL AGREEMENT - WARREN AGREES TO IMMEDIATELY TRANSFER ALL SUBSIDARY RIGHTS TO BRITTLE ................ - 30 - D. DEFENDANTS WILLFUL AND MALICIOUS MISSAPPROPRIATION OF PLAINTIFF’S RIGHTS................................................................................................... - 31 - II. PARTIES……………………… ...........................................................................................