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Howard Choya4
Global Cities Schizophrenic Hong Kong: Postcolonial Identity Crisis in the Infernal Affairs Trilogy HOWARD Y. F. CHOY Michel Foucault avers: «one should totally and absolutely suspect anything that claims to be a return. there is in fact no such thing as a return.» It is, however, in rigid irredentist claims of the return that Hong Kong was handed over from British to Chinese rule in 1997. To the natives of Hong Kong, this postcolonial turn is actually less a decolonization than a recolonization of the capitalist Cantonese city by the mainland Mandarin master. They find themselves helplessly trapped in the dual nationality of overseas British and Chinese nationals. This existential agony is deftly cinematized in the Infernal Affairs trilogy under the disguise of a police epic. The 2002 box-office success and its 2003 prequel and sequel tell a story about an undercover cop and a mafia mole. A crisis of consciousness arises from both the former’s desire to regain his true identity and the latter’s struggle to become a real cop. The identity crisis is not only about, as critics suggest, split personalities between good and evil, but also political tensions between the colonized and colonizers. This paper argues that the collective failure of identity change before and after the fin de siècle changeover characterizes the Special Administrative Region’s schizophrenic return. Schizophrenic Hong Kong : Postcolonial Identity Crisis in the Infernal Affairs Trilogy Chineseness/Britishness: Return and Depart Michel Foucault avers: «One should totally and absolutely suspect anything that claims to be a return. there is in fact no such thing as a return».1 It was, however, in rigid irredentist claims of a «return» that the People’s Republic of China (PRC) took over Hong Kong from Great Britain in 1997. -
Invaders Sample.Pdf
Mark McDermott 4937 Stanley Ave. Downers Grove, IL 60515 [email protected] These excerpts are intended as “writing samples” for the author of the articles presented. They are not intended for reuse or re-publication without the consent of the publisher or the copyright holder. ©2009 Robert G. Weiner. All rights reserved McFarland & Company, Inc., Publishers Box 611, Jefferson, North Carolina 28640 www.mcfarlandpub.com Mark McDermott 4937 Stanley Ave. Downers Grove, IL 60515 [email protected] The Invaders and the All-Star Squadron Roy Thomas Revisits the Golden Age Mark R. McDermott Introduction By the mid-1970’s, many fans of the “Golden Age” of comic books had grown up to become writers and ultimately editors for the comics publishers, sometimes setting the nar- rative histories for their favorite childhood characters themselves. Many of these fans-turned- pro produced comics series that attempted to recapture the Golden Age’s excitement, patriotic fervor and whiz-bang attitude. The most successful of these titles were produced by Roy Thomas, who fashioned a coherent history of costumed heroes during World War II, and rec- onciled the wildly inconsistent stories of the 1940’s with tightly patrolled continuity initiated with the “Silver Age” of the 1960’s. With The Invaders (1975-1979), Thomas focused on the hitherto unrevealed wartime exploits of Marvel Comics’ early mainstays Captain America, the Human Torch, and Prince Namor, the Sub-Mariner. In 1980, he moved to DC Comics and launched All-Star Squadron, which juggled the histories of the Justice Society of Amer- ica and nearly a hundred secondary characters. -
Historicizing the Liminal Superhero
BOX OFFICE BACK ISSUES: HISTORICIZING THE LIMINAL SUPERHERO FILMS, 1989–2008 by ZACHARY ROMAN A DISSERTATION Presented to the School of Journalism and Communication and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy December 2020 DISSERTATION APPROVAL PAGE Student: Zachary Roman Title: Box Office Back Issues: Historicizing the Liminal Superhero Films, 1989–2008 This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the School of Journalism and Communication by: Peter Alilunas Chairperson Janet Wasko Core Member Erin Hanna Core Member Benjamin Saunders Institutional Representative and Kate Mondloch Interim Vice-Provost and Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded December 2020 ii © 2020 Zachary Roman iii DISSERTATION ABSTRACT Zachary Roman Doctor of Philosophy School of Journalism and Communication December 2020 Title: Box Office Back Issues: Historicizing the Liminal Superhero Films, 1989–2008 Although the superhero film became a dominant force in Hollywood early in the 21st century, the formation of the superhero genre can be attributed to a relatively small temporal window beginning in 1989 and ending in 2008. This dissertation argues that a specific group of superhero films that I call the liminal superhero films (LSF) collectively served as the industrial body that organized and created a fully formed superhero genre. The LSF codified the superhero genre, but that was only possible due to several industrial elements at play before they arrived. An increasing industrial appetite for blockbusters coming out of the 1970s, the rise of proprietary intellectual property after the corporate conglomeration that occurred at the end of the 20th century, and finally, the ability of the LSF to mitigate risk (both real and perceived) all led to this cinematic confluence. -
Bloodshot! 00:00:06 Stuart Wellington Host a Phrase That Is Never Mentioned
00:00:01 Dan McCoy Host On this episode, we discuss: Bloodshot! 00:00:06 Stuart Host A phrase that is never mentioned during the movie! That’s—is that Wellington true? I can’t tell. 00:00:10 Crosstalk Crosstalk Dan: No. They never say “Bloodshot.” Elliott Kalan: I don’t think they ever call him “Bloodshot.” Yeah. 00:00:12 Griffin Guest I think they call him Bloodshot! I think Guy Pierce says “You are Newman Bloodshot now” when he wakes up. [Multiple people laugh.] 00:00:17 Crosstalk Crosstalk Dan: We’re all Bloodshot now! Elliott: He says “You are the Bloodshot now, dog.” [Multiple people laugh.] 00:00:22 Music Music Light, up-tempo, electric guitar with synth instruments. 00:00:49 Dan Host Hey, everyone! And welcome to The Flop House. I’m Dan McCoy. 00:00:51 Stuart Host Hey, I’m Stuart Wellington! 00:00:53 Elliott Kalan Host I’m Elliott Kalan, owner of a brand-new hot water heater because mine was leaking. How’s everybody doing today? 00:01:00 Dan Host Save that juicy— [Elliott laughs.] —uh, talk for after we introduce our guest. You know him. 00:01:03 Elliott Host Not juicy—leaky! [Dan laughs.] 00:01:05 Dan Host You know— [Stuart laughs.] —our guest from The Tick! Where he played Arthur. You know him from the Blank Check podcast. You know him for being, uh, a tie for, uh, my girlfriend Audrey’s second-favorite podcaster after Hallie Haglund. Tied with Elliott Kalan for second-favorite podcaster. -
Vampire Mike W. Barr Batman Interview
MOENCH & SIENKIEWICZ Moon Knight Pro2Pro Interview! April 2017 No.95 ™ $8.95 CREATURES OF THE NIGHT! Ghost Rider • Night Nurse Eclipso in the Bronze Age • I…Vampire Mike W. Barr Batman Interview • featuring Budiansky, DeMatteis, Pasko, Ploog, Sutton, Thomas & Marvel’s Nightcat, Jacqueline Tavarez Moon Knight TM & © Marvel Characters, Inc. All Rights Reserved. Volume 1, Number 95 April 2017 EDITOR-IN-CHIEF Michael Eury PUBLISHER John Morrow Comics’ Bronze Age and Beyond! DESIGNER Rich Fowlks COVER ARTISTS Bill Sienkiewicz and Klaus Janson (Originally the splash page to Moon Knight #6, Apr. 1981. Original art scan courtesy of Heritage Comics Auctions.) COVER COLORIST Glenn Whitmore COVER DESIGNER Michael Kronenberg PROOFREADER Rob Smentek SPECIAL THANKS Mike W. Barr Don Kessler Andrew Bennett Paul Kupperberg Jerry Boyd Christopher PRO2PRO: Moon Knight: The Doug Moench/Bill Sienkiewicz Era ................2 Michael Browning Larochelle An intimate dialogue with the superstar creative team that put Marvel’s midnight man on the map Bob Budiansky Marvel Comics Dewey Cassell Dan Mishkin Gary Cohn Doug Moench FLASHBACK: The Ghost Rider’s First Ride ...................................13 Gerry Conway Luigi Novi A super-charged history of Johnny Blaze’s Bronze Age adventures Denys Cowan Adam Palance Paris Cullins Maritn Pasko BEYOND CAPES: Enter the World of Danger, Drama, and Death… Night Nurse! ....31 J. M. DeMatteis Shannon E. Riley Oh, nurse! This obscure 1970s book helped populate Marvel’s current cinematic universe Barry Dutter Bill Sienkiewicz Fayetteville Anthony Snyder BRING ON THE BAD GUYS: Devil Inside: Eclipso ..............................36 Comic-Con Jacqueline Tavarez The Bronze Age battles between Bruce Gordon and his sinister alter ego Linda Fite Jean Thomas Peter B. -
Jordan Peele and Ira Levin Go to the Movies: the Black/Jewish Genealogy of Modern Horror’S Minority Vocabulary ADAM LOWENSTEIN 101
JORDAN PEELE’S GET OUT NEW SUNS: RACE, GENDER, AND SEXUALITY IN THE SPECULATIVE Susana M. Morris and Kinitra D. Brooks, Series Editors JORDAN PEELE’S GET OUT Political Horror Edited by Dawn Keetley THE OHIO STATE UNIVERSITY PRESS COLUMBUS Copyright © 2020 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Names: Keetley, Dawn, 1965– editor. Title: Jordan Peele’s Get out : political horror / edited by Dawn Keetley. Other titles: Get out | New suns: race, gender, and sexuality in the speculative. Description: Columbus : The Ohio State University Press, [2020] | Series: New suns: race, gender, and sexuality in the speculative | Includes bibliographical references and index. | Summary: “Essays explore Get Out’s cultural roots, including Shakespeare’s Othello, the female gothic, Ira Levin’s Rosemary’s Baby, The Stepford Wives, and the zombie, rural, suburban, and body-swap subgenres of the modern horror film. Essays make connections with Nat Turner, W. E. B. Du Bois, and James Baldwin”—Provided by publisher. Identifiers: LCCN 2019045485 | ISBN 9780814214275 (cloth) | ISBN 0814214274 (cloth) | ISBN 9780814277812 (ebook) | ISBN 0814277810 (ebook) Subjects: LCSH: Peele, Jordan, 1979– —Criticism and interpretation. | Get out (Motion picture : 2017) | Horror films—History and criticism. | Racism in motion pictures. | United States—Race relations—21st century. Classification: LCC PN1997.2.G46 J67 2020 | DDC 791.43/72—dc23 LC record available at https://lccn.loc.gov/2019045485 Cover design by Black Kirby Text design by Juliet Williams Type set in Adobe Palatino The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. -
Film Terms Glossary Cinematic Terms Definition and Explanation Example (If Applicable) 180 Degree Rule a Screen Direction Rule T
Film Terms Glossary Cinematic Terms Definition and Explanation Example (if applicable) a screen direction rule that camera operators must follow - Camera placement an imaginary line on one side of the axis of action is made must adhere to the (e.g., between two principal actors in a scene), and the 180 degree rule 180 degree rule camera must not cross over that line - otherwise, there is a distressing visual discontinuity and disorientation; similar to the axis of action (an imaginary line that separates the camera from the action before it) that should not be crossed Example: at 24 fps, 4 refers to the standard frame rate or film speed - the number projected frames take 1/6 of frames or images that are projected or displayed per second to view second; in the silent era before a standard was set, many 24 frames per second films were projected at 16 or 18 frames per second, but that rate proved to be too slow when attempting to record optical film sound tracks; aka 24fps or 24p Examples: the first major 3D feature film was Bwana Devil (1953) [the first a film that has a three-dimensional, stereoscopic form or was Power of Love (1922)], House of Wax appearance, giving the life-like illusion of depth; often (1953), Cat Women of the Moon (1953), the achieved by viewers donning special red/blue (or green) or MGM musicalKiss Me Kate polarized lens glasses; when 3-D images are made (1953), Warner's Hondo (1953), House of 3-D interactive so that users feel involved with the scene, the Wax (1953), a version of Hitchcock's Dial M experience is -
Fall 2008 SFRA Editors a Publication of the Science Fiction Research Association Karen Hellekson Review 16 Rolling Rdg
286 Fall 2008 SFRA Editors A publication of the Science Fiction Research Association Karen Hellekson Review 16 Rolling Rdg. Jay, ME 04239 In This Issue [email protected] [email protected] SFRA Review Business Lies of Omission 2 Craig Jacobsen SFRA Business Behind Us and Before Us 2 English Department Executive Committee Officers 2 Mesa Community College Features 1833 West Southern Ave. Postmodernism 101 3 Mesa, AZ 85202 Twenty-Two Years in the Karen Fowler Writing Group 5 [email protected] Nonfiction Reviews [email protected] Navigating the Golden Compass 9 Popcorn Science 10 Managing Editor The Philosophy of “The X-Files” 12 Janice M. Bogstad Utopia Method Vision 13 McIntyre Library-CD Der Autor mit dem dritten Auge 14 University of Wisconsin-Eau Claire Fiction Reviews 105 Garfield Ave. Minireview: Caine Black Knife 15 Eau Claire, WI 54702-5010 Go-Go Girls of the Apocalypse 15 [email protected] City at the End of Time 16 Harmony 17 Nonfiction Editor Matter 18 Daughters of the North 18 Ed McKnight Weaver: Time’s Tapestry Series, Book 4 19 113 Cannon Lane A World Too Near 20 Taylors, SC 29687 The Host 22 [email protected] The Last Theorem 23 The Voyage of the Space Beagle 24 Fiction Editor Media Reviews Edward Carmien Doktor Sleepless Volume 1: Engines of Desire [comic book] 26 29 Sterling Rd. The Golden Compass [film] 27 Princeton, NJ 08540 Battlestar Galactica: Season 3 [TV show] 28 [email protected] The Venture Bros. [TV show] 29 Sherlock Holmes: The Awakened [game] 30 I Am Legend [film] 31 Media Editor The Dark Knight [film] 32 Ritch Calvin Cloverfield [film] 33 16A Erland Rd. -
Rue Morgue 023 (2001)
! ' i 9 /T1 I / ITiiilitiiiniiiii- In >- t/bH THE UNIVERSE OF STEPHEN KING ‘ PLUS r FANTASIA 2001 THREE EROM EUECI PSYCHOBILLY BLOOD PARR AND MUCH, MUCH MORE! MARRS MEDIA L\C, September/Octobcr 2001j www.ru laBHfiniinsijtwflra, 6 "" 22571 "70633 6 Syirr Re^ St+er B 1 |x|CmeJ ‘Seriesl IwWW.L.lVl^O)EADCX^LLS.CClM /fe 9 idc^im cfiS'g'^... Used to cut a path ofdestruction through medieval Europe, comes The Sword of Dracula. TTiis beautiful sword measures 34 inches in overall length and sports a 27-inch blade of high carbon steel and a brass pommel. Each sword comes complete with a unique "coffin-shaped" wall plaque, with an attached candle shelf, so this dramatic sword can be displayed in the proper fashion. Also unthin this unholy collection, is Vlad Dracula’s unique walk- ing cane. This masterpiece features Vlad’s family crest, his father's infamous "Dragon," as its handle. Stretching a full 38rinches in length, this dark replica can also be purchased as a sword cane. With a push of a button, located just under the Dragon, you can release the thin, deadly blade of this deceptive cane. This piece also comes with a wall-mount- ing display plaque. Finally, the third piece ofthe Dracula Collection is Quincey’s Rhino-headed Bowie Knife. Measuring 17" in overall length, this massive Bowie Knife sports a 420 y stainless steel blade. After being dragged into the safety of Castle - >4^11 Dracula, Vlad's precious Mina rips ^ '• Quincey's Bowie from the chest of the dying vampire prince, and delivers the fatal blow by removing his head, ending his tormented life as Nosferatu. -
Exploring the Limits of the Human Via the Posthuman Zombie In
ZOMBIFICATION VERSUS REIFICATION AT THE END OF THE WORLD: EXPLORING THE LIMITS OF THE HUMAN VIA THE POSTHUMAN ZOMBIE IN CONTEMPORARY HORROR FILM by Kelly Ann Doyle M.A., Memorial University of Newfoundland, 2007 B.A. (Hons), Memorial University of Newfoundland, 2005 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE COLLEGE OF GRADUATE STUDIES (Interdisciplinary Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Okanagan) September 2015 © Kelly Ann Doyle 2015 ii Abstract The zombie figure is ubiquitous in contemporary horror film—particularly in the United States—and has prompted me to explore why zombie films have regained popularity post- 9/11, why the zombie has become a figure in flux, evolving from slow to fast, from un-dead to living, and from decaying to mutating body, and finally, to explore the practical use of an allegory of the zombie at the end of the world. My fascination with horror film has bloomed into an analysis of the ways in which the zombie figure in film troubles and in part reifies the human figure delineated by classical humanism and anthropocentrism; how posthumanism serves as a critical lens through which the zombie figure not only threatens ontology, but also the ideological constructs of speciesism, racism, and sexism that depend upon the fantasy figure of the human to justify dehumanization and atrocities. Zombie films’ apocalyptic narratives warn of ecological crisis, of over-consumption, of ends that are always near yet always deferred. They are intertextual, historically and politically resonant, and draw particularly though not singularly on America-centric fear and trauma. -
Chapter 1 the Warrior Hero
CHAPtER 1 THE WARRIOR HERO The Western Hero and the Samurai In the early 1960s, when gun-toting cowboys dominated movie screens across America, audiences got to watch three Westerns with a curious connection. It was not the films’ directors, stars, or stories that linked them to each other. The Magnificent Seven (1960), directed by John Sturges, is about an ill-assorted group of gunmen who defend a Mexican village from a band of brutal bandits (see Close-up: The Magnificent Seven). The Outrage (1964), directed by Martin Ritt, centers on an incident involving a robbery, a rape, and a corpse. In A Fistful of Dollars (Per un pugno di dollari, 1964), a Man with No Name arrives in a Mexican border town and sees a chance to make some money by playing two feuding families against each other. The movie was filmed in Spain by Sergio Leone, an Italian, featuring Clint Eastwood and a cast of European actors using phony American names. What these three movies had in common was their source. Sturges’s film was based on Seven Samurai (1954), Ritt’s film on Rashomon (1950), and Leone’s on Yojimbo (Bodyguard, 1961). All three films were from Japan and directed by Akira Kurosawa. Kurosawa set his movies during the long feudal period of his nation’s history when samurai swordsmen roamed the countryside much as men with six-guns once wandered through the American West. Relics of a warrior society, masterless samurai called ronin, having lost their social status but not their skill, offered them- selves as hired swords forCOPYRIGHTED money or adventure. -
X-Men (Film Series) - Wikipedia, the Free Encyclopedia X-Men (Film Series) from Wikipedia, the Free Encyclopedia
3/25/2014 X-Men (film series) - Wikipedia, the free encyclopedia X-Men (film series) From Wikipedia, the free encyclopedia The X-Men film series consists of superhero films based on the Marvel Comics superhero team of the same name. 20th Century Fox obtained the film rights to the X-Men characters in 1994, and after numerous drafts, Bryan Singer was hired to direct X- Men (2000) and its sequel, X2 (2003). Singer left potential third and fourth films, leaving Brett Ratner to direct X-Men: The Last Stand (2006). X-Men and X2 were met with positive reviews for their dark, realistic tone and subtexts dealing with discrimination and intolerance, while X-Men: The Last Stand was met with mixed reviews. After each film earned higher box-office grosses than its predecessor, three spin- off films were released. X-Men Origins: Wolverine (2009), directed by Gavin Hood, focuses on Wolverine's origin story. X-Men: First Class (2011), directed by Matthew Vaughn, focuses on the origins of Professor X and Magneto. The Wolverine (2013), directed by James Mangold, focuses on Wolverine after the events of The Last Stand. X-Men Origins: Wolverine was met with negative reviews from the critics, while X-Men: First Class and The Wolverine were met Cover of X-Men - The Ultimate Collection, the 2011 with positive reviews. Blu-ray box set of the first five films With six films released, the X-Men film series is the 15th highest-grossing film Produced by Lauren Shuler Donner franchise, having grossed over $2 billion worldwide. It is set to continue with X- Starring See below Men: Days of Future Past (2014), a dual sequel to both X-Men: The Last Distributed by 20th Century Fox Stand and X-Men: First Class, and a follow-up to The Wolverine, with Singer returning as director and X-Men: Apocalypse (2016), a sequel to Days of Future Country United States Past.