Montclair Film Announces October 2017 Lineup at Cinema505
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A Nigthmare on Elm Street Et Wes Craven's New
UNIVERSITÉ DU QUÉBEC À MONTRÉAL A NIGHTMARE ON ELM STREET ET WES CRA VEN 's NEW NIGHTMARE DE WES CRAVEN: SPÉCULARITÉ ET MÉTAHORREUR MÉMOIRE PRÉSENTÉ COMME EXIGENCE PARTIELLE DE LA MAÎTRISE EN ÉTUDES LITTÉRAIRES PAR AUDE WEBER-HOUDE JUrN 2009 UNIVERSITÉ DU QUÉBEC À MONTRÉAL Service des bibliothèques Avertissement La diffusion de ce mémoire se fait dans le respect des droits de son auteur, qui a signé le formulaire Autorisation de reproduire et de diffuser un travail de recherche de cycles supérieurs (SDU-522 - Rév.01-2006). Cette autorisation stipule que «conformément à l'article 11 du Règlement nOS des études de cycles supérieurs, [l'auteur] concède à l'Université du Québec à Montréal une licence non exclusive d'utilisation et de publication de la totalité ou d'une partie importante de [son] travail de recherche pour des fins pédagogiques et non commerciales. Plus précisément, [l'auteur] autorise l'Université du Québec à Montréal à reproduire, diffuser, prêter, distribuer ou vendre des copies de [son] travail de recherche à des fins non commerciales sur quelque support que ce soit, y compris l'Internet. Cette licence et cette autorisation n'entraînent pas une renonciation de [la] part [de l'auteur] à [ses] droits moraux ni à [ses] droits de propriété intellectuelle. Sauf entente contraire, [l'auteur] conserve la liberté de diffuser et de commercialiser ou non ce travail dont [il] possède un exemplaire.» REMERCIEMENTS Je souhaite remercier Johanne Villeneuve, professeure au département d'études littéraires de l'UQAM, de m'avoir encouragée à persévérer durant toutes les étapes de la réalisation de ce projet. -
Common Horror Elements 2.Pages
Common Horror Elements 1) “Elements of Aversion” by Elizabeth Barrette - All horror has motifs in common - Elements of absence = Takes away certitudes (constant things in our lives) - The Unknown = primal fear, anything can happen, limitless potential, endless power - The Unexpected = reversal of expectation, confuses what we expect from reality - The Unbelievable = places beyond belief, boundaries of everyday reality - The Unseen = something new and strange, only become visible when something goes seriously wrong - The Unconscious = we fear ourselves, we can neither control nor escape it - The Unstoppable = we can not avoid or control it, confront the inevitable - Elements of Presence = Puts in certitudes, adds an intrusion to our comfort - Helplessness = lack of control, relate to the feeling - Urgency = the feeling that something has to be done, variables that place pressure on it - Pressure = build up of tension adding to urgency, slow build of tension, we connect to it in terms of the pressure in our own life, but is different then reality as it always reaches a resolution - Intensity = heightened awareness and senses, enhances all emotions, drowns out common sense, so all consuming, everything else becomes heightened, drowns out rational thinking of brain. - Rhythm = rise and fall of tension, pattern of action or lack of, comforting or disruptive, playing on our innate desire for the world to make sense - Release = comes to a conclusion, uncertainty keeps us waiting, redemption or disaster offer completion, balance restored or altered, its over, allows us to let the story go - What you get out of it largely depends on how you go into it - Your own fears will sustain you even as they threaten to drive you mad - Come out more powerful then when you went in 2) “The Evolution of American Horror Film” - Major Hollywood Figures in the Horror Genre - Larry Cohen: sophisticated, physiological. -
Film Reviews
Page 117 FILM REVIEWS Year of the Remake: The Omen 666 and The Wicker Man Jenny McDonnell The current trend for remakes of 1970s horror movies continued throughout 2006, with the release on 6 June of John Moore’s The Omen 666 (a sceneforscene reconstruction of Richard Donner’s 1976 The Omen) and the release on 1 September of Neil LaBute’s The Wicker Man (a reimagining of Robin Hardy’s 1973 film of the same name). In addition, audiences were treated to remakes of The Hills Have Eyes, Black Christmas (due Christmas 2006) and When a Stranger Calls (a film that had previously been ‘remade’ as the opening sequence of Scream). Finally, there was Pulse, a remake of the Japanese film Kairo, and another addition to the body of remakes of nonEnglish language horror films such as The Ring, The Grudge and Dark Water. Unsurprisingly, this slew of remakes has raised eyebrows and questions alike about Hollywood’s apparent inability to produce innovative material. As the remakes have mounted in recent years, from Planet of the Apes to King Kong, the cries have grown ever louder: Hollywood, it would appear, has run out of fresh ideas and has contributed to its evergrowing bank balance by quarrying the classics. Amid these accusations of Hollywood’s imaginative and moral bankruptcy to commercial ends in tampering with the films on which generations of cinephiles have been reared, it can prove difficult to keep a level head when viewing films like The Omen 666 and The Wicker Man. -
Tracing Posthuman Cannibalism: Animality and the Animal/Human Boundary in the Texas Chain Saw Massacre Movies
The Cine-Files, Issue 14 (spring 2019) Tracing Posthuman Cannibalism: Animality and the Animal/Human Boundary in The Texas Chain Saw Massacre Movies Ece Üçoluk Krane In this article I will consider insights emerging from the field of Animal Studies in relation to a selection of films in The Texas Chain Saw Massacre (hereafter TCSM) franchise. By paying close attention to the construction of the animal subject and the human-animal relation in the TCSM franchise, I will argue that the original 1974 film, The Texas Chain Saw Massacre II (1986) and the 2003 reboot The Texas Chain Saw Massacre all transgress the human-animal boundary in order to critique “carnism.”1 As such, these films exemplify “posthuman cannibalism,” which I define as a trope that transgresses the human-nonhuman boundary to undermine speciesism and anthropocentrism. In contrast, the most recent installment in the TCSM franchise Leatherface (2017) paradoxically disrupts the human-animal boundary only to re-establish it, thereby diverging from the earlier films’ critiques of carnism. For Communication scholar and animal advocate Carrie Packwood Freeman, the human/animal duality lying at the heart of speciesism is something humans have created in their own minds.2 That is, we humans typically do not consider ourselves animals, even though we may acknowledge evolution as a factual account of human development. Freeman proposes that we begin to transform this hegemonic mindset by creating language that would help humans rhetorically reconstruct themselves as animals. Specifically, she calls for the replacement of the term “human” with “humanimal” and the term “animal” with “nonhuman animal.”3 The advantage of Freeman’s terms is that instead of being mutually exclusive, they are mutually inclusive terms that foreground commonalities between humans and animals instead of differences. -
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como nos Slashers, de figuras que encarnam o mal, mas de figuras tragadas por esse mal e impelidas a agir por influência deste que se encontra nos espaços que estes “assassinos” TOBE HOOPER sempre perseguiu sua habitam, é aí que reside sua grande diferença obsessão de construir uma experiência es- de postura e a evidência mais clara disto se tética renovada, para isso elege um gênero, vê na trajetória trágica do que chamaremos o horror, com o qual flerta timidamente em de final girl Hopperiana. seu primeiro longa, Eggshells (1969), para Estando o mal em Hopper contido nos depois deslanchar em uma carreira onde espaços, os embates dos filmes serão tra- a apropriação e compreensão do gênero é vados não entre Assassino e final girl, mas sempre transmutada para sua visão ímpar de entre o espaço e seus agentes (figuras que mundo e representação do horror. lembram os assassinos de Slasher, mas não Com isso em mente, há de se chegar a passam de marionetes) contra a final girl. comparações entre os filmes de Hopper e A postura destas personagens ao longo dos o objeto dentro do horror que lhe interessa filmes de Hopper apresenta certa progres- estudar. Há dentro do horror o subgênero são rumo ao caos e a descrença completa Slasher, onde tradicionalmente os enredos de redenção daquele meio, culminando em giram em torno de assassinos inumanos que um estranho flerte da final girl Hopperiana perseguem avidamente suas vítimas, dentre por eles. elas encontra-se a final girl, personagem vir- Em Pague Para Entrar, Reze Para Sair tuosa que será, como a designação sugere, (The Funhouse,1981) a personagem Amy a última vítima a sucumbir ao perseguidor Harper (Elizabeth Berridge) estabelece des- ou mesmo a única sobreviver ao final. -
A Cinema of Confrontation
A CINEMA OF CONFRONTATION: USING A MATERIAL-SEMIOTIC APPROACH TO BETTER ACCOUNT FOR THE HISTORY AND THEORIZATION OF 1970S INDEPENDENT AMERICAN HORROR _______________________________________ A Thesis presented to the Faculty of the Graduate School at the University of Missouri-Columbia _______________________________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts _____________________________________________________ by COURT MONTGOMERY Dr. Nancy West, Thesis Supervisor DECEMBER 2015 The undersigned, appointed by the dean of the Graduate School, have examined the thesis entitled A CINEMA OF CONFRONTATION: USING A MATERIAL-SEMIOTIC APPROACH TO BETTER ACCOUNT FOR THE HISTORY AND THEORIZATION OF 1970S INDEPENDENT AMERICAN HORROR presented by Court Montgomery, a candidate for the degree of master of English, and hereby certify that, in their opinion, it is worthy of acceptance. _________________________________ Professor Nancy West _________________________________ Professor Joanna Hearne _________________________________ Professor Roger F. Cook ii ACKNOWLEDGEMENTS I would like to express my deepest appreciation to my committee chair, Dr. Nancy West, for her endless enthusiasm, continued encouragement, and excellent feedback throughout the drafting process and beyond. The final version of this thesis and my defense of it were made possible by Dr. West’s critique. I would like to thank my committee members, Dr. Joanna Hearne and Dr. Roger F. Cook, for their insights and thought-provoking questions and comments during my thesis defense. That experience renewed my appreciation for the ongoing conversations between scholars and how such conversations can lead to novel insights and new directions in research. In addition, I would like to thank Victoria Thorp, the Graduate Studies Secretary for the Department of English, for her invaluable assistance with navigating the administrative process of my thesis writing and defense, as well as Dr. -
October 1-31, 2015
Movie Show Times: October 1-31, 2015 Phone: (954) 262-2602, Email: [email protected] , www.nova.edu/sharksunitedtv 2015 1:30 AM 3:30 AM 6:00 AM 8:00 AM 10:30 AM 12:30 PM 3:00 PM 5:00 PM 7:30 PM 9:30 PM 11:30 PM One Flew Over the Pitch Perfect 2 Shutter Island Extinction Furious 7 The Age of Adeline Ghostbusters Moneyball American Psycho Barely Lethal Friday the 13th Oct. 1 Cuckoo's Next Oct. 2 Beetle Juice 42 Hotel Transylvania Girl Interrupted Amityville Horror Love & Mercy Hot Pursuit The Soloist Animals Pitch Perfect 2 Extinction Oct. 3 The Age of Adeline Furious 7 Ghostbusters Shutter Island American Psycho Moneyball Barely Lethal 42 Friday the 13th Beetle Juice Hotel Transylvania One Flew Over the Amityville Horror Girl Interrupted Hot Pursuit Love & Mercy Animals The Soloist Pitch Perfect 2 Extinction The Age of Adeline Ghostbusters Oct. 4 Cuckoo's Next Oct. 5 American Psycho Moneyball Barely Lethal 42 Friday the 13th Girl Interrupted Beetle Juice Love & Mercy Hotel Transylvania Amityville Horror Hot Pursuit Oct. 6 Animals The Soloist Pitch Perfect 2 Moneyball Extinction Shutter Island The Age of Adeline Furious 7 Ghostbusters American Psycho Barely Lethal One Flew Over the Friday the 13th Beetle Juice Girl Interrupted Hotel Transylvania Love & Mercy Amityville Horror The Soloist Hot Pursuit Animals Pitch Perfect 2 Oct. 7 Cuckoo's Next One Flew Over the Extinction Shutter Island The Age of Adeline Furious 7 Ghostbusters American Psycho Moneyball Barely Lethal Friday the 13th Beetle Juice Oct. 8 Cuckoo's Next Oct. -
26-30 October 2017 Ifi Horrorthon
IFI HORRORTHON IFI HORRORTHON 26-30 OCTOBER 2017 WELCOME TO THE DARK HALF (15.10) IFI HORRORTHON 2017! Romero’s adaptation of Stephen King’s novel receives its first theatrical screening Horrorthon, Ireland’s biggest and best genre festival, returns in Ireland with Timothy Hutton as a novelist to the IFI this month for another packed programme. We’re whose violent alter ego comes to life and proud to present this year’s line-up, which features new films threatens his family. from directors whose previous work will be familiar to regular Dir: George A. Romero v 122 mins attendees, as well as films from Japan, Australia, Spain, Brazil, Italy, and Vietnam, proving the global reach and popularity of TOP KNOT DETECTIVE (17.25) horror. We hope you enjoy this year’s festival. This hilarious Australian mockumentary revolves around an obscure Japanese THURSDAY OCTOBER 26TH television show that survives only on VHS, OPENING FILM: and behind the scenes of which were TRAGEDY GIRLS (19.00) stories of rivalry and murder. From the director of Patchwork comes Dir: Aaron McCann, Dominic Pearse v 87 mins one of the freshest and funniest horror- comedies of the year, in which two HABIT (19.10) teenage girls turn to serial killing in order After Michael witnesses a brutal murder in to increase their social media following. the massage parlour for which he works Director Tyler MacIntyre will take part in a post-screening Q&A. as doorman, he is drawn deeper into the Dir: Tyler MacIntyre v 90 mins club’s secrets in this gritty British horror. -
Bastrop County Texas Beth (Susan Sarandon), Shown Above, Is Performing a Office Worldwide That Year
ELGIN ELGIN FILM FRIENDLY BASTROP COUNTY FILM TRAIL 6 7 The Great Waldo Pepper (1975) Transformers: Age of Extinction (2014) Adventure, Drama, PG Action, Adventure Sci-Fi, PG-13 • Downtown Elgin, Main Street • Silo area, 301 East First Street, just off of Main Street The 1920s-30s period movie was filmed in Elgin, with Produced by Steven Speilberg, the fourth installment of most flight scenes near San Antonio and in Florida. Robert the Transformers film series was the highest grossing film Redford stars as pilot Waldo Pepper. In the film, Mary of 2014, the only film to earn over $1 billion at the box Bastrop County Texas Beth (Susan Sarandon), shown above, is performing a office worldwide that year. It is the first to in the series to stunt as a wing walker when the Standard J-1 biplane not feature the human cast from prior films. Along with FILM TRAIL lands on Elgin’s Main Street between the historic buildings international filming locations, Elgin’s industrial area was lining the roadway. Curiously enough, the buildings in chosen for a portion of the film. the film are not shown in the correct sequence. The cast Bastrop County also includes Margot Kidder as Waldo’s girlfriend Maude PLOT: Five years after the Battle of Chicago (in the third film in the series), the Transformers are now being and Bo Svenson as fellow pilot Axel Olsson. Directed by is a favorite of regarded a threat and the government is seeking to disable Bastrop County George Roy Hill, the film is highly regarded among aviation filmmakers, from commercials to television series to historians, with aerial sequences staged by Frank Tallman. -
Human' Jaspects of Aaonsí F*Oshv ÍK\ Tke Pilrns Ana /Movéis ÍK\ É^ of the 1980S and 1990S
DOCTORAL Sara MarHn .Alegre -Human than "Human' jAspects of AAonsí F*osHv ÍK\ tke Pilrns ana /Movéis ÍK\ é^ of the 1980s and 1990s Dirigida per: Dr. Departement de Pilologia jA^glesa i de oermanisfica/ T-acwIfat de Uetres/ AUTÓNOMA D^ BARCELONA/ Bellaterra, 1990. - Aldiss, Brian. BilBon Year Spree. London: Corgi, 1973. - Aldridge, Alexandra. 77» Scientific World View in Dystopia. Ann Arbor, Michigan: UMI Research Press, 1978 (1984). - Alexander, Garth. "Hollywood Dream Turns to Nightmare for Sony", in 77» Sunday Times, 20 November 1994, section 2 Business: 7. - Amis, Martin. 77» Moronic Inferno (1986). HarmorKlsworth: Penguin, 1987. - Andrews, Nigel. "Nightmares and Nasties" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney: Ruto Press, 1984:39 - 47. - Ashley, Bob. 77» Study of Popidar Fiction: A Source Book. London: Pinter Publishers, 1989. - Attebery, Brian. Strategies of Fantasy. Bloomington and Indianapolis: Indiana University Press, 1992. - Bahar, Saba. "Monstrosity, Historicity and Frankenstein" in 77» European English Messenger, vol. IV, no. 2, Autumn 1995:12 -15. - Baldick, Chris. In Frankenstein's Shadow: Myth, Monstrosity, and Nineteenth-Century Writing. Oxford: Oxford Clarendon Press, 1987. - Baring, Anne and Cashford, Jutes. 77» Myth of the Goddess: Evolution of an Image (1991). Harmondsworth: Penguin - Arkana, 1993. - Barker, Martin. 'Introduction" to Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Media. London and Sydney: Ruto Press, 1984(a): 1-6. "Nasties': Problems of Identification" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney. Ruto Press, 1984(b): 104 - 118. »Nasty Politics or Video Nasties?' in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Medß. -
Exclusive Licence Ailowing the National Library of Canada To
National Library Bibliothèque nationale I*I of Canada du Canada Acquisitions and Acquisitions et Bibliographic Senices services bibliographiques 395 Wellington Street 395. nie Wellington Ottawa ON KIA ON4 OttawaON K1AOW Canada Canada Your fi& Vme retPIenœ Our Iüe Notre refem The author has granted a non- L'auteur a accordé une licence non exclusive Licence ailowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sel1 reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfichelfilm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. An Ethnopphy of Seeing: A Proposed Methodology for the Ethnographie Study of Popular Cinema by Mikel J. Koven A thesis subrnitted to the School of Graduate Studies in partial filfilment of the requirements for the degree of Doctor of Philosophy Department of Folklore Mernorial University of Newfoundland March I 5, 1999 St* John's Newfoundland AxwrRAcr: Cinema is a symbolic manifestation of cultural identity based on the experience of that identity. Generaliy, social scientists have relied on the ethnographie documentary tradition in film to explore issues related to cultural experience. -
David Arquette Will Return to Pursue Ghostface As Dewey Riley in the Relaunch of Scream for Spyglass Media Group
DAVID ARQUETTE WILL RETURN TO PURSUE GHOSTFACE AS DEWEY RILEY IN THE RELAUNCH OF SCREAM FOR SPYGLASS MEDIA GROUP James Vanderbilt and Guy Busick to Co-write the Screenplay With Project X Entertainment Producing, Creator Kevin Williamson Serving as Executive Producer and the Filmmaking Collective Radio Silence at the Helm LOS ANGELES (May 18, 2020)— David Arquette will reprise his role as Dewey Riley in pursuit of Ghostface in the relaunch of “Scream,” it was announced today by Peter Oillataguerre, President of Production for Spyglass Media Group, LLC (“Spyglass”). Plot details are under wraps but the film will be an original story co-written by James Vanderbilt (“Murder Mystery,” “Zodiac,” “The Amazing Spider-Man”) and Guy Busick (“Ready or Not,” “Castle Rock,”) with Project X Entertainment’s Vanderbilt, Paul Neinstein and William Sherak producing for Spyglass. Creator Kevin Williamson will serve as executive producer. Matt Bettinelli- Olpin and Tyler Gillett of the filmmaking group Radio Silence (“Ready or Not,” “V/H/S”) will direct and the third member of the Radio Silence trio, Chad Villella, will executive produce alongside Williamson. Principal photography will begin later this year in Wilmington, North Carolina when safety protocols are in place. Arquette said, “I am thrilled to be playing Dewey again and to reunite with my ‘Scream’ family, old and new. ‘Scream’ has been such a big part of my life, and for both the fans and myself, I look forward to honoring Wes Craven’s legacy.” Though Arquette is the first member of the film’s ensemble to be officially announced, conversations are underway with other legacy cast.