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1 [27] Ficvaldivia 2 [27] Ficvaldivia 3 [27] Ficvaldivia 4 [27] Ficvaldivia 5
[27] FICVALDIVIA 1 [27] FICVALDIVIA 2 [27] FICVALDIVIA 3 [27] FICVALDIVIA 4 [27] FICVALDIVIA 5 [27] FICVALDIVIA Palabras6 9 Words FILMES DE INAUGURACIÓN Filmes de inauguración 26 Opening films Y CLAUSURA OPENING AND CLOSING Filmes de clausura 28 FEATURES P. 25 Closing films Cortometraje de Ceremonia de Premiación 30 Awards Ceremony Short Film JURADO Y ASESORES 33 JURY AND ADVISORS P.33 EN COMPETENCIA Selección Oficial Largometraje Internacional 45 IN COMPETITION Official International Feature Selection P. 44 Selección Oficial Largometraje Chileno 59 Official Chilean Feature Selection Selección Oficial Largometraje Juvenil 67 Internacional Official International Youth Feature Selection Selección Oficial Cortometraje 75 Latinoamericano Official Latin-American Short Film Selection Selección Oficial Cortometraje Infantil 89 Latinoamericano Official Latin-American Children’s Short Film Selection Selección Oficial Cine Chileno del Futuro 96 Future Chilean Cinema Official Selection [27] FICVALDIVIA 7 MUESTRA PARALELA CINEASTAS EN FOCO 105 Video y Estallido Social 178 PARALLEL PROGRAM FILMMAKERS IN THE Video and Social Uprising P. 105 SPOTLIGHT MUESTRA CINE 185 Ana Poliak 106 RETROSPECTIVA RETROSPECTIVE PROGRAM Colectivo Los Hijos 112 Clásicos 186 Latinas a la vanguardia 122 Classics Guillaume Brac 131 VHS Erótico 190 Erotic VHS MUESTRA CINE 139 CONTEMPORÁNEO Vazofi: Bazofi en Valdivia 193 CONTEMPORARY CINEMA Vazofi: Bazofi in Valdivia PROGRAM Gala 140 PÁSATE UNA PELÍCULA 201 Gala WHAT’S YOUR STORY! HOMENAJES 146 Largometrajes familiares 202 TRIBUTES -
Female Authorship in the Slumber Party Massacre Trilogy
FEMALE AUTHORSHIP IN THE SLUMBER PARTY MASSACRE TRILOGY By LYNDSEY BROYLES Bachelor of Arts in English University of New Mexico Albuquerque, NM 2016 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of MASTER OF ARTS May, 2019 FEMALE AUTHORSHIP IN THE SLUMBER PARTY MASSACRE TRILOGY Thesis Approved: Jeff Menne Thesis Adviser Graig Uhlin Lynn Lewis ii Name: LYNDSEY BROYLES Date of Degree: MAY, 2019 Title of Study: FEMALE AUTHORSHIP IN THE SLUMBER PARTY MASSACRE TRILOGY Major Field: ENGLISH Abstract: The Slumber Party Massacre series is the only horror franchise exclusively written and directed by women. In a genre so closely associated with gender representation, especially misogynistic sexual violence against women, this franchise serves as a case study in an alternative female gaze applied to a notoriously problematic form of media. The series arose as a satire of the genre from an explicitly feminist lesbian source only to be mediated through the exploitation horror production model, which emphasized female nudity and violence. The resulting films both implicitly and explicitly address feminist themes such as lesbianism, trauma, sexuality, and abuse while adhering to misogynistic genre requirements. Each film offers a unique perspective on horror from a distinctly female viewpoint, alternately upholding and subverting the complex gender politics of women in horror films. iii TABLE OF CONTENTS Chapter Page I. INTRODUCTION ......................................................................................................1 -
Screams on Screens: Paradigms of Horror
Screams on Screens: Paradigms of Horror Barry Keith Grant Brock University [email protected] Abstract This paper offers a broad historical overview of the ideology and cultural roots of horror films. The genre of horror has been an important part of film history from the beginning and has never fallen from public popularity. It has also been a staple category of multiple national cinemas, and benefits from a most extensive network of extra-cinematic institutions. Horror movies aim to rudely move us out of our complacency in the quotidian world, by way of negative emotions such as horror, fear, suspense, terror, and disgust. To do so, horror addresses fears that are both universally taboo and that also respond to historically and culturally specific anxieties. The ideology of horror has shifted historically according to contemporaneous cultural anxieties, including the fear of repressed animal desires, sexual difference, nuclear warfare and mass annihilation, lurking madness and violence hiding underneath the quotidian, and bodily decay. But whatever the particular fears exploited by particular horror films, they provide viewers with vicarious but controlled thrills, and thus offer a release, a catharsis, of our collective and individual fears. Author Keywords Genre; taboo; ideology; mythology. Introduction Insofar as both film and videogames are visual forms that unfold in time, there is no question that the latter take their primary inspiration from the former. In what follows, I will focus on horror films rather than games, with the aim of introducing video game scholars and gamers to the rich history of the genre in the cinema. I will touch on several issues central to horror and, I hope, will suggest some connections to videogames as well as hints for further reflection on some of their points of convergence. -
Last Tango in Paris (1972) Dramas Bernardo Bertolucci
S.No. Film Name Genre Director 1 Last Tango in Paris (1972) Dramas Bernardo Bertolucci . 2 The Dreamers (2003) Bernardo Bertolucci . 3 Stealing Beauty (1996) H1.M Bernardo Bertolucci . 4 The Sheltering Sky (1990) I1.M Bernardo Bertolucci . 5 Nine 1/2 Weeks (1986) Adrian Lyne . 6 Lolita (1997) Stanley Kubrick . 7 Eyes Wide Shut – 1999 H1.M Stanley Kubrick . 8 A Clockwork Orange [1971] Stanley Kubrick . 9 Poison Ivy (1992) Katt Shea Ruben, Andy Ruben . 1 Irréversible (2002) Gaspar Noe 0 . 1 Emmanuelle (1974) Just Jaeckin 1 . 1 Latitude Zero (2000) Toni Venturi 2 . 1 Killing Me Softly (2002) Chen Kaige 3 . 1 The Hurt Locker (2008) Kathryn Bigelow 4 . 1 Double Jeopardy (1999) H1.M Bruce Beresford 5 . 1 Blame It on Rio (1984) H1.M Stanley Donen 6 . 1 It's Complicated (2009) Nancy Meyers 7 . 1 Anna Karenina (1997) Bernard Rose Page 1 of 303 1 Fanny Hill: Memoirs of a Woman of Pleasure (1964) Russ Meyer 9 . 2 Vixen! By Russ Meyer (1975) By Russ Meyer 0 . 2 Deep Throat (1972) Fenton Bailey, Randy Barbato 1 . 2 A STREETCAR NAMED DESIRE (1951) Elia Kazan 2 . 2 Pandora Peaks (2001) Russ Meyer 3 . 2 The Lover (L'amant) 1992 Jean-Jacques Annaud 4 . 2 Damage (1992) Louis Malle 5 . 2 Close My Eyes (1991) Stephen Poliakoff 6 . 2 Casablanca 1942 H1.M Michael Curtiz 7 . 2 Duel in the Sun (film) (1946) I1.M King Vidor 8 . 2 The Bridge on the River Kwai (1957) H1.M David Lean 9 . 3 Caligula (1979) Tinto Brass 0 . -
American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE -
Malice in Wonderland: the Perverse Pleasure of the Revolting Child
The Dissertation Committee for Andrew David Scahill certifies that this is the approved version of the following dissertation: Malice in Wonderland: The Perverse Pleasure of the Revolting Child Committee: ____________________________________ Janet Staiger, Supervisor ____________________________________ Mary Celeste Kearney ____________________________________ Jennifer Fuller ____________________________________ Julia Mickenberg ____________________________________ Harry Benshoff Malice in Wonderland: The Perverse Pleasure of the Revolting Child by Andrew David Scahill, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2010 Acknowledgements I extend my deepest thanks to all of the individuals who have provided me support during this phase of my life. Thank you to Dennis and François, who were present at different stages in this process, but who both patiently served as sources of positive reinforcement and never let me give in to self-doubt. Thank you to my excellent interns who worked with me through the Intellectual Entrepreneurship program. My deepest appreciation goes out to Charlotte, Chris, Jeffrey, Sarah, Aaron and Elizabeth, who performed many of the tedious tasks of finding films, cataloguing texts, and scouring message boards for anti-queer rhetoric. Also, thank you to the excellent scholars who were willing to read different versions of this dissertation and offer up their suggestions for revision and further reading, especially Linda Mizejewski and Kathryn Bond Stockton. Thank you as well to my dissertation committee—Julia Mickenberg, Jennifer Fuller, Harry Benshoff, Mary Celeste Kearney, and Janet Staiger. They each provided guidance and insight, and managed to make both my prospectus and my dissertation defenses feel like a conversation between scholars rather than a test of my academic meddle. -
Reel Gender: Examining the Politics of Trans Images in Film and Media
REEL GENDER: EXAMINING THE POLITICS OF TRANS IMAGES IN FILM AND MEDIA Joelle Ruby Ryan A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2009 Committee: Susana Peña, Advisor Rekha Mirchandani Graduate Faculty Representative Bill Albertini Vikki Krane © 2009 Joelle Ruby Ryan All Rights Reserved iii ABSTRACT Dr. Susana Peña, Advisor This dissertation examines transgender images in film, television and media from the 1950s through the present, with an emphasis on images from the 1980s through today. The primary goal of the dissertation is to interrogate the various gender and sexual ideologies contained within the representations to determine the social status of trans people in American society. How do these images function to both encourage and stymie the liberation of transgender people in the United States? The dissertation deploys trans, queer and feminist theories to critically analyze the cultural work performed by these mass-media texts. What are the trends within the trans media canon, and how do they relate to the treatment of real-world gender-nonconforming people? In order to answer these questions, I separate the trans images into four different stereotypes. For each of these stereotypes, I analyze three to four films to compare and contrast the way the films deal with the issues of gender and sexual variation. The first stereotype I examine is the Transgender Deceiver. The Transgender Deceiver utilizes drag and gender transformation to obtain something they want from society. While the films analyzed are comedies (Tootsie, Just One of the Guys, Sorority Boys, and Juwanna Mann), I argue that they are not as innocuous as they appear due to the way they stereotype gender-variant people as duplicitous, selfish and conniving. -
Femmes, Filles, and Hommes: Postfeminism and the Fatal(E) Figure
Femmes, Filles, and Hommes: Postfeminism and the Fatal(e) Figure in Contemporary American Film Noir. Samantha Jane Lindop Bachelor of Arts (Honours), Deakin University, 2010 Master of Psychoanalytic Studies, Deakin University, 2009 Bachelor of Psychology, University of South Australia, 2003 A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2014 School of English, Media Studies, and Art History Abstract The femme fatale of North American film noir has attracted considerable attention from feminists, film scholars, and psychoanalytic theorists over the decades. However, despite the large body of scholarly research on the figure, a number of gaps and limitations exist in the field that have been overlooked to date. Firstly, interest in the deadly woman has, for the most part centred on the classic film noir era of the 1940s and1950s and neo-noir of the 1980s and1990s. There is a noticeable lack of scholarly attention to the femme fatale as she appears on screen in the new millennium. Secondly, there is a conspicuous absence of feminist enquiry into the figure through critical engagement with dominant postfeminist discourse. This is despite the fact that postfeminism emerged on the cultural landscape around the same time as the deadly woman regained popularity in neo-noir. The third limitation is that lethal sexuality has been aligned with the femme fatale, meaning other incarnations of the figure, namely the fille fatale and homme fatal have been almost entirely overlooked. This is particularly true of the fatal man. Though the presence of this character is recognised in noir scholarship, very little analysis of the figure has been done, especially from a socio-cultural perspective that takes account of historical and cultural factors rather than offering predominantly psychoanalytic interpretations. -
Solidarity Rallies Across Michigan This Weekend AARP
Solidarity Rallies Across Michigan This Weekend AARP Reports on LGBT Aging Sean Hayes Talks ‘Will & Grace’ Supreme Court Sends Back ‘Religious Freedom’ Case WWW.PRIDESOURCE.COM JUNE 28 - JULY 11, 2018 | VOL. 2626/2627 | FREE COMMUNITY CONNECTIONS THE INTERVIEW Sean Hayes Talks ‘Will & Grace’ COVER See page 18 6 Flint Eastwood’s ‘Real Love’ Defies Religious 33 Drag Queens Spill About Their History in Panel Homophobia Discussion 33 LGBT Detroit’s Hotter Than July 2018 NEWS Schedule 4 History Wheel 3 34 A Major Milestone for Campaign to End 6 Flint Eastwood’s ‘Real Love’ Defies Religious Partisan Gerrymandering Homophobia 34 Community Enjoys Free BBQ Courtesy of 8 Congresswoman Lawrence, 14th District Wrigley’s Pharmacy Democrats Endorse Jeremy Moss 34 Adam Rippon to Keynote Equality Michigan 8 AARP National LGBT Liaison Reports on LGBT Aging at Conference 10 Solidarity Rallies Across Michigan This Weekend MICHIGAN NEWS NATIONAL NEWS CREEP OF THE WEEK 10 Protestors Brave Bad Weather to Rally for Immigrant Solidarity 14 Supreme Court Sends Back ‘Religious Freedom’ Case From Anti-Gay Florist 14 US Withdraws from UN Human Rights Council 16 Three LGBTI Activists Killed in Mexico OPINION 12 Parting Glances 12 Viewpoint 13 Creep of the Week AARP National LGBT LIFE 18 Sean Hayes Talks ‘Will & Grace’ Liaison Reports on LGBT 24 Regular WIG Drag Shows Take Midtown Aging at Conference Sara Huckabee Sanders 28 Deep Inside Hollywood Supreme Court Sends Back ‘Religious Freedom’ Case From Anti- COOL CITIES 22 Royal Oak Summer Concert Starts on July 5 See page 8 Gay Florist 26 Happenings See page 14 See page 13 29 Puzzle and Crossword VOL.