VIDEO NASTY? by Ben from Video Distribution Warehouses

Total Page:16

File Type:pdf, Size:1020Kb

VIDEO NASTY? by Ben from Video Distribution Warehouses WHAT THE HECK IS A VIDEO NASTY? by Ben The term “video nasty” goes all the way back to the dawn of home video in the UK, from video distribution warehouses. Newspapers and the media when a bunch of conservative politicians thought a bunch of cheap horror movies helped fan the flames, with more conservative outlets going so were too much for the youth of the Isles to handle. far as to publish stories with erroneous quotes and manipulated data. One such article quoted a survey that claimed four out of Having defeated Betamax in the first-ever format war, VHS became a sensation in ten children over the age of six had seen a video nasty, at a time the UK in the early 1980’s, and video stores popped up everywhere. With the major when even adults had difficulty finding one on a video store studios ignoring the trend of home video for fear of piracy and lesser box office shelf. receipts, small independent labels took the reins and flooded the market with cheap exploitation films, low budget bush and gore sleaze, licensed from and produced As for the legacy of the “video nasty”, while the term itself was primarily in the US and Italy. And while the UK had a history of censoring theatrical designed to frighten the public, in the end, it was nothing short fare, home video was new, and there was no such oversight yet, so the sky was the of intriguing. Now fans had a definitive list of must-see films, limit for sex and violence. And without big stars to gain the attention of a sizable many of which might have been forgotten without their iniquitous film-watching audience, distributors relied on other methods to sell their films, distinction. taking out huge, disgusting print ads, highlighting the most disturbing scenes, with video box art and taglines to match, often daring Brits to witness the horrifying The following is the complete list of films that were, at one time content within. In addition, the poor video quality of VHS added a sense of reality to or another, Video Nasties as designated by the DPP, beginning in the violence, causing some less bright members of the UK Parliament to believe - June 1983. All 72 films are available in some format here at and insist - that these scenes actually were real, and thus, a danger to society. Most Scarecrow. As many of the films were renamed for video notably, children. distribution throughout the world, included is their title and location in the Scarecrow Library, along with their original UK Government officials and religious leaders referred to the "video nasty" video release title, release date, and credited director. phenomenon in a period of moral panic, often overhyping and exaggerating not just the content, but the effect that viewing it could have on an individual, as well. Any If you’ve seen all the heavy hitters of horror and you’re looking violent crime could be linked to the perpetrator having watched or, better yet, having to take a deeper dive into the psychotronic room (and beyond--), potentially watched, video nasties. Police forces across the land seized stock this list might be the place to start. For even more info on Video Nasties and the panic surrounding them, check out the excellent two-part documentary VIDEO NASTIES: THE DEFINITIVE GUIDE. TITLE IN SCARECROW ORIGINAL UK And remember - it’s only a movie! LIBRARY TITLE YEAR DIRECTOR SECTION ☐ ABSURD ABSURD 1981 D'Amato, Joe STALKERS ☐ ANTROPOPHAGUS ANTHROPOPHAGUS THE BEAST 1980 D'Amato, Joe CANNIBALS ☐ AXE AXE 1974 Friedel, Frederick R. STALKERS ILSA & ☐ BEAST IN HEAT, THE BEAST IN HEAT, THE 1977 Batzella, Luigi FRIENDS ☐ BEYOND, THE BEYOND, THE 1981 Fulci, Lucio FULCI ☐ BAY OF BLOOD, A BLOOD BATH 1971 Bava, Mario BAVA Lewis, Herschell ☐ BLOOD FEAST BLOOD FEAST 1963 Gordon LEWIS ☐ GHASTLY ONES, THE BLOOD RITES 1968 Milligan, Andy MILLIGAN ☐ BLOODY MOON BLOODY MOON 1981 Franco, Jesús FRANCO ☐ BOOGEY MAN, THE BOGEYMAN, THE 1980 Lommel, Uli DEMONS ☐ BURNING, THE BURNING, THE 1981 Maylam, Tony STALKERS ☐ CANNIBAL APOCALYPSE CANNIBAL APOCALYPSE 1980 Margheriti, Antonio MARGHERITI ☐ CANNIBAL FEROX CANNIBAL FEROX 1981 Lenzi, Umberto LENZI ☐ CANNIBAL HOLOCAUST CANNIBAL HOLOCAUST 1980 Deodato, Ruggero CANNIBALS EURO ☐ CANNIBAL MAN, THE CANNIBAL MAN, THE 1972 de la Iglesia, Eloy HORROR ☐ CANNIBAL TERROR CANNIBAL TERROR 1980 Dereulle, Alain CANNIBALS ☐ CONTAMINATION CONTAMINATION 1980 Cozzi, Luigi SCI-FI MAD ☐ DEAD & BURIED DEAD & BURIED 1981 Sherman, Gary SCIENTISTS EATEN ALIVE ☐ DEATH TRAP 1976 Hooper, Tobe STALKERS ☐ SACRIFICE! DEEP RIVER SAVAGES 1972 Lenzi, Umberto LENZI ☐ DELIRIUM DELIRIUM 1979 Maris, Peter BANG! DEVIL HUNTER ☐ DEVIL HUNTER, THE 1980 Franco, Jesús FRANCO ☐ DON'T GO IN THE HOUSE DON'T GO IN THE HOUSE 1979 Ellison, Joseph STALKERS DON'T GO IN THE WOODS... ☐ DON'T GO IN THE WOODS ALONE! 1981 Bryan, James STALKERS Foldes, Lawrence ☐ DON'T GO NEAR THE PARK DON'T GO NEAR THE PARK 1979 David STALKERS DON'T LOOK IN THE BASEMENT ☐ DON'T LOOK IN THE BASEMENT 1973 Brownrigg, S.F. STALKERS ☐ DRILLER KILLER, THE DRILLER KILLER, THE 1979 Ferrara, Abel FERRARA ☐ EVIL DEAD EVIL DEAD, THE 1981 Raimi, Sam RAIMI ☐ EVILSPEAK EVILSPEAK 1981 Weston, Eric DEMONS ☐ TRAUMA ÉXPOSE 1976 Clarke, James Kenelm GIALLO ☐ FACES OF DEATH FACES OF DEATH 1978 Schwartz, James Alan SHOCK ☐ FIGHT FOR YOUR LIFE FIGHT FOR YOUR LIFE 1977 Endelson, Robert A. STALKERS ☐ TOXIC ZOMBIES FOREST OF FEAR 1980 McCrann, Charles ZOMBIES ANDY WARHOL'S ☐ FLESH FOR FRANKENSTEIN FRANKENSTEIN 1973 Morrissey, Paul MORRISSEY FROZEN SCREAM *packed with ☐ EXECUTIONER II FROZEN SCREAM 1975 Roach, Frank BANG! ☐ FUNHOUSE, THE FUNHOUSE, THE 1981 Hooper, Tobe STALKERS ILSA & ☐ GESTAPO'S LAST ORGY, THE GESTAPO'S LAST ORGY, THE 1977 Canevari, Cesare FRIENDS ☐ HOUSE BY THE CEMETERY, THE HOUSE BY THE CEMETERY, THE 1981 Fulci, Lucio FULCI HOUSE ON THE EDGE OF THE HOUSE ON THE EDGE OF THE ☐ PARK PARK 1980 Deodato, Ruggero STALKERS MAD ☐ HUMAN EXPERIMENTS HUMAN EXPERIMENTS 1979 Goodell, Gregory SCIENTISTS M/M/S 1978 Markowitz, Murray I MISS YOU, HUGS AND KISSES ☐ DROP DEAD, DEAREST STALKERS 1978 Zarchi, Meir I SPIT ON YOUR GRAVE ☐ I SPIT ON YOUR GRAVE ARGENTO 1980 Argento, Dario INFERNO ☐ INFERNO GREECE 1976 Mastorakis, Nico ISLAND OF DEATH ☐ ISLAND OF DEATH NUNSPLOITAT ION 1979 Berruti, Giulio KILLER NUN, THE ☐ KILLER NUN, THE CRAVEN 1972 Craven, Wes LAST HOUSE ON THE LEFT, THE ☐ LASTHOUSEONTHELEFT,THE EURO HORROR 1975 Lado, Aldo LATE NIGHT TRAINS ☐ LASTSTOPONTHENIGHTTRAIN ZOMBIES 1974 Grau, Jorge LIVING DEAD, THE ☐ LET SLEEPING CORPSES LIE ILSA & FRIENDS 1969 Frost, Lee LOVE CAMP 7 ☐ LOVE CAMP 7 STALKERS 1981 Assonitis, Ovidio G. MADHOUSE ☐ MADHOUSE STALKERS 1978 Weis, Jack MARDI GRAS MASSACRE ☐ MARDI GRAS MASSACRE ☐ NIGHT OF THE BLOODY APES NIGHT OF THE BLOODY APES 1969 Cardona, René NIGHT OF THE DEMON MEX-A-GOGO ☐ NIGHT OF THE DEMON 1983 Wasson, James C. BUTCHER, BAKER, NIGHTMARE BIGFOOT ☐ MAKER NIGHTMARE MAKER 1981 Asher, William ☐ POSSESSION STALKERS POSSESSION 1981 Zulawski, Andrzej DORM THAT DRIPPED BLOOD, ZULAWSKI THE ☐ PRANKS 1982 Carpenter, Stephen STALKERS PRISONER OF THE CANNIBAL ☐ SLAVE OF THE CANNIBAL GOD GOD, THE 1978 Martino, Sergio MARTINO NIGHTMARES IN A DAMAGED ☐ NIGHTMARE BRAIN 1981 Scavolini, Romano ☐ BOOGEYMAN II STALKERS REVENGE OF THE BOGEY MAN 1983 Pearn, Bruce SLAYER, THE DEMONS ☐ SLAYER, THE 1982 Cardone, J.S. ☐ SNUFF DEMONS SNUFF 1975 Findlay, Michael STALKERS ILSA & ☐ SS EXPERIMENT LOVE CAMP SS EXPERIMENT CAMP 1976 Garrone, Sergio FRIENDS ☐ TENEBRAE TENEBRAE 1982 Argento, Dario ARGENTO ☐ NIGHT SCHOOL TERROR EYES 1981 Hughes, Ken STALKERS ☐ TOOLBOX MURDERS, THE TOOLBOX MURDERS, THE 1978 Donnelly, Dennis STALKERS ☐ UNHINGED UNHINGED 1982 Gronquist, Don STALKERS ☐ VISITING HOURS VISITING HOURS 1982 Lord, Jean-Claude STALKERS ☐ NIGHT OF THE HOWLING BEAST WEREWOLF AND THE YETI, THE 1975 Iglesias, Miguel WEREWOLVES WITCH WHO CAME FROM THE WITCH WHO CAME FROM THE ☐ SEA, THE SEA, THE 1976 Cimber, Matt STALKERS ☐ WOMEN BEHIND BARS WOMEN BEHIND BARS 1975 Franco, Jesús FRANCO ☐ HELL OF THE LIVING DEAD ZOMBIE CREEPING FLESH 1980 Mattei, Bruno ZOMBIES ☐ ZOMBIE ZOMBIE FLESH-EATERS 1979 Fulci, Lucio FULCI VIDEO NASTIES: THE DEFINITIVE PSYCHO- ☐ GUIDE 2010 West, Jake CLIPS VIDEO NASTIES: THE DEFINITIVE PSYCHO- ☐ GUIDE PART 2 2014 West, Jake CLIPS.
Recommended publications
  • Just How Nasty Were the Video Nasties? Identifying Contributors of the Video Nasty Moral Panic
    Stephen Gerard Doheny Just how nasty were the video nasties? Identifying contributors of the video nasty moral panic in the 1980s DIPLOMA THESIS submitted in fulfilment of the requirements for the degree of Magister der Philosophie Programme: Teacher Training Programme Subject: English Subject: Geography and Economics Alpen-Adria-Universität Klagenfurt Evaluator Univ.-Prof. Dr. Jörg Helbig, M.A. Alpen-Adria-Universität Klagenfurt Institut für Anglistik und Amerikanistik Klagenfurt, May 2019 i Affidavit I hereby declare in lieu of an oath that - the submitted academic paper is entirely my own work and that no auxiliary materials have been used other than those indicated, - I have fully disclosed all assistance received from third parties during the process of writing the thesis, including any significant advice from supervisors, - any contents taken from the works of third parties or my own works that have been included either literally or in spirit have been appropriately marked and the respective source of the information has been clearly identified with precise bibliographical references (e.g. in footnotes), - to date, I have not submitted this paper to an examining authority either in Austria or abroad and that - when passing on copies of the academic thesis (e.g. in bound, printed or digital form), I will ensure that each copy is fully consistent with the submitted digital version. I understand that the digital version of the academic thesis submitted will be used for the purpose of conducting a plagiarism assessment. I am aware that a declaration contrary to the facts will have legal consequences. Stephen G. Doheny “m.p.” Köttmannsdorf: 1st May 2019 Dedication I I would like to dedicate this work to my wife and children, for their support and understanding over the last six years.
    [Show full text]
  • Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs
    Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs The thesis is submitted in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy of the University of Portsmouth. September 2014 Declaration Whilst registered as a candidate for the above degree, I have not been registered for any other research award. The results and conclusions embodied in this thesis are the work of the named candidate and have not been submitted for any other academic award. Word count: 85,810 Abstract Extreme art cinema, has, in recent film scholarship, become an important area of study. Many of the existing practices are motivated by a Franco-centric lens, which ultimately defines transgressive art cinema as a new phenomenon. The thesis argues that a study of extreme art cinema needs to consider filmic production both within and beyond France. It also argues that it requires an historical analysis, and I contest the notion that extreme art cinema is a recent mode of Film production. The study considers extreme art cinema as inhabiting a space between ‘high’ and ‘low’ art forms, noting the slippage between the two often polarised industries. The study has a focus on the paratext, with an analysis of DVD extras including ‘making ofs’ and documentary featurettes, interviews with directors, and cover sleeves. This will be used to examine audience engagement with the artefacts, and the films’ position within the film market. Through a detailed assessment of the visual symbols used throughout the films’ narrative images, the thesis observes the manner in which they engage with the taste structures and pictorial templates of art and exploitation cinema.
    [Show full text]
  • Complicated Views: Mainstream Cinema's Representation of Non
    University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. Data: Author (Year) Title. URI [dataset] University of Southampton Faculty of Arts and Humanities Film Studies Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. DOI: by Eliot W. Blades Thesis for the degree of Doctor of Philosophy May 2020 University of Southampton Abstract Faculty of Arts and Humanities Department of Film Studies Thesis for the degree of Doctor of Philosophy Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. by Eliot W. Blades This thesis examines a number of mainstream fiction feature films which incorporate imagery from non-cinematic moving image technologies. The period examined ranges from the era of the widespread success of television (i.e.
    [Show full text]
  • 1. Long Time Dead
    1. LONG TIME DEAD In 2002, the filmmaker Richard Stanley sounded the death knell of ‘the great British horror movie’. His ‘obituary’, which appeared in Steve Chibnall and Julian Petley’s edited volume British Horror Cinema, lamented the general absence of any real directorial talent at the turn of the millennium, noting that the horror film directors ‘who really knew what they were doing escaped to Hollywood a long time ago’ (Stanley 2002: 194). Stanley cited the direct-to- video occult horror The 13th Sign (Jonty Acton and Adam Mason, 2000) as offering a glimmer of hope, but concluded that it was ‘still a long way below the minimum standard of even the most vilified 1980s product’ (2002: 193). Stanley’s pessimism was not unfounded (even if his assessment of The 13th Sign was perhaps a bit unfair). Hammer Films – the once-prolific film studio responsible for the first full-colour horror film, The Curse of Frankenstein (Terence Fisher), in 1957, and a host of other classic British horrors over the next two decades – buckled under market pressure and ceased making feature films in 1979. The 1980s, therefore, saw the production of only a handful of British horror films, which, at any rate, were mostly thought of as American productions that had peripheral British involvement, such as Stanley Kubrick’s blockbuster The Shining (1980) and Clive Barker’s franchise- initiating Hellraiser (1987). Others from the decade were artsy one-offs, such as the Gothic fairy tale The Company of Wolves (Neil Jordan, 1984), or (as was most often the case) amateurish flops, such as the cheap and clumsy monster movie Rawhead Rex (George Pavlou, 1986).
    [Show full text]
  • Censorship and Subversion in German No-Budget Horror Film Kai-Uwe Werbeck
    The State vs. Buttgereit and Ittenbach: Censorship and Subversion in German No-Budget Horror Film Kai-Uwe Werbeck IN THE LATE 1980S AND EARLY 1990S, WEST GERMAN INDIE DIRECTORS released a comparatively high number of hyper-violent horror films, domestic no-budget productions often shot with camcorders. Screened at genre festivals and disseminated as grainy VHS or Betamax bootlegs, these films constitute anomalies in the history of German postwar cinema where horror films in general and splatter movies in particular have been rare, at least up until the 2000s.1 This article focuses on two of the most prominent exponents of these cheap German genre flicks: Jörg Buttgereit’s controversial and highly self- reflexive NekRomantik 2 (1991) and Olaf Ittenbach’s infamous gore-fest The Burning Moon (1992), both part of a huge but largely obscure underground culture of homebrew horror. I argue that both NekRomantik 2 and The Burning Moon—amateurish and raw as they may appear—successfully reflect the state of non-normative filmmaking in a country where, according to Germany’s Basic Law, “There shall be no censorship.”2 Yet, the nation’s strict media laws—tied, in particular, to the Jugendschutz (protection of minors)—have clearly limited the horror genre in terms of production, distribution, and reception. In this light, NekRomantik 2 and The Burning Moon become note- worthy case-studies that in various ways query Germany’s complex relation to the practice of media control after 1945. Not only do both films have an inter- esting history with regard to the idiosyncratic form of censorship practiced in postwar (West) Germany, they also openly engage with the topic by reacting to the challenges of transgressive art in an adverse cultural climate.
    [Show full text]
  • The Contemporary American Horror Film Remake, 2003-2013
    RE-ANIMATED: THE CONTEMPORARY AMERICAN HORROR FILM REMAKE, 2003-2013 Thesis submitted by Laura Mee In partial fulfilment of the requirements for the award of Doctor of Philosophy De Montfort University, March 2014 Abstract This doctoral thesis is a study of American horror remakes produced in the years 2003-2013, and it represents a significant academic intervention into an understanding of the horror remaking trend. It addresses the remaking process as one of adaptation, examines the remakes as texts in their own right, and situates them within key cultural, industry and reception contexts. It also shows how remakes have contributed to the horror genre’s evolution over the last decade, despite their frequent denigration by critics and scholars. Chapter One introduces the topic, and sets out the context, scope and approach of the work. Chapter Two reviews the key literature which informs this study, considering studies in adaptation, remaking, horror remakes specifically, and the genre more broadly. Chapter Three explores broad theoretical questions surrounding the remake’s position in a wider culture of cinematic recycling and repetition, and issues of fidelity and taxonomy. Chapter Four examines the ‘reboots’ of one key production company, exploring how changes are made across versions even as promotion relies on nostalgic connections with the originals. Chapter Five discusses a diverse range of slasher film remakes to show how they represent variety and contribute to genre development. Chapter Six considers socio-political themes in 1970s horror films and their contemporary post-9/11 remakes, and Chapter Seven focuses on gender representation and recent genre trends in the rape-revenge remake.
    [Show full text]
  • Walker Tosubmit
    Citation: Walker, Johnny (2016) Traces of snuff: black markets, fan subcultures and underground horror in the 1990s. In: Snuff: Real Death and Screen Media. Bloomsbury, London, pp. 137-152. ISBN 9781628921137 Published by: Bloomsbury URL: This version was downloaded from Northumbria Research Link: http://nrl.northumbria.ac.uk/27964/ Northumbria University has developed Northumbria Research Link (NRL) to enable users to access the University’s research output. Copyright © and moral rights for items on NRL are retained by the individual author(s) and/or other copyright owners. Single copies of full items can be reproduced, displayed or performed, and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided the authors, title and full bibliographic details are given, as well as a hyperlink and/or URL to the original metadata page. The content must not be changed in any way. Full items must not be sold commercially in any format or medium without formal permission of the copyright holder. The full policy is available online: http://nrl.northumbria.ac.uk/policies.html This document may differ from the final, published version of the research and has been made available online in accordance with publisher policies. To read and/or cite from the published version of the research, please visit the publisher’s website (a subscription may be required.) Chapter 7 Traces of snuff: black markets, fan subcultures and underground horror in the 90s Johnny Walker This chapter seeks to explore the centrality, and significance, of underground horror films to fan cultures in the 1990s, demonstrating how a swelling interest in gory paracinema1 coincided with the emergence of an array of contemporary, direct-to-video “death films” which collated sequences of genuine human tragedy and atrocity for the purposes of entertainment.
    [Show full text]
  • Introduction: 42Nd Street, and Beyond
    Northumbria Research Link Citation: Walker, Johnny and Fisher, Austin (2016) Introduction: 42nd Street, and Beyond. In: Grindhouse: Cultural Exchange on 42nd Street, and Beyond. Bloomsbury, London, pp. 1-11. ISBN 9781628927450 Published by: Bloomsbury URL: This version was downloaded from Northumbria Research Link: http://nrl.northumbria.ac.uk/id/eprint/27967/ Northumbria University has developed Northumbria Research Link (NRL) to enable users to access the University’s research output. Copyright © and moral rights for items on NRL are retained by the individual author(s) and/or other copyright owners. Single copies of full items can be reproduced, displayed or performed, and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided the authors, title and full bibliographic details are given, as well as a hyperlink and/or URL to the original metadata page. The content must not be changed in any way. Full items must not be sold commercially in any format or medium without formal permission of the copyright holder. The full policy is available online: http://nrl.northumbria.ac.uk/policies.html This document may differ from the final, published version of the research and has been made available online in accordance with publisher policies. To read and/or cite from the published version of the research, please visit the publisher’s website (a subscription may be required.) Introduction: 42nd Street, and Beyond Austin Fisher and Johnny Walker In the heart of little old New York, You'll find a thoroughfare. It's the part of little old New York That runs into Times Square.
    [Show full text]
  • The Children's Horror Film
    A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/90706 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications The Children’s Horror Film: Beneficial fear and subversive pleasure in an (im)possible Hollywood subgenre Catherine Lester A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in Film and Television Studies Department of Film and Television Studies University of Warwick October 2016 Table of Contents Acknowledgements .................................................................................................................. 4 Declaration of Inclusion of Published Work ............................................................................ 5 Abstract .................................................................................................................................... 6 List of Illustrations .................................................................................................................... 7 Introduction – Thinking of the Children ......................................................................... 11 Structure and Aims ...........................................................................................................
    [Show full text]
  • “Where Nothing Is Off Limits”: Genre, Commercial Revitalization, and the Teen Slasher Film Posters of 1982-1984
    “WHERE NOTHING IS OFF LIMITS”: GENRE, COMMERCIAL REVITALIZATION, AND THE TEEN SLASHER FILM POSTERS OF 1982-1984 RICHARD NOWELL The poster with which Artists Releasing by resourceful distributors. Catalyzing this Corporation promoted its 1983 teen slasher situation, and the prominent role distribu- film promised American youths that The tors played in it, was the fact that the teen House on Sorority Row (Rosman 1983) would slashers released across these three years be the type of place “[w]here nothing is off had either been made before the 1981 teen limits”. Sitting beneath an imposing image slashers were released or soon after – a of a scantily-clad young woman, which period of time that witnessed no clear dem- bore little relation to the film’s content, this onstrations of a textually innovative teen tagline might as well have been an industry slasher securing a large enough audience in-joke concerning the lengths to which US to encourage filmmakers to replicate its distributors were going in their attempts distinctive content. to reinvigorate the commercial potential In spite of cases like the teen slasher of films about groups of young people be- films of 1982-84, scholars, like popular writ- ing menaced by shadowy maniacs. After ers and industry-insiders, tend to spotlight having proven highly profitable on the the conduct and contributions of production back of the relative commercial success personnel rather than that of distributors. In of Halloween (1978), Silent Scream (Harris doing so, they are inclined to underestimate 1980), Friday the 13th (Cunningham 1980), or downplay the extent to which marketing and Prom Night (Lynch 1980), teen slashers practices drive efforts to reinvigorate the had, by 1981, come to be considered box box office prowess of once-lucrative types office poison following a series of flops that of film.
    [Show full text]
  • Jugend Medienschutz-Report
    Jugend Medien Schutz-Report 2/07 Fachzeitschrift zum Jugendmedienschutz mit Newsletter April 2007 Inhaltsverzeichnis Heftmitte/Beihefter: Aktuelle Entscheidungen im April 2007 AUFSÄTZE / BERICHTE (INDIZIERUNGEN / BESCHLAGNAHMEN) 2 Christiane Pröhl: Beschwerdeflut beim Werberat – Mehr Eingaben gegen weniger Werbekampagnen 3 Dirk Nolden: KJM-Test zeigt: Jugendschutzfilter genügen INDIZIERUNGS-LISTEN bisher nicht den gesetzlichen Anforderungen 4 Jörg Weigand: Vom Leihbuchschreiber zum Bestsellerautor: 13 Listenteile A und B (gem. § 18 Abs. 2 Nr. 1, 2 JuSchG) Heinz G. Konsalik – Ein Autorenporträt sowie sog. Liste E (Einträge vor dem 01.04.2003) 13 1. Filme (Videos/DVDs/Laser-Disks): 2958 STATISTIKEN 35 2. Spiele (Computer-/Video-/Automatenspiele): 476 2 Beschwerdestatistik 2006 des Deutschen Werberates 39 3. Printmedien (Bücher/Broschüren/Comics etc.): 224 10 Jahresstatistik 2006 der Bundesprüfstelle (BPjM) 42 4. Tonträger (Schallplatten/CDs/MCs): 650 RECHTSPRECHUNG 48 Listenteile C und D (gem. § 18 Abs. 2 Nr. 3, 4 JuSchG) 65 BGH, Urteil vom 15.03.07, Az.: 3 StR 486/06: Durchgestrichenes Hakenkreuz kein verbotenes Kenn- 48 5. Telemedien zeichen nach § 86 a StGB – Nichtöffentliche Listenteile, daher kein Abdruck – 68 VG München, Beschluss vom 31.01.2007, Az.: M 17 S 07.144: Pornographische Angebote im Internet ohne wirksame Zugangsbeschränkung BESCHLAGNAHME-LISTE 72 OLG Celle, Beschluss vom 13. Februar 2007, 48 6. Sonderübersicht Az.: 322 Ss 24/07: Unzulässige Posendarstellung von beschlagnahmter/eingezogener Medien: 601 Kindern und Jugendlichen im Internet Regelmäßige Anordnungsgründe/Straftatbestände: • Volksverhetzung, §§ 86a, 130, 130a StGB KURZNACHRICHTEN • Gewaltverherrlichung, § 131 StGB 5 BGH: Durchgestrichenes Hakenkreuz kein verbotenes • harte Pornographie, §§ 184a, 184b StGB Kennzeichen ◆ BGH: Forenbetreiber haften für fremde Beiträge ab Kenntnis ◆ Holocaust-Leugner Rudolf ver- ◆ SONDERÜBERSICHTEN urteilt ULR/HAM: Neue Medienanstalt hat Arbeit auf- genommen ◆ Bei Europas größter Schülerplattform steht 55 7.
    [Show full text]
  • Off the Beaten Path
    Off the Beaten Path A Comprehensive List of the Horror Community’s Favorite Overlooked Films Tomatometer Audience Score Mentions Logline [Rec] (2007) 89% 82% Reporter Angela (Manuela Velasco) and her trusty cameraman Pablo are following a local fire crew for a segment of their reality television series "When You're Asleep" when the firefighters receive a distress call from a nearby apartment building. An elderly woman has become locked in her apartment; a routine call by any account. The police are already on the scene, so now it's up to firemen Manu (Ferran Terraza) and Alex (David Vert) to break down the door and ensure that no harm has come to her. Upon arriving at the building, everything appears normal. But the calm atmosphere at the moment betrays the horrors that begin to unfold after the firemen break down the tenant's door and experience something that no one would believe had it not been captured on camera. Later, as the building is surrounded and quarantined, Pablo continues to roll tape to ensure that whatever the outcome of this terrifying situation may be, there will be some evidence to ensure that the truth gets out. [Rec] 2 (2010) 68% 60% The highly anticipated sequel to one of the scariest films of all time, "[REC] 2" picks up 15 minutes from where we left off, taking us back into the quarantined apartment building where a terrifying virus has run rampant, turning the occupants into mindlessly violent, raging beasts. A heavily armed SWAT team and a mysterious government official are sent in to assess and attempt to neutralize the situation.
    [Show full text]