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Sight & Sound Films of 2007
Sight & Sound Films of 2007 Each year we ask a selection of our contributors - reviewers and critics from around the world - for their five films of the year. It's a very loosely policed subjective selection, based on films the writer has seen and enjoyed that year, and we don't deny them the choice of films that haven't yet reached the UK. And we don't give them much time to ponder, either - just about a week. So below you'll find the familiar and the obscure, the new and the old. From this we put together the top ten you see here. What distinguishes this particular list is that it's been drawn up from one of the best years for all-round quality I can remember. 2007 has seen some extraordinary films. So all of the films in the ten are must-sees and so are many more. Enjoy. - Nick James, Editor. 1 4 Months, 3 Weeks and 2 Days (Cristian Mungiu) 2 Inland Empire (David Lynch) 3 Zodiac (David Fincher) = 4 I’m Not There (Todd Haynes) The Lives of Others (Florian Henckel von Donnersmarck) 6 Silent Light (Carlos Reygadas) = 7 The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik) Syndromes and a Century (Apichatpong Weerasethakul) No Country for Old Men (Ethan and Joel Coen) Eastern Promises (David Cronenberg) 1 Table of Contents – alphabetical by critic Gilbert Adair (Critic and author, UK)............................................................................................4 Kaleem Aftab (Critic, The Independent, UK)...............................................................................4 Geoff Andrew (Critic -
Vision, Desire and Economies of Transgression in the Films of Jess Franco
A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details 1 Journeys into Perversion: Vision, Desire and Economies of Transgression in the Films of Jess Franco Glenn Ward Doctor of Philosophy University of Sussex May 2011 2 I hereby declare that this thesis has not been, and will not be, submitted whole or in part to another University for the award of any other degree. Signature:……………………………………… 3 Summary Due to their characteristic themes (such as „perverse‟ desire and monstrosity) and form (incoherence and excess), exploitation films are often celebrated as inherently subversive or transgressive. I critically assess such claims through a close reading of the films of the Spanish „sex and horror‟ specialist Jess Franco. My textual and contextual analysis shows that Franco‟s films are shaped by inter-relationships between authorship, international genre codes and the economic and ideological conditions of exploitation cinema. Within these conditions, Franco‟s treatment of „aberrant‟ and gothic desiring subjectivities appears contradictory. Contestation and critique can, for example, be found in Franco‟s portrayal of emasculated male characters, and his female vampires may offer opportunities for resistant appropriation. -
Westerns…All'italiana
Issue #70 Featuring: TURN I’ll KILL YOU, THE FAR SIDE OF JERICHO, Spaghetti Western Poster Art, Spaghetti Western Film Locations in the U.S.A., Tim Lucas interview, DVD reviews WAI! #70 The Swingin’ Doors Welcome to another on-line edition of Westerns…All’Italiana! kicking off 2008. Several things are happening for the fanzine. We have found a host or I should say two hosts for the zine. Jamie Edwards and his Drive-In Connection are hosting the zine for most of our U.S. readers (www.thedriveinconnection.com) and Sebastian Haselbeck is hosting it at his Spaghetti Westerns Database for the European readers (www.spaghetti- western.net). Our own Kim August is working on a new website (here’s her current blog site http://gunsmudblood.blogspot.com/ ) that will archive all editions of the zine starting with issue #1. This of course will take quite a while to complete with Kim still in college. Thankfully she’s very young as she’ll be working on this project until her retirement 60 years from now. Anyway you can visit these sites and read or download your copy of the fanzine whenever you feel the urge. Several new DVD and CD releases have been issued since the last edition of WAI! and co-editor Lee Broughton has covered the DVDs as always. The CDs will be featured on the last page of each issue so you will be made aware of what is available. We have completed several interviews of interest in recent months. One with author Tim Lucas, who has just recently released his huge volume on Mario Bava, appears in this issue. -
SYMPHONIES of HORROR Musical Experimentation in Howard Shore's
SYMPHONIES OF HORROR Musical Experimentation in Howard Shore’s Work with David Cronenberg A thesis submitted to the Oberlin College & Conservatory Musical Studies Department in fulfillment of the requirements for University Honors by Vikram Shankar Spring 2017 Shankar, Symphonies of Horror 2 Table of Contents: Introduction 3 Methodology 6 Theoretical Frameworks 9 Early Experimentation: The Brood 20 Synthesized Surrealism: Videodrome 30 Breaking Through to the Mainstream: The Fly 40 Scoring the Unfilmable: Naked Lunch 60 Conclusion 77 Works Cited 81 Nosferatu, A Symphony of Horror: original score 84 Acknowledgments 86 Shankar, Symphonies of Horror 3 INTRODUCTION With a career spanning almost forty years, Canadian composer Howard Shore has become one of the most respected and sought after film composers working in the industry today. Much of his work, in particular his scores for the Lord of the Rings films, have received much academic attention; his longstanding working relationship with Canadian horror filmmaker David Cronenberg, however, has not yet benefited from such academic inquiry. Using the films The Brood, Videodrome, The Fly, and Naked Lunch as case studies, this thesis examines the way that Shore uses the arena of Cronenberg’s films as a laboratory for personal musical experimentation. Examples include Shore’s use of electronic synthesizer sounds alongside a string orchestra for Videodrome, implementations of canonic techniques and against-the-grain writing for The Fly, and the incorporation of free-jazz aesthetics in Naked Lunch. Using as sources Howard Shore’s words and what academic inquiry exists in this field, but more often utilizing my own analysis and observations of the music and films, I argue that Shore’s scores incorporate such musical experimentation to work in tandem with Cronenberg’s own experimental art. -
The Visceral Beauty of Obsession John Bissett MA Thesis
UC Santa Cruz UC Santa Cruz Electronic Theses and Dissertations Title The Visceral Beauty of Obsession: Ennio Morricone, Dario Argento, and Their Modern Vision of Mystery and Terror Permalink https://escholarship.org/uc/item/47j979bf Author Bissett, John Sterling Publication Date 2012 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA SANTA CRUZ THE VISCERAL BEAUTY OF OBSESSION: ENNIO MORRICONE, DARIO ARGENTO, AND THEIR MODERN VISION OF MYSTERY AND TERROR A thesis submitted in partial satisfaction of the requirements for the degree of MASTER OF ARTS in MUSIC by John Bissett June 2012 The Thesis by John Bissett is approved: _________________________________ Professor Amy Beal, Chair _________________________________ Professor Nina Treadwell _________________________________ Professor H. Marshall Leicester, Jr. _______________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies TABLE OF CONTENTS Introduction 1 Chapter 1: Low Art, Aesthetic Distance, and the Giallo /Slasher Connection 2 Chapter 2: Mario Bava & the Origins of the Giallo 6 Chapter 3: Argento, Morricone and L`uccello dalle piume di cristallo 24 (The Bird with the Crystal Plumage) -Simplicity, Experimentalism & Repetition 28 -Significance in Simplicity: The Main Theme 33 -Alien Textures and Traumatic Terror 41 -Set Pieces, Respective Psyches & Recurring Gestures 46 : -First Blood: Blurring Emotions 53 Conclusion: Giallo and the influence of L’uccello dalle piume di cristallo 60 iii LIST OF FIGURES Fig. 1: Posters for La ragazza che sapeva troppo . 9 Fig. 2: Bava’s iconic giallo killer. 11 Fig. 3: Atelier lead sheet. 15 Fig. 4: Sei donne per l’assassino title sequence. 17 Fig. -
Cinema's Unstable Texts
Cinema’s Unstable Texts: A Historical Analysis of Textual Variation in the Film Industry By Mikhail L. Skoptsov B.A. New York University, 2010 M.A. University of Southern California, 2012 Dissertation Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Modern Culture and Media at Brown University Providence, Rhode Island May 2020 © Copyright 2020 by Mikhail Skoptsov This dissertation by Mikhail L. Skoptsov is accepted in its present form by the Department of Modern Culture and Media as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date______________ ____________________________ Philip Rosen, Advisor Recommended to the Graduate Council Date______________ ____________________________ Lynne Joyrich, Reader Date______________ ____________________________ Ariella Azoulay, Reader Approved by the Graduate Council Date______________ ____________________________ Andrew G. Campbell, Dean of the Graduate School iii Curriculum Vitae Mikhail Skoptsov graduated in 2010 from New York University with a B.A. in Cinema Studies with honors, a second major in the French language, and a minor in Producing. He subsequently graduated with an M.A. in Film Studies from the University of Southern California (USC) in 2012. His published academic works include a book chapter in Bringing History to Life Through Film: The Art of Cinematic Storytelling (2013), and articles in the online international journal Series (2015) and Contexts (Spring 2018), the official annual publication of the Haffenreffer Museum of Anthropology. A forthcoming book chapter will appear in The Hobbit in Film and Fiction: Essays on Peter Jacksons Hobbit Trilogy (2020). As a former film critic, he has published multiple reviews in Washington Square News and The Daily Trojan newspapers. -
Long Live the Film's Flesh
Long Live the Film’s Flesh On the Expressive Physicality and Embodied Perception of Practical Special Effects in Society, Videodrome & From Beyond - J.H.M. Rahder - J.H.M. Rahder Student number: s4201078 Master Thesis Arts and Culture Specialization: MA Creative Industries Radboud University Nijmegen, 2017-2018 Titel: Long Live the Film’s Flesh. On the Expressive Physicality and Embodied Perception of Practical Special Effects in Society, Videodrome & From Beyond Supervisor: dr. László Munteán Second reader: dr. Christophe van Eecke Date of submission: 22-06-2018 Abstract There is an oscillating quality to the filmic display of prosthetic effects that pertains to the convergence of textual context and physical material, the latter being physically present in front of the camera at the time of filming. This thesis seeks to (1) articulate the perceptual processes that are guided by such practical special effects’ physical presence in the cinematographic space and to (2) conceptualize practical effects as autonomous agents of their inherent physicality, for which I will engage in visual analyses of Brian Yuzna’s Society (1989), David Cronenberg’s Videodrome (1983) and Stuart Gordon’s From Beyond (1986). Practical effects are first placed within the theoretical framework of filmic reality, a concept developed by Richard Rushton that describes the intricate relationship of film to physical reality and that serves to explicate the photographic indexicality of film as a mimetic principle through which we engage with onscreen objects. This is followed by a discussion of practical effects in the context of embodied spectatorship, a tendency in contemporary film studies that explores the multi-sensory experience of film viewing, which leads me to introduce what I define as the tactile reality of practical effects. -
Danza Macabra: the Reevaluation of Antonio Margheriti Through His Film Castle of Blood Nicholas Diak a Thesis Submitted in Parti
Danza Macabra : The Reevaluation of Antonio Margheriti through His Film Castle of Blood Nicholas Diak A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Interdisciplinary Studies University of Washington 2012 Committee: Joe Sharkey David Coon Program Authorized to Offer Degree: Interdisciplinary Arts and Sciences ©Copyright 2012 Nicholas Diak TABLE OF CONTENTS Page Introduction ............................................................................................................................................... 1 Genre/Vernacular Films ........................................................................................................................ 3 A History of Margheriti / A History of Italian Vernacular Cinema ....................................................... 5 Sci-fi, Italian Style ................................................................................................................................ 7 Italy’s First Horror Cycle ...................................................................................................................... 8 Peplums ................................................................................................................................................ 11 Eurospy ............................................................................................................................................... 13 Mondo Films ...................................................................................................................................... -
Uncomfortable in the New Flesh: Adapting Body Horror in the Cinema of David Cronenberg
an online journal of trespassing art, science, and philosophy www.trespassingjournal.com Trespassing Bodies: Issue 6, Winter 2017 Uncomfortable in the New Flesh: Adapting Body Horror in the Cinema of David Cronenberg Caleb Milligan Introducing the Body Body horror as a genre exploits our own embodiment as viewers for maximum anxiety. This anxiety is exacerbated by the continual proliferation of new media and technology and their effects on how we view our own humanity as something not-machine, and vice versa. As the distinction dulls, it’s important to visually evaluate what embodied anxiety about bodies looks like, from the bloody and gutsy to the metallic and plastic. The collapse of man and machine is the nexus at which body horror best disturbs humans as media users in proliferating contact with technology. In this article, I argue that what so viscerally shocks audiences about filmic representations of body horror is a meta-discomfort with the narrowing relationship between mediated and media. Citing director David Cronenberg’s “body” of work, I connect his many films1 to our current considerations of posthumanism and augmentation as theories that should redefine our relationship to ourselves, not threaten them. In fact, the notion that body horror should not disturb us is what his works play out so disturbingly. Cronenberg instead invites viewers to imagine marks, mutilations, and mutations as not simply uninvited intruders on a perfectly functioning body, but more compellingly rather as augmentations. Cronenberg’s thematic fascination with augmentation can even be traced within his own filmmaking procedure, as his oeuvre is marked by adaptations, in directions from both page to screen and the less critically considered vice versa. -
The Vincent Price Legacy: Discounts for CSL Members Or Students Apply
Vincentennial The Vincent Price 100th Birthday Celebration • May 19-28, 2011 orn in St. Louis on May 27, 1911, iconic actor Vincent Price retained a special fondness for his place of origin, and that love is now reciprocated Bwith Vincentennial, a celebration of his 100th birthday in his hometown. Price’s long career stretched over 55 years, beginning in 1938 at the height of classical Hollywood cinema, reaching its apex with his legendary horror fi lms of the 1960s and ’70s, and concluding in his later years with abundant voice work and capstone performances in “The Whales of August” and “Edward Scis- sorhands.” Although sometimes regarded as a fi gure of camp – which he playfully encouraged in some contexts – Price was nonetheless an actor of real substance and range, and Vincentennial will provide a thorough exploration his life and fi lm legacy. Give You and Your Family a Price was not only a notable St. Louisan but one of the 20th century’s most remarkable men. To do full justice to the range of his accomplishments, Vincen- tennial features not only a 10-day fi lm festival but also a pair of exhibits, a stage production, and illuminating discussions by Price experts and fi lm historians. Bookending Vincentennial are special appearances by legendary fi lmmaker Roger Corman, who receives a Lifetime Achievement Award, and V ictoria Price, author of “Vincent Price: A Daughter’s Biography,” who presents a multimedia remem- bright future... brance of her father. Cinema St. Louis is delighted to pay tribute to the astonishing life and career of Vincent Price with Vincentennial. -
Introduction
, Introduction 1. See Ōtomo Katsuhiro, AKIRA (Tokyo: Kōdansha, 1984), 1:8–9. See Ōtomo Kat- suhiro, AKIRA (New York: Epic Comics, 1988), 1, no. 1: unpaginated; Ōtomo Katsuhiro, AKIRA (Milwaukie, OR: Dark Horse Comics, 2000), 1:5 and 10. The animated adaptation shifts the date of the explosion to July 16, 1988, which was the date of the anime’s release in Japan. In the discussion that follows, I have respected Ōtomo’s preference for English capitalization in designating the title of the AKIRA manga series. During the course of its serialization in Young Magazine, Ōtomo experimented with a number of different fonts for the title logo, includ- ing both English and Japanese katakana, before settling on the English uppercase font Impact that adorns the paperback collections and anime, which he thought evoked “an air of American comics.” A diagram showing the various fonts used for the AKIRA logo, as well as Ōtomo’s annotations, is included in Ōtomo Kat- suhiro, Akira Club: The Memory of Akira Lives on in Our Hearts! trans. Kumar Sivasubramanian (Milwaukie, OR: Dark Horse Manga, 2007), unpaginated. 2. That Akira appears not to have aged at all, despite the passage of time since the destruction of Old Tokyo and rebuilding of Neo-Tokyo, is apparently due to his having been stored in a state of suspended animation in a cryogenic chamber following World War III. Akira’s eternal youth also reinforces the perception of his godlike aura. 3. On the symbolism of the Olympic stadium in AKIRA, which was modeled after the National Olympic Stadium that was used as the main stadium for the Tokyo Summer Olympics in 1964, see Susan J. -
478348700008.Pdf
Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies E-ISSN: 2175-8026 [email protected] Universidade Federal de Santa Catarina Brasil Brown, Keith H. Gothic/Giallo/Genre: hybrid images in Italian horror cinema, 1956-82 Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies, núm. 62, enero-junio, 2012, pp. 173-194 Universidade Federal de Santa Catarina Florianópolis, Brasil Available in: http://www.redalyc.org/articulo.oa?id=478348700008 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative http://dx.doi.org/10.5007/2175-8026.2012n62p173 Gothic/GIALLO/GENRE: HYbrid IMAGES IN Italian Horror CINEMA, 1956-82 Keith H. Brown The University of Edinburgh Abstract Italian horror cinema is commonly divided into two periods and genres. An initial classical Gothic period spanned the years from 1956 to 1966 and was followed by a modern giallo (thriller) period from 1970 to 1982. Whilst accepting this broad distinction, this paper seeks to add nuance by considering the hybrid elements of three key films by three of the most important directors working in the giallo and horror area, namely Riccardo Freda with I Vampiri (1956), Mario Bava with The Girl Who Knew too Much (1963) and Dario Argento with Deep Red (1975). Drawing in particular upon Nöel Carroll’s idea of “fearing fictions”, I contend that Freda’s film, the first Italian horror movie since the silent era, is notable for being a distinctively modern vampire film; that Bava’s film, a foundational giallo, may be seen as having a palimpsest in Jane Austen’s Gothic parody Northanger Abbey; and that Argento’s film, while often taken as the paradigmatic giallo, has supernatural horror elements that push it in the direction of the Gothic.