A Nightmare on Elm Street Timeline
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Freddy Vs. Jason Script
FREDDY VS. JASON Written By Damian Shannon & Mark J. Swift (Final Draft) © 2003 New Line Cinema 1. BROUGHT TO YOU BY CAMP BLOOD: THE HOME OF JASON VOORHEES AT http://www.shiversofhorror.com FADE IN: NEW LINE LOGO Freddy's theme plays hauntingly on a piano. A spark turns into a flame that burns in our TITLES: So Frowned the Mighty Combatants that Hell Grew darker at their frown; so matched they stood; For never but once more was wither like To meet so great a foe. See, with that heat these dogs of Hell advance To waster and havock younder world. MILTON Paradise lost MATCH CUT TO: FLAMES. PULL BACK TO REVEAL: INT. FURNACE The flames are inside an old furnace. In it, we see a child's doll melting. Like evidence being destroyed. INT. BOILER ROOM - SAME Outside the furnace, a dark figure moves. A love with knives for fingers screeches along a metal pipe. An unseen child SCREAMS. And then. .only blackness. INSERT - NEWSPAPER FRONT PAGE The headline reads: "Child Killer Set Free." There is a PICTURE of Fred Krueger walking down the court steps, smiling. We HEAR: the screams of a mother, the outrage of a father. And then, the familiar laugh of Fred Krueger. But then, the edges of the newspaper start to cinder. .and burn. EXT. SPRINGWOOD - ABANDONED BOILER ROOM - SUNSET Flames crawl up the side of an old Industrial building. A window explodes. We hear Fred Krueger SHRIEKING inside. 2. PULL BACK TO REVEAL: PARENTS gathered around the building. One sets a GASOLINE CANNISTER on the ground. -
What Does It Mean to Be a Woman in Horror?
What Does it Mean to be a Woman in Horror? Presentation by Maya Hendl CONTENT WARNING This presentation contains descriptions of violence, torture, kidnapping, and murder. There are no explicit images of these acts taking place, but these acts are mentioned and (briefly) described. Table of Contents 1 2 Final Girls Female Antagonists Exploring examples of female villains, why they are Exploring what they & so scary, and their ability to are, why they exist, justify their motivations in and the contexts in comparison to male which they exist antagonists 1 Final Girls Exploring what they are, why they exist, and the contexts in which they exist What Does it Mean to be a “Final Girl”? The term “final girl” was coined by Carol J. Clover in her 1993 book Men, Women and Chain Saws: Gender in the Modern Horror Film. The “final girl” is the last woman or girl left alive in a horror movie, most often within the slasher genre, that must confront the killer. Clover describes final girls as typically being sexually unavailable at the start of the film, as having sex in a horror movie is a common trope that will most likely get you killed (Alternative Press Magazine). Clover goes on to describe how, once the final girl survives, she “is ‘purged’...of undesirable characteristics, such as pursuit of pleasure in her own right. An interesting feature of the genre is the ‘punishment’ of beauty and sexual availability” (Horror Fandom Wiki). Why Do Final Girls Exist? In horror films, women are more often than not left to fight the big bad all on their own. -
Here We Are on the 200Th Anniversary of His Classic Story, Celebrating His Legacy of Artistic Inspiration and Achievement at the Nexus of the Tale Itself
WELCOME 1ST ANNUAL SLEEPY HOLLOW INTERNATIONAL FILM FESTIVAL Could Washington Irving have predicted the enduring impact “The Legend of Sleepy Hollow” would have on the world when it was published in 1819? Perhaps not. And yet here we are on the 200th anniversary of his classic story, celebrating his legacy of artistic inspiration and achievement at the nexus of the tale itself. The Sleepy Hollow International Film Festival is a celebration of cinematic and literary-themed wonders—a one-of-a-kind combination of film premieres, exclusive screenings, live events, scripts in competition as well as special guests, panels and much more, all taking place in the historic Hudson Valley during its magical, and wildly popular, Halloween season. All of us with SHIFF are thrilled to welcome you to be part of history with this first-ever large-scale genre film festival in Westchester County, NY, in one of the most famous locations in the entire world. We extend a special thanks to the fine folk, governments and associations of Sleepy Hollow and Tarrytown, the wondrous Tarrytown Music Hall and Warner Library, who proudly keep the spirit of Irving alive each and every day. So, for the next four days, revel in the inception of a new legend here in the Hollow. Enjoy, and let the bewitching begin! —The SHIFF Team Co-Founder/Director, Business Affairs DAVE NORRIS Advisory Board Lead Programmer DAN McKEON CHRIS POGGIALI FREDERICK K. KELLER TAYLOR WHITE Screenplay Board CHRIS TOWNSEND HARRY MANFREDINI Co-Founder/Director, DON LAMOREAUX Tech/Prints STEVE MITCHELL Programmer STEVE MITCHELL ZACH TOW CYRUS VORIS MATT VERBOYS CYRUS VORIS Official Photographer LARRY COHEN (In Memoriam. -
Friday the 13Th
FRIDAY THE 13TH by Victor Miller & Ron Kurz FOR EDUCATIONAL PURPOSES ONLY FADE IN: 1 EXT. ROAD - DAY 1 The TRACK is SILENT. The CAMERA looks at a sign. It reads: CAMP CRYSTAL LAKE Established 1935 Gradually we can begin to hear, in the BG, the SOUNDS of CHILDREN playing. CUT TO: 2 EXT. SOFTBALL FIELD - DAY 2 In the BG a few dozen CHILDREN, in camp uniforms, are enjoying a game of softball. In the FG CLAUDETTE is looking for someone. CLAUDETTE is 17 years old. She is pretty. She wears a T-shirt with “Assistant Counselor” written on it. She fills out the shirt very well. Failing to find whomever she is looking for, CLAUDETTE walks quickly in the opposite direction. The CAMERA holds on the game for a few seconds and we SUPERIMPOSE: JULY 4, 1958 The CHILDREN’S VOICES FADE slowly. CUT TO: 3 EXT. RIFLE RANGE - DAY 3 ECU as a COUNSELOR squeezes off a shot. The paper target is ripped in the black. The COUNSELOR hands the weapon to a CAMPER who snaps in at the line. CLAUDETTE shouts up to the COUNSELOR from the BG. CLAUDETTE Have you seen Barry? 2. The COUNSELOR smiles. Shrugs. COUNSELOR He and Chloe were at the Lodge last time I saw him. CLAUDETTE leaves. The COUNSELOR smiles. CUT TO: 4 EXT. MAIN LODGE - DAY 4 Two CHILDREN run by carrying Indian headdresses. CLAUDETTE passes them impatiently as she sees BARRY and CHLOE. BARRY is leaning against the front rail of the porch, his arms behind his head--the better to show off his physique to CHLOE, and Assistant Counselor, who is currently looking at him with cow eyes. -
A Gay Reception and Narrative Analysis of a Nightmare on Elm Street 2: Freddy’S Revenge
‘Something is Trying to Get Inside My Body’: A Gay Reception and Narrative Analysis of A Nightmare on Elm Street 2: Freddy’s Revenge ADAM SCALES, University of East Anglia ABSTRACT The critical understanding of horror film has traditionally been locked into a particular psychoanalytic framework concerning audience composition of the genre, as well as the identity politics operating within (Twitchell 1985; Carroll 1990; Clover 1992; Creed 1993; Grant 1996). Within this work, little attention has been paid to alternative audience demographics, especially gay and sexually non-normative viewers. This is rather surprising considering the horror film, and the monster in particular, has been understood as a material manifestation of queerness, as that which bourgeois ideology cannot accept and must therefore construct as ‘Other’ (Benshoff 1997; Wood 1986; Saunders 1998). As a result, this article looks at a gay online reception of gay audiences of A Nightmare on Elm Street 2: Freddy’s Revenge (Jack Sholder, 1985). Such a text is important, as it fractures the established formula of the slasher film by introducing a ‘male scream queen’ – a ‘final boy’ named Jesse Walsh (Mark Patton). This article employs Janet Staiger’s (2000) work on reception studies to argue that the strategies and tactics brought by the spectator to the filmic experience are constructed by particular historical circumstances, which in turn, assist in the formation of ‘interpretive communities’. While the introduction of the final boy certainly disrupts fixed points of gendered identification, such features are only part of a holistic approach to understanding the subjective responses of gay audiences to Jesse’s characterisation. -
Freddy Vs. Jason (Ronny Yu, 2003) to Interpellate Particular Niche Audiences and Taste Communities
What's the Deal with Soundtrack Albums?: Metal Music and the Customized Aesthetics of Contemporary Horror Joseph Tompkins Cinema Journal, 49, Number 1, Fall 2009, pp. 65-81 (Article) Published by University of Texas Press DOI: 10.1353/cj.0.0155 For additional information about this article http://muse.jhu.edu/journals/cj/summary/v049/49.1.tompkins.html Access provided by Allegheny College (28 Jan 2014 19:36 GMT) What’s the Deal with Soundtrack Albums? Metal Music and the Customized Aesthetics of Contemporary Horror by JOSEPH TOMPKINS Abstract: This essay argues that fi lm music functions not only as a cross-promotional medium for marketing movies and licensed recordings, but also as a key site for ef- fectively managing and containing processes of consumption. Heavy metal music is deployed in horror fi lms like Freddy vs. Jason (Ronny Yu, 2003) to interpellate particular niche audiences and taste communities. Thus, soundtrack albums reveal a fundamen- tal assumption within media fi rms that a manageable relationship between niche for- mats and consumer tastes exists to be exploited. inutes into the 2003 crossover horror fi lm, Freddy vs. Jason (Ronny Yu), the audience is treated to a brief moment of “bite size theory.”1 Wasting no time in serving up the slaughter, we watch (and hear) as Jason stalks, cor- M ners, and impales with his trusty machete yet another unsuspecting, lustful teen—a hapless young girl who just wanted to take a midnight swim in the nude. However, before we resign ourselves to business as usual—Jason’s back again to hunt down pesky adolescents who really ought to know by now that the woods are not a safe place to be at night (didn’t the poor girl hear the menacing string har- monics and Jason’s signature heavy breathing?)—something uncanny happens: the victim comes back to life. -
The Critical-Industrial Practices of Contemporary Horror Cinema
Off-Screen Scares: The Critical-Industrial Practices of Contemporary Horror Cinema A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Joseph F Tompkins IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Richard Leppert, Adviser January 2013 © Joseph F Tompkins, 2013 Acknowledgements I would like to extend my thanks to the many friends, colleagues, teachers, and family members who provided the necessary support and advice to usher me through both the dissertation writing process and my time as a graduate student. I am grateful to the members of my dissertation committee: Mary Vavrus, Gil Rodman, John Mowitt and Gary Thomas, for their lasting guidance, scholarly advice, and critical feedback. In particular, this project was hatched in Mary Vavrus’s Political Economy of Media seminar, and for that, I’m especially indebted. Also, to Gary Thomas, who taught me, among other things, the power of good, clean prose as well as the radical possibilities of making the classroom into a vitalizing, “heterotopian” space—a rampart against the “mechanical encrustation on the living.” I would also like to convey my sincerest appreciation to my mentor, Richard Leppert, who, since my earliest days as an undergraduate, has been a source of both professional guidance and companionship. Richard is my model—as an educator and a friend. I would also like to thank Jochen Schulte-Sasse, Robin Brown, Cesare Casarino, Liz Kotz, Keya Ganguly, Timothy Brennan, Siobhan Craig, and Laurie Ouellette for their sage advice during my graduate studies. Many friends and colleagues provided me intellectual and emotional support throughout the years: Mathew Stoddard, Tony Nadler, Alice Leppert, Manny Wessels, Mark Martinez, Doyle “Mickey” Greene, Kathie Smith, and Eleanor McGough. -
The Nightmare Encyclopedia Walkthrough
The Nightmare Series Encyclopedia DVD FAQ v0.6 by Tripps [[email protected]] http://www.rexer.com/tripps/nse/nsefaq.txt http://www.rexer.com/tripps/nse/nsemap.tif Table of Contents ----------------- FAQ Labyrinth Walkthru Subject Index Interviewees Krueger Quips MTV Clips Music Videos Still Galleries Endings Trailers Chapter Index Alphabetical Index ------------------ -*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*- \ / | FAQ | / \ -*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*- Q. What is the Nightmare Series Encyclopedia? A. The Nightmare Series Encyclopedia (NSE) is a bonus DVD in the Nightmare on Elm Street Collection. This boxed set boasts beautiful anamorphic transfers of all seven Elm Street films. Rather than adding trailers, outtakes, and other supplements to each of the seven movie DVDs, New Line decided collect all of their extra material on an eigth disc. The result of this decision was the NSE. The Elm Street boxed set is the only way to get the NSE. Q. What's on the NSE? A. The NSE contains interviews with the cast and crew of the Elm Street movies, "Krueger Quips" from the set of Elm Street 5, snippets from Freddy's appearances on MTV, music videos from the films, still galleries, alternate endings to Elm Street 1, and trailers for all seven movies. In all, there are 93 video clips and 3 still galleries on the disc adding up to more than 3.5 hours of material. Q. How is the NSE organized? A. The NSE is split into three sections: Primetime, Labyrinth, and Index. Primetime contains the featurette "Welcome to Primetime." "Welcome to Primetime" is the only self-contained documentary on the disc. There are 10 interviews and 1 alternate ending to Elm Street 1 in Primetime. -
Jumpchain List
1 1984 Crux 2 007 3 7th Tower SB 4 80’s Action Movies Marvel Anon 5 8bit Theater 6 A Brother’s Price Bean_Counter/Brother_Anon 7 A Certain Magical Index 8 A Certain Scientific Railgun Reploid 9 A Collection of Strange Tales by Junji Ito (伊藤潤二怪談録 ) dirge_/Cadenza Alstrea 10 A Geek’s Guide: Corporation of Occult Research and Extermination (C.O.R.E. Quest) SB Disposable_Face 11 A Song of Ice and Fire Cool cats don’t trip 12 A Spartan's War SB WIP Bluesnowman 13 A Super Mario... Thing Cataquack Warrior 14 Aberrant 15 Ace Attorney 16 Ace Combat Red 17 Achron Abhorsen_Anon? 18 ACTRAISER eagerDigger 19 Actual Cannibal Shia LaBeouf SB Joke? 20 Addams Family SB WIP doctor geary 21 Advance Wars 22 Adventure Time Cool cats don’t trip 23 Afterlife SB Bluesnowman 24 Against The Gods SB blackshadow111 25 Age of Empires III WIP 26 Age of Mythology stupid_dog 27 Age of Wonders 28 Ah! My Goddess 29 Aion Aionon 30 Ajin: Demi-Human WIP 31 Akagi 32 Akame Ga Kill 33 AKB49 - Renai Kinshi Jourei (The Rules Against Love) FreyrAnon 34 Aladdin SB blackshadow111 35 Alan Wake Obfuscation 36 Aldnoah.Zero Valeria; Alice 37 Alice – Adventures in the Wonderland Mad_Hatter 38 Alice – Through the Looking Glass Mad_Hatter 39 Alien 40 Alien Vs Predator myrmidont 41 Alpha Centauri 42 Alpha Protocol 43 Alterworld D. Rus Aionon 44 Amazing Island Gauntlet Gene 45 American Horror Story WIP 46 American McGee’s Alice 47 Anarchy Reigns 48 Angel Notes Valeria 49 Anima: Beyond Fantasy Anon Heart/Shadlith 50 Animal Crossing YJ_Anon 51 Animorphs 52 Anita Blake, Vampire Hunter Reddit -
KILLING the SAD FAT GUY and the PREGNANT LADY: UNCOMFORTABLE DEATH in FRIDAY the 13TH PART III – 3D Wickham Clayton
KILLING THE SAD FAT GUY AND THE PREGNANT LADY: UNCOMFORTABLE DEATH IN FRIDAY THE 13TH PART III – 3D Wickham Clayton Co-creator and director, Sean S. Cunningham, describes Friday the 13th (1980) as “a roller- coaster ride, a funhouse sort of thing.”[i] It is artificial, visceral fun that spikes adrenalin, provides thrills, but doesn’t aspire to much in the way of intellectual engagement or emotional connection (beyond terror and horror) with characters or story. The success of the first film drove the development of the sequel. In Friday the 13th Part 2 (1981), director Steve Miner decided to embellish slightly without veering too far from the formula of the original. According to Miner, along with the other creators, he attempted to “improve upon some of the character and dialogue flaws [of Friday the 13th]. We attempted to make the characters a little more realistic. We did avoid ‘strip monopoly.’”[ii] Part 2 saw further success, so inevitably the producers began work on Friday the 13th Part III 3-D. “With the Friday the 13th films,” Miner declared, “we had always made a conscious decision to make the same movie over again, only each one would be slightly different. And I had always been intrigued with the concept of 3- D.”[iii] Miner, however, toyed with more changes than merely the use of 3-D: “I spent a lot of time developing a number of different storylines and approaches that would be a breakaway from the other films. Finally, we all decided that it would have been a mistake. -
Titles in Comicbase 9 2002 Tokyopop Manga Sampler 2010
Titles in ComicBase 9 2002 Tokyopop Manga Sampler 2010 2020 Visions Titles in blue are new to this edition. 2024 Please see the title notes at the bottom 2099 A.D. of this document for a list of titles that 2099 A.D. Apocalypse have been changed since the previous 2099 A.D. Genesis version. 2099: Manifest Destiny 2099 Special: The World of Doom 100% 2099 Unlimited 1,001 Nights of Bacchus, The 2099: World of Tomorrow 1001 Nights of Sheherazade, The 20 Nude Dancers 20 Year One Poster 100 Bullets Book 100 Degrees in the Shade 20 Nude Dancers 20 Year Two 100 Greatest Marvels of All Time, The 20th Century Eightball 100% Guaranteed How-To Manual 21 for Getting Anyone to Read Comic 2112 (John Byrne’s…) Books!!! (Christa Shermot’s…) 21 Down 100 Pages of Comics 22 Brides 100% True? 24 101 Other Uses For a Condom 2 Fun Flip Book 101 Ways to End the Clone Saga 2-Headed Giant 10th Muse 2 Hot Girls on a Hot Summer Night 10th Muse (Vol. 2) 2 Live Crew Comics 10th Muse/Demonslayer 2 To the Chest 10th Muse Gallery 300 1111 303 13: Assassin Comics Module 30 Days of Night 13 Days of Christmas, The: A Tale of 30 Days of Night: Return to Barrow the Lost Lunar Bestiary 32 Pages 13th of Never, The .357! 1963 39 Screams, The 1984 Magazine 3-D Adventure Comics 1994 Magazine 3-D Alien Terror 1st Folio 3-D Batman 2000 A.D. 3-D-ell 2000 A.D. Extreme Edition 3-D Exotic Beauties 2000 A.D. -
Fabricating Freddy Vs. Jason: Understanding a Motion Picture As a Social Encounter Between Fans and Filmmakers
Western Michigan University ScholarWorks at WMU Dissertations Graduate College 4-2007 Fabricating Freddy vs. Jason: Understanding a Motion Picture as a Social Encounter between Fans and Filmmakers Jason M. Rapelje Western Michigan University Follow this and additional works at: https://scholarworks.wmich.edu/dissertations Part of the Film and Media Studies Commons, Social Psychology and Interaction Commons, and the Sociology of Culture Commons Recommended Citation Rapelje, Jason M., "Fabricating Freddy vs. Jason: Understanding a Motion Picture as a Social Encounter between Fans and Filmmakers" (2007). Dissertations. 910. https://scholarworks.wmich.edu/dissertations/910 This Dissertation-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Dissertations by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. FABRICATING FREDDY VS. JASON: UNDERSTANDING A MOTION PICTURE AS A SOCIAL ENCOUNTER BETWEEN FANS AND FILMMAKERS by Jason M. Rapelje A Dissertation Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements for the Degree of Doctor of Philosophy Department of Sociology Dr. Paula S. Brush, Advisor Western Michigan University Kalamazoo, Michigan April 2007 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. FABRICATING FREDDY VS JASON: UNDERSTANDING A MOTION PICTURE AS A SOCIAL ENCOUNTER BETWEEN FANS AND FILMMAKERS Jason M. Rapelje, Ph.D. Western Michigan University, 2007 The break in the mass communicative chain, which separates producers and receivers from one another in both time and space, impedes researchers from studying motion pictures as social encounters.