1. Introduction from the French Fantastique, To
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Fafnir – Nordic Journal of Science Fiction and Fantasy Research Journal.Finfar.Org
ISSN: 2342-2009 Fafnir vol 2, iss 1, pages 29–30 Fafnir – Nordic Journal of Science Fiction and Fantasy Research journal.finfar.org A Book review: Andrzej Wicher, Piotr Spyra & Joanna Matyjaszczyk (eds.) – Basic Categories of Fantastic Literature Revisited. Markku SoikkeliSoikeli Andrzej Wicher, Piotr Spyra, and Joanna Matyjaszczyk (eds.). Basic Categories of Fantastic Literature Revisited. Newcastle upon Tyne: Cambridge Scholars Publishing, 2014. ISBN-13: 978-1443866798. A collection of academic articles is like a collection of short stories: the differences between articles (or stories) are more interesting than the thematic similarities. The free play of imagination is breaking even the genre rules, and that is exactly what makes the stories (or articles on genre texts) so interesting. This Polish-British collection Basic Categories of Fantastic Literature Revisited (2014) is aiming to rethink the concept of the fantastic as it is defined in the theory of Tzvetan Todorov. As stated in Todorov's Introduction à la littérature fantastique (1970), there are three modes of fiction outside the great barrier of mainstream literature: the marvellous (with recognizable supernatural elements), the uncanny (with explanations about exceptional things), and the fantastic (with ambivalent signs of the non-natural). Todorov's definition of the fantastic is usually considered to be more anachronistic than the texts that it is used for, but there still remains the mystery of readers’ pleasure in the kind of "Todorovian hesitation". And it is here where this Polish-British collection of twelve researchers steps in. According to the publisher's info-blurb, the articles are "unified by a highly theoretical focus." But is there anything "highly theoretical" in Todorov's legacy? It may be a valuable goal to rethink the usability of Todorov's view of the fantastic, but the articles in this collection consist of quite usual academic matter with emphasis on case studies. -
Teaching Speculative Fiction in College: a Pedagogy for Making English Studies Relevant
Georgia State University ScholarWorks @ Georgia State University English Dissertations Department of English Summer 8-7-2012 Teaching Speculative Fiction in College: A Pedagogy for Making English Studies Relevant James H. Shimkus Follow this and additional works at: https://scholarworks.gsu.edu/english_diss Recommended Citation Shimkus, James H., "Teaching Speculative Fiction in College: A Pedagogy for Making English Studies Relevant." Dissertation, Georgia State University, 2012. https://scholarworks.gsu.edu/english_diss/95 This Dissertation is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. TEACHING SPECULATIVE FICTION IN COLLEGE: A PEDAGOGY FOR MAKING ENGLISH STUDIES RELEVANT by JAMES HAMMOND SHIMKUS Under the Direction of Dr. Elizabeth Burmester ABSTRACT Speculative fiction (science fiction, fantasy, and horror) has steadily gained popularity both in culture and as a subject for study in college. While many helpful resources on teaching a particular genre or teaching particular texts within a genre exist, college teachers who have not previously taught science fiction, fantasy, or horror will benefit from a broader pedagogical overview of speculative fiction, and that is what this resource provides. Teachers who have previously taught speculative fiction may also benefit from the selection of alternative texts presented here. This resource includes an argument for the consideration of more speculative fiction in college English classes, whether in composition, literature, or creative writing, as well as overviews of the main theoretical discussions and definitions of each genre. -
The Dracula Film Adaptations
DRACULA IN THE DARK DRACULA IN THE DARK The Dracula Film Adaptations JAMES CRAIG HOLTE Contributions to the Study of Science Fiction and Fantasy, Number 73 Donald Palumbo, Series Adviser GREENWOOD PRESS Westport, Connecticut • London Recent Titles in Contributions to the Study of Science Fiction and Fantasy Robbe-Grillet and the Fantastic: A Collection of Essays Virginia Harger-Grinling and Tony Chadwick, editors The Dystopian Impulse in Modern Literature: Fiction as Social Criticism M. Keith Booker The Company of Camelot: Arthurian Characters in Romance and Fantasy Charlotte Spivack and Roberta Lynne Staples Science Fiction Fandom Joe Sanders, editor Philip K. Dick: Contemporary Critical Interpretations Samuel J. Umland, editor Lord Dunsany: Master of the Anglo-Irish Imagination S. T. Joshi Modes of the Fantastic: Selected Essays from the Twelfth International Conference on the Fantastic in the Arts Robert A. Latham and Robert A. Collins, editors Functions of the Fantastic: Selected Essays from the Thirteenth International Conference on the Fantastic in the Arts Joe Sanders, editor Cosmic Engineers: A Study of Hard Science Fiction Gary Westfahl The Fantastic Sublime: Romanticism and Transcendence in Nineteenth-Century Children’s Fantasy Literature David Sandner Visions of the Fantastic: Selected Essays from the Fifteenth International Conference on the Fantastic in the Arts Allienne R. Becker, editor The Dark Fantastic: Selected Essays from the Ninth International Conference on the Fantastic in the Arts C. W. Sullivan III, editor Library of Congress Cataloging-in-Publication Data Holte, James Craig. Dracula in the dark : the Dracula film adaptations / James Craig Holte. p. cm.—(Contributions to the study of science fiction and fantasy, ISSN 0193–6875 ; no. -
DARIO ARGENTO » P.44 .DEEP RED EQUIPAS E AGRADECIMENTOS .SUSPIRIA TEAMS and ACKNOWLEDGMENTS .INFERNO » P.45 .DEMONS INFORMAÇÕES INFORMATION .MOTHER of TEARS
PRÉMIO AF_Geeks_MOTELx.pdf 1 7/26/12 1:36 AM C M Y CM MY CY CMY K - 2 - ÍNDICE CONTENTS » p.6 » p.28 SERVIÇO DE QUARTO JAPÃO RETRO JAPAN RETRO ROOM SERVICE .BLACK CAT MANSION .AMERICAN MARY .GHOST STORY OF YOTSUYA .BABYCALL .THE LIVING KOHEIJI .BUTTERFLY ROOM, THE .CRAWL » p.31 .CORMAN’S WORLD: EXPLOITS QUARTO PERDIDO LOST ROOM OF A HOLLYWOOD REBEL .O TERRITÓRIO .EMERGO .O ESTADO DAS COISAS .EXCISION .FATHER´S DAY » p.33 .HUMAN CENTIPEDE II (FULL SEQUENCE), THE PRÉMIO MOTELx .INBRED MELHOR CURTA DE TERROR PORTUGUESA 2012 .INVASION OF ALIEN BIKINI MOTELx AWARD .KING OF PIGS, THE BEST PORTUGUESE HORROR SHORT FILM 2012 .LADDALAND » p.37 .LIVID .MIDNIGHT SON CURTAS INTERNACIONAIS .PACT, THE INTERNATIONAL SHORT FILMS .RAID: REDEMPTION, THE » p.39 3 .[REC] : GENESIS MASTERCLASSES .RED STATE .RED TEARS » p.40 .REVENGE: A LOVE STORY ODD SCHOOL .SLEEP TIGHT .TALL MAN, THE » p.41 .YELLOW SEA, THE NOITE DE JOGOS DE TERROR .URBAN EXPLORER HORROR GAMES NIGHT .VAMPIRE TARDE DE JOGOS (POUCO) ASSUSTADORES .V/H/S (NOT SO) SCARY GAMES AFTERNOON » p.21 » p.42 CULTO DOS MESTRES VIVOS CONTACTOS DISTRIBUIDORAS CULT OF THE LIVING MASTERS DISTRIBUTORS CONTACTS DARIO ARGENTO » p.44 .DEEP RED EQUIPAS E AGRADECIMENTOS .SUSPIRIA TEAMS AND ACKNOWLEDGMENTS .INFERNO » p.45 .DEMONS INFORMAÇÕES INFORMATION .MOTHER OF TEARS - 3 - SERVIÇO DE QUARTO ROOM SERVICE O Serviço de Quarto desta 6.ª edição é o mais ecléctico This edition’s Room Service is the most eclectic ever. de sempre. Para além de regressos aguardados de au- Besides the long awaited returns of celebrated auteurs, tores consagrados, existem algumas surpresas, como a there are some surprises, like the first incursion in horror primeira incursão do comediante Kevin Smith no terror of comedian Kevin Smith, with «Red State» (Grand Prix com «Red State» (Grande Prémio em Sitges 2011). -
The Sisters of the Seven Sins
Sample file 1 The Sisters of the Seven Sins A Giallo Crime/Mystery/Occult Drama (C) Postmortem Studios ( James Desborough) 2021 Written by: Miguel Ribeiro Editing, Layout & Design: James ‘Grim’ Desborough Photography: Iola Yolska Art: Stock, orphaned works and Brad McDevitt. Sample file 2 ntroduction hose iallo astards is scenario takes place in a e word Giallo – which means Portuguese convent with a dark history of "yellow" in Italian – is basically Italian demonic possession, black magic, and devil pulp. e term derives from a collection of worship that, in the mid-1970s, is occupied murder mystery paperback books, similar by a recently founded unusual religious to American hardboiled ction from the congregation made up of disgraced women 1930s and 1940s, which had yellow covers. who wish to atone for their past, the Still, it is mostly known for its 1960s Reprobate Sisters of the Seven Sins. cinematic iteration, a subgenre of horror, which made Giallo famous in markets Players can take the role of nuns, outside Italy. Filmmakers such as Mario Vatican authorities sent to investigate and Lamberto Bava, Ruggero Deodato, reports of demoniacal manifestations, Lucio Fulci and Dario Argento are among reporters interested in exploring the story Giallo's most eminent names. e genre behind this atypical catholic sisterhood or combines murder-mystery with elements even criminals, working on a devious plan of crime thriller, psychological horror, to restore a sinister painting to the convent sexploitation and (very rarely) supernatural where it originally belonged. horror. Having female leads, most of them beautiful young women, subjected to In this scenario, you will nd vicious attacks, some of them murdered, a summary description of Saint Mary the eroticism, the visual style and peculiar Magdalene's ctional convent, located in use of colours are some of the most the Portuguese capital, Lisbon, followed common tropes. -
The Obdurate Eye #3 November 2018
The Obdurate Eye #3 November 2018 This month: Fandom Classic – all the lists I could make! Masthead Welcome to The Obdurate Eye #3, dated November 2018, a personalzine distributed by Garth Spencer at [email protected]. (I just realized I have been omitting my snailmail address, partly because Canada Post is threatening rotating postal strikes again. For what it’s worth, I can also be reached at 4240 Perry Street, Vancouver, BC, CANADA V5N 3X5.) This zine is available for contributions in the form of articles, letters, illustrations, or other zines in trade. Contents Editorial blather ...................................................................................................................................... 1 Letters of Comment................................................................................................................................. 2 Amateur Publishing Associations ............................................................................................................. 7 APAs 2018 ............................................................................................................................................... 7 Aurora Awards 2018 .............................................................................................................................. 10 Awards 2018 ......................................................................................................................................... 11 Conreport: VCON 42 ............................................................................................................................. -
OF the POSTHUMAN SUBJECT, ABJECTION, and the BREACH in MIND/BODY DUALISM John Perham John Perham, [email protected]
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by CSUSB ScholarWorks California State University, San Bernardino CSUSB ScholarWorks Electronic Theses, Projects, and Dissertations Office of Graduate Studies 3-2016 SCIENCEFRICTION: OF THE POSTHUMAN SUBJECT, ABJECTION, AND THE BREACH IN MIND/BODY DUALISM John Perham John Perham, [email protected] Follow this and additional works at: http://scholarworks.lib.csusb.edu/etd Part of the Other English Language and Literature Commons Recommended Citation Perham, John, "SCIENCEFRICTION: OF THE POSTHUMAN SUBJECT, ABJECTION, AND THE BREACH IN MIND/BODY DUALISM" (2016). Electronic Theses, Projects, and Dissertations. Paper 268. This Thesis is brought to you for free and open access by the Office of Graduate Studies at CSUSB ScholarWorks. It has been accepted for inclusion in Electronic Theses, Projects, and Dissertations by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. SCIENCEFRICTION: OF THE POSTHUMAN SUBJECT, ABJECTION, AND THE BREACH IN MIND/BODY DUALISM A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in English Composition: English Composition and English Literature by John Perham March 2016 SCIENCEFRICTION: OF THE POSTHUMAN SUBJECT, ABJECTION, AND THE BREACH IN MIND/BODY DUALISM A Thesis Presented to the Faculty of California State University, San Bernardino by John Perham March 2016 Approved by: Dr. Jacqueline Rhodes, Committee Chair, English Dr. Caroline Vickers, Committee Member Sunny Hyon, Department Chair © 2016 John Perham ABSTRACT This thesis investigates the multiple readings that arise when the division between the biological and technological is interrupted--here abjection is key because the binary between abjection and gadgetry gives multiple meanings to other binaries, including male/female. -
A Scary Film Scene
HANDOUT A scary film scene The film is from 2006 Not quite a horror film A sort of dark fantasy The main character is a young girl The scene that I want to tell you about takes place in a mysterious room Which the girl finds at the end of a long corridor It’s a dark, scary place, lit by candles The walls are covered with paintings In the middle of the room, there is a long table And on the table, there’s all this delicious-looking food Meat, bread, fruit, desserts, wine It’s all completely untouched And although the the girl is very hungry She has been warned not to eat the food Sitting at the end of the table A terrifying creature Human-like Skin is pale and wrinkled No eyes But it does have dark holes where its eyes should be It’s not moving Doesn’t even seem to be breathing Might be asleep Might even be dead The creature’s hands are resting on the table in front At the end of its fingers Long black claws In between its hands, there is a plate Two eyeballs As the girl looks around the room, she notices something quite terrifying The paintings on the walls show images of the creature killing and eating children She looks at the creature She looks at the food again She can’t resist it She picks a grape and puts it in her mouth As soon as she does, the creature wakes up It picks up the eyeballs And puts them into these holes in its hands It holds its hands up to its face like this so that it can see who’s stealing the food It stands up and starts to walk towards the girl. -
Introduction
INTRODUCTION The wuxia film is the oldest genre in the Chinese cinema that has remained popular to the present day. Yet despite its longevity, its history has barely been told until fairly recently, as if there was some force denying that it ever existed. Indeed, the genre was as good as non-existent in China, its country of birth, for some fifty years, being proscribed over that time, while in Hong Kong, where it flowered, it was gen- erally derided by critics and largely neglected by film historians. In recent years, it has garnered a following not only among fans but serious scholars. David Bordwell, Zhang Zhen, David Desser and Leon Hunt have treated the wuxia film with the crit- ical respect that it deserves, addressing it in the contexts of larger studies of Hong Kong cinema (Bordwell), the Chinese cinema (Zhang), or the generic martial arts action film and the genre known as kung fu (Desser and Hunt).1 In China, Chen Mo and Jia Leilei have published specific histories, their books sharing the same title, ‘A History of the Chinese Wuxia Film’ , both issued in 2005.2 This book also offers a specific history of the wuxia film, the first in the English language to do so. It covers the evolution and expansion of the genre from its beginnings in the early Chinese cinema based in Shanghai to its transposition to the film industries in Hong Kong and Taiwan and its eventual shift back to the Mainland in its present phase of development. Subject and Terminology Before beginning this history, it is necessary first to settle the question ofterminology , in the process of which, the characteristics of the genre will also be outlined. -
9. List of Film Genres and Sub-Genres PDF HANDOUT
9. List of film genres and sub-genres PDF HANDOUT The following list of film genres and sub-genres has been adapted from “Film Sub-Genres Types (and Hybrids)” written by Tim Dirks29. Genre Film sub-genres types and hybrids Action or adventure • Action or Adventure Comedy • Literature/Folklore Adventure • Action/Adventure Drama Heroes • Alien Invasion • Martial Arts Action (Kung-Fu) • Animal • Man- or Woman-In-Peril • Biker • Man vs. Nature • Blaxploitation • Mountain • Blockbusters • Period Action Films • Buddy • Political Conspiracies, Thrillers • Buddy Cops (or Odd Couple) • Poliziotteschi (Italian) • Caper • Prison • Chase Films or Thrillers • Psychological Thriller • Comic-Book Action • Quest • Confined Space Action • Rape and Revenge Films • Conspiracy Thriller (Paranoid • Road Thriller) • Romantic Adventures • Cop Action • Sci-Fi Action/Adventure • Costume Adventures • Samurai • Crime Films • Sea Adventures • Desert Epics • Searches/Expeditions for Lost • Disaster or Doomsday Continents • Epic Adventure Films • Serialized films • Erotic Thrillers • Space Adventures • Escape • Sports—Action • Espionage • Spy • Exploitation (ie Nunsploitation, • Straight Action/Conflict Naziploitation • Super-Heroes • Family-oriented Adventure • Surfing or Surf Films • Fantasy Adventure • Survival • Futuristic • Swashbuckler • Girls With Guns • Sword and Sorcery (or “Sword and • Guy Films Sandal”) • Heist—Caper Films • (Action) Suspense Thrillers • Heroic Bloodshed Films • Techno-Thrillers • Historical Spectacles • Treasure Hunts • Hong Kong • Undercover -
1 April 2012 DEAD by DAWN 29 March - 1 April 2012 All Screenings in Cinema One
29 March - 1 April 2012 DEAD BY DAWN 29 March - 1 April 2012 All screenings in Cinema One Thursday THE FIELDS 2330 – 0115 Friday RED TEARS 1200 – 1335 What You Make It short film programme 1415 – 1515 THE OMEN 1600 – 1800 Long Shorts short film programme 1900 – 2035 BELOW ZERO + Q&A with Signe Olynyk and Bob Schultz 2115 – 2315 THE PUPPET MONSTER MASSACRE 0015 – 0130 Saturday DELIVERANCE 1245 – 1445 Cutting Edge short film programme 1530 – 1715 NIGHTMARE FACTORY 1815 – 1950 LOBOS DE ARGA + Q&A with Juan Martinez Moreno 2045 – 2250 Late Night Triple Bill Bear + JUAN DE LOS MUERTOS 0000 – 0155 Infernal Nuns + DEMONS 0230 – 0405 MACABRE 0425 – 0600 Sunday CREEPSHOW 1345 – 1550 2D & Deranged short animation programme 1630 – 1740 RED NIGHTS 1830 – 2015 HAUNTERS 2100 – 2245 Freebies, Blethering, Shit Film Amnesty 2330 – 2350 THE CABIN IN THE WOODS 2350 – 0140 Some times may be subject to slight change. Welcome to Dead by Dawn! It’s sound advice to be more afraid of the living than the dead. Sure, the dead can kill you, but at least they’re easy to spot. In this year’s programme too many of the monsters will smile when they meet you, and will still be smiling when they lock you in a meat freezer. Or encourage you onto a ledge. Or offer to share their martini. You could try politely declining their kind offer, see how that works out... Dead by Dawn is a discovery festival which exists to showcase potential and vibrant emerging talent, but also aims to screen the widest possible range of what can be described as horror both in feature and short form. -
What Is a Genre? Introduction to Genres
C a p t i o n e d M e d i a P r o g r a m #9938 WHAT IS A GENRE? INTRODUCTION TO GENRES CLASSROOM VIDEO, 2001 Grade Level: 9-13+ 17 mins. 1 Instructional Graphic Enclosed DESCRIPTION What is a genre? What are some genres, and what are the differences between them? What are some tools used to identify a genre? How does identifying a genre aid in understanding text and characters? Helpful examples illuminate the concept of genres. ACADEMIC STANDARDS Subject Area: Language Art–Reading • Standard: Uses reading skills and strategies to understand and interpret a variety of literary texts Benchmark: Knows the defining characteristics of a variety of literary forms and genres (e.g.,fiction, nonfiction, myths, poems, biographies, autobiographies, science fiction, supernatural tales, satires, parodies, plays, drama, American literature, British literature, world and ancient literature, the Bible) (See INSTRUCTIONAL GOALS 1 and 2.) Benchmark: Understands how themes are used across literary works and genres (e.g., universal themes in literature of different cultures, such as death and rebirth, initiation, love and duty; major themes in American literature; authors associated with major themes of specific eras) (See INSTRUCTIONAL GOALS 2.) Subject Area: Language Arts–Viewing • Standard: Uses viewing skills and strategies to understand and interpret visual media Benchmark: Understands that the rules and expectations about genres can be manipulated for particular effects or purposes (e.g., combining or altering conventions of different genres, such as presenting news as entertainment; blurring of genres, such as drama-documentaries) (See INSTRUCTIONAL GOALS 2.) 1 VOICE (800) 237-6213 TTY (800) 237-6819 FAX (800) 538-5636 E-MAIL [email protected] WEB www.cfv.org Funding for the Captioned Media Program is provided by the U.S.