1998 South Carolina Invitational Tossups by Furman and Wake Forest
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Bad for Good William D
Bad For Good William D. Routt Beyond good and evil [1] Even before Tim Burton made a movie based on his life, almost everyone knew two things about Edward D. Wood, Jr. The first was that he directed "the worst movie ever made", Plan 9 From Outer Space (1956). The second was that he was a transvestite. The two things seem to be linked in some way - or, at least, they often crop up together, as they did just now. And, when you think about it, that is strange.[2] But then, reactions to Ed Wood do tend towards the strange. I remember when I first saw Plan 9. It was on television. In fact, I cannot imagine seeing an Ed Wood movie anywhere else but on television; they were made-for-TV, direct-to-video, before such forms were invented. It was late at night (of course). I was tired and the experience was a hallucinatory one. The film did not seem to have a plot. It opened with "Criswell Predicts", for God's sake! Now and then there were shots of Bela Lugosi stalking with his cape over his eyes (not Lugosi at all, as I later learned) and Vampira staring through creepy branches and Tor Johnson menacing with his arms raised and his mouth open. Cadillac hubcaps (or paper plates or plastic models - anyhow, not flying saucers) spinning across the sky. A tremendous amount of stock footage. Meandering pointless dialogue. Nothing happened: it was a movie of pure effect. For years afterward I described this film of my imagining, whose title I had forgotten, to people who were not interested. -
THE “SIGH—CALL 'Og'” of “Thorn” (“Þorn”)
THE “SIGH—CALL ‘O-g’” of “THorn” (“þorn”) The Latin letter “þ” is imagery of “c” in “time-OUT” with its F-A-C-E to the “wall.” [cf. Ezekiel 4:3, 41:25 / 2 Kings 20:2 / Isaiah 38:2 / Proverbs 24:31 / Ezekiel 12:12, 38:20] “And lest I should be exalted above measure through the abundance of the revelations, there was given to me a thorn in the flesh, the messenger of Satan to buffet me, lest I should be exalted above MEASURE.” —2 Corinthians 12:7 [cf. Judges 8:7] “ 1 Then Pilate therefore took Jesus, and scourged him. 2 And the soldiers platted a crown of thorns, and put it on 3 his head, and they put on him a purple robe, And said, Hail, King of the Jews! and they smote him with their hands. 4 Pilate therefore went forth again, and saith unto them, Behold, I bring him forth to you, that ye may know that I find no fault in him. 5 Then came Jesus forth, wearing the crown of thorns, and the purple robe. And Pilate saith unto them, Behold the man!”—John 19:1-5 HIGH road = Place of LOW road = Place of Unfruitfulness Conception (mouth) You take the high road and I’ll take the low road Genesis 13:6-12 “ 6 And the land was not able to bear them, that they might dwell together: for their substance was great, so that they 7 could not dwell together. And there was a strife between the herdmen of Abram's cattle and the herdmen of Lot's 8 cattle: and the Canaanite and the Perizzite dwelled then in the land. -
Ed Wood. Trash Und Ironie 2012
Repositorium für die Medienwissenschaft Daniel Kulle Ed Wood. Trash und Ironie 2012 https://doi.org/10.25969/mediarep/13828 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Kulle, Daniel: Ed Wood. Trash und Ironie. Berlin: Bertz + Fischer 2012 (Deep Focus 14). DOI: https://doi.org/10.25969/mediarep/13828. Erstmalig hier erschienen / Initial publication here: https://doi.org/10.17192/ep2012.3.931 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Weitergabe unter gleichen Bedingungen 4.0/ Attribution - Share Alike 4.0/ License. For more information see: Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz https://creativecommons.org/licenses/by-sa/4.0/ finden Sie hier: https://creativecommons.org/licenses/by-sa/4.0/ Ed Wood Trash & Ironie Deep Focus 14 Danksagung: Das vorliegende Buch ist eine überarbeitete Fassung einer Dissertation, die von der Philosophischen Fakultät der Rheinischen Friedrich-Wilhelm-Universität zu Bonn im Juni 2011 angenommen wurde. Ein solches Buch lässt sich nicht ohne die Unterstützung durch Freunde und Kollegen schreiben. Danken möchte ich daher denjenigen, die durch ihre großzügige Unterstützung die Arbeit an diesem Werk und den Druck dieses Buches möglich gemacht haben, allen voran Einhard und Jutta Kulle, die mir schon das Studium finanziell erleichtert haben, Ingeborg Wick sowie meinen Eltern Margot und Volker Kulle und meinen Brüdern Christoph und Philipp Kulle. Danken möchte ich auch meinen beiden Betreuerinnen, Ursula von Keitz und Margrit Tröhler, die mir mit Rat und Kritik zur Seite standen. Und danken möchte ich nicht zuletzt dem Verlag Bertz + Fischer für die editorische Arbeit sowie der Geschwister Boehringer Ingelheim Stiftung für Geisteswissenschaften für den Druckkostenzuschuss zu diesem Buch. -
Lost to Bias
Lost to Bias Gender fluidity, queer themes, and challenges to heteronormativity in the work of Edward D. Wood, Jr. Jason C. A. Meredith Department of Media Studies Master’s Thesis 30 ETCS credits Cinema Studies Master’s program in Cinema Studies 120 ECTS credits Spring term 2020 Supervisor: Bo Florin Lost to Bias Gender fluidity, queer themes, and challenges to heteronormativity in the work of Edward D. Wood, Jr. Jason C. A. Meredith Abstract The premise of this study is to investigate homonormative concepts in the works of Edward D. Wood, Jr. Following a contextualisation of the time period he was active in, the thesis interacts with camp as a concealed queer discourse and a political voice. Concepts of crossdressing as challenges to heteronormativity are observed in relation to Woods cinematic canon and persona. Case analyses of Glen or Glenda (1953) and Take It Out in Trade (1970) observe how mentioned methodologies are applicable. The conclusions relate data exhibiting queer discourses held by Wood. Camp as a signifier of queer representation and counter oppression is identified as a discourse within Wood’s films. Examples given demonstrate how this is obscured within the agency of narrators, dialogue and metaphors. As camp evolves post-Stonewall, an adherence to camp as a parody of heteronormativity is acknowledged in later Wood pieces. Exploring concepts of crossdressing in Wood’s cinema, drag and transvestism can be excluded. Through crossdressing we find a stage for gender performativity as to reunite with the heteronormative challenges of his debut film. This reunion progresses to a compliance with homonormativity in his final feature films.