How the Three Little Pigs Came to Star in Independence Day

Total Page:16

File Type:pdf, Size:1020Kb

How the Three Little Pigs Came to Star in Independence Day HOW THE THREE LITTLE PIGS CAME TO STAR IN INDEPENDENCE DAY The Relationship Between the European Fairy Tale and the American Disaster Movie by Roz Williams Ph.D. Thesis December 2015 How The Three Little Pigs Came to Star in Independence Day/Ph.D.Thesis !"#$%!&$! HOW THE THREE LITTLE PIGS CAME TO STAR IN INDEPENDENCE DAY by Roz Williams This thesis sets out to determine the relationship between European fairy tales and the American disaster movie genre. It examines how these fairy tales may have impacted on a fledgling film industry through its European creators. It does this by drawing on examples of mythology, folklore and fairy tale, anthropology, archaeology, psychology, political and social history, geopolitics and sociology. It also investigates film genre, story structure and the history of Hollywood and its creators; and is told in a personal narrative style with supporting anecdotal contributions to illustrate the effect of the disaster movie on the individual. The thesis exposes how the motifs of myth and fairy tale are prevalent in this genre of film, using case studies and analysing them against social anthropological paradigms to argue that European fairy tales have influenced American disaster movies. It demonstrates how geopolitical and sociological events have shaped the stories told in these films throughout the decades since the genre's inception at the birth of film, and the author posits that disaster movies will continue to be relevant not only to audiences and storytellers, but also to disaster relief agencies. In conclusion, the thesis argues that disaster movies are the fairy tales of our modern times and that they serve a purpose in telling the stories that explore our concerns and allay our fears. Roz Williams i How The Three Little Pigs Came to Star in Independence Day/Ph.D.Thesis !"#$%&'!!"#$#%&'! I would like to thank my Ph.D. supervisors, Dr. Adele Flood and Associate Professor Kwamena Kwansah-Aidoo, for their help, inspiration and extreme patience; Swinburne University for its financial support; my mother for inspiring my love of film; Michael Slusher for inspiring my love of mythology; and my husband, Paul Williams, for his support, patience and willingness to be dragged along to watch disaster movies. This thesis has been professionally copy edited by Dr Rachel Le Rossignol according to the Australian Standards for Editing Practice (D1, D3-D5, E1, E2 & E4). Roz Williams ii How The Three Little Pigs Came to Star in Independence Day/Ph.D.Thesis Student Declaration I, Roz Williams, declare that the examinable outcome: contains no material which has been accepted for the award to me, the candidate, of any other degree or diploma, except where due reference is made in the text of the examinable outcome; and to the best of my knowledge contains no material previously published or written by another person except where due reference is made in the text of the examinable outcome. Roz Williams 7 December 2015 Roz Williams iii How The Three Little Pigs Came to Star in Independence Day/Ph.D.Thesis !"#$%&'(&)'*!%*!+! "#$%&"'%!((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((!)! "'*+,-./01/2/+%$!((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((!))! !"#$%&"'(%)*+,+"-.&'//////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////'---! %"#./!,3!',+%/+%$!(((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((!)4! .5$%!,3!3516&/$!(((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((!7! $/%%5+1!%8/!$'/+/!((((((((((((((((((((((((((((((((((((((((((((((((((((((((!!""#"$%&##'()"'%*#+%,-./*-,0! "#$!%&!'()*+,!------------------------------------------------------------------------------------------------------------------------------------------------------!./! '8"9%/&!,+/!((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((!:;! 0/'1&",.$#)"-.&'//////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////'02! 3/'4%)%&"'5-6%7'/////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////'30! 8/'9&$%,7"+&$-&:'";%'4%7%+,);<''5;%'=-:7+>'?@@,.+);'//////////////////////////////////////////////////////////////////////'38! A/'B.**C>..$'1&D*#%&)%'5.$+C'////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////'32! E/'177#%7'";+"'1&D*#%&)%$'";%'F,-"-&:'+&$'!",#)"#,%'.D'";%'5;%7-7'/////////////////////////////////////////////////'3G! 2/'(%D-&-"-.&7'//////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////'8H! I/'!#66+,C'+&$'JK%,K-%>'.D'";%'5;%7-7'////////////////////////////////////////////////////////////////////////////////////////////////////'88! '8"9%/&!%-,!(((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((!<;! 0#1+)!1+&#!&2(!3*45!&#!6((!&2(!71)2&!------------------------------------------------------------------------------------------------------------!89! 0/'F;.'F%,%'";%'L.:#*7M'/////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////'82! 3/'N-,";'.D'";%'L.K-%7'//////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////'8G! 8/'5;%'5,#7"'/////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////'A0! A/'5;%'?#$-%&)%7'///////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////'A8! E/'5;%'O-:;"'>-";'5;%'5,#7"'/////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////'AE! 2/'?*>+C7'";%'J#"7-$%,7'/////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////'A2! I/'5;%'=%>-7;'(-+7@.,+'-&'5;%'J*$'F.,*$'//////////////////////////////////////////////////////////////////////////////////////////////////'AG! G/'P#,.@%+&'O+-,C'5+*%7Q'O.*R*.,%'+&$'?&"-S!%6-"-76'/////////////////////////////////////////////////////////////////////////'AG! T/'(%7"-&+"-.&'?6%,-)+'//////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////'E3! 0H/'O,.6'";%'4+:'5,+$%'".'";%'O-*6'5,+$%'///////////////////////////////////////////////////////////////////////////////////////////////'EE! 00/'5;%'L.K%'".'B.**C>..$'/////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////'EG! '8"9%/&!%8&//!(((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((!;:! %+!&2(!'()1++1+),!-----------------------------------------------------------------------------------------------------------------------------------------------!9.! 0/'F;C'+,%'U%.@*%'O+7)-&+"%$'>-";'(-7+7"%,'!".,-%7M'//////////////////////////////////////////////////////////////////////////'20! 3/'F;C'(.'>%'V%%$'LC";7M'//////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////'28! 8/'LC";7'+&$'?,);%"C@%7'///////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////'I0! A/'5;%'U7C);.*.:C'/////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////'I0! E/'O-*6'+&$'LC";'///////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////'I3! 2/'5;%'W%&",+*'LC";7'///////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////'IA! I/'5;%'?@.)+*C@7%'LC";'/////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////'I2! G/'5;%'=.#,&%C'.D'";%'B%,.'///////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////'II! T/'B.>'";%'B%,.'LC";'4%*+"%7'".'O-*6'!",#)"#,%'///////////////////////////////////////////////////////////////////////////////////'IT! 0H/'LC";7Q'?,);%"C@%7'+&$'O-*6'!",#)"#,%'////////////////////////////////////////////////////////////////////////////////////////////////'TH! 00/'P#,.@%+&'LC";.*.:C'///////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////'TA! 03/'5;%'V.,";%,&'P#,.@%+&'LC";7'+&$'(%-"-%7'//////////////////////////////////////////////////////////////////////////////////////'TA! '8"9%/&!3,6&!((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((((!=>! :+;(!<=#+!>!?1@(,!-------------------------------------------------------------------------------------------------------------------------------------------!AB!
Recommended publications
  • Struction of the Feminine/Masculine Dichotomy in Westworld
    WiN: The EAAS Women’s Network Journal Issue 2 (2020) Skin-Deep Gender: Posthumanity and the De(con)struction of the Feminine/Masculine Dichotomy in Westworld Amaya Fernández Menicucci ABSTRACT: This article addresses the ways in which gender configurations are used as representations of the process of self-construction of both human and non-human characters in Jonathan Nolan and Lisa Joy’s series Westworld, produced by HBO and first launched in 2016. In particular, I explore the extent to which the process of genderization is deconstructed when human and non-human identities merge into a posthuman reality that is both material and virtual. In Westworld, both cyborg and human characters understand gender as embodiment, enactment, repetition, and codified communication. Yet, both sets of characters eventually face a process of disembodiment when their bodies are digitalized, which challenges the very nature of identity in general and gender identity in particular. Placing this digitalization of human identity against Donna Haraway’s cyborg theory and Judith Butler’s citational approach to gender identification, a question emerges, which neither Posthumanity Studies nor Gender Studies can ignore: can gender identities survive a process of disembodiment? Such, indeed, is the scenario portrayed in Westworld: a world in which bodies do not matter and gender is only skin-deep. KEYWORDS: Westworld; gender; posthumanity; embodiment; cyborg The cyborg is a creature in a post-gender world. The cyborg is also the awful apocalyptic telos of the ‘West’s’ escalating dominations . (Haraway, A Cyborg Manifesto 8) Revolution in a Post-Gender, Post-Race, Post-Class, Post-Western, Posthuman World The diegetic reality of the HBO series Westworld (2016-2018) opens up the possibility of a posthuman existence via the synthesis of individual human identities and personalities into algorithms and a post-corporeal digital life.
    [Show full text]
  • Beyond Westworld
    “We Don’t Know Exactly How They Work”: Making Sense of Technophobia in 1973 Westworld, Futureworld, and Beyond Westworld Stefano Bigliardi Al Akhawayn University in Ifrane - Morocco Abstract This article scrutinizes Michael Crichton’s movie Westworld (1973), its sequel Futureworld (1976), and the spin-off series Beyond Westworld (1980), as well as the critical literature that deals with them. I examine whether Crichton’s movie, its sequel, and the 1980s series contain and convey a consistent technophobic message according to the definition of “technophobia” advanced in Daniel Dinello’s 2005 monograph. I advance a proposal to develop further the concept of technophobia in order to offer a more satisfactory and unified interpretation of the narratives at stake. I connect technophobia and what I call de-theologized, epistemic hubris: the conclusion is that fearing technology is philosophically meaningful if one realizes that the limitations of technology are the consequence of its creation and usage on behalf of epistemically limited humanity (or artificial minds). Keywords: Westworld, Futureworld, Beyond Westworld, Michael Crichton, androids, technology, technophobia, Daniel Dinello, hubris. 1. Introduction The 2016 and 2018 HBO series Westworld by Jonathan Nolan and Lisa Joy has spawned renewed interest in the 1973 movie with the same title by Michael Crichton (1942-2008), its 1976 sequel Futureworld by Richard T. Heffron (1930-2007), and the short-lived 1980 MGM TV series Beyond Westworld. The movies and the series deal with androids used for recreational purposes and raise questions about technology and its risks. I aim at an as-yet unattempted comparative analysis taking the narratives at stake as technophobic tales: each one conveys a feeling of threat and fear related to technological beings and environments.
    [Show full text]
  • Fordham Plaza Might Still Revive the Bronx
    Slip-up Reveals Closed-Door Decision USG Redefines "Nominal Power" of Longer Term by Bob Ehalt December 16 CAB Calendar, which as possible. Duke said the statement which The current Veritas-dominated United didn't do it this way." stated: "The 'lame duck' USG will still explained that USG had decided to Student Government will make decisions After that last sentence, a bevy of maintain nominal powers in case an extend its term was written in two days. "sushs" descended on Lubell, and he on matters previously covered by them, as emergency regarding swift action occurs." well as on ones arising after the newly- Tom Maier, USG presidential candidate finally realized that his statements were elected USG comes into power According to Duke this means that the stated, "As soon as I net in office 1 intend to being recorded. Lubell then stated that he had "done it again," and proceeded (9 give Jerry Mclntyrc. USG President, pre USG elected in the spring of 1976 will sit in take this issue to the student government court and have the Veritas organization the correct spelling of his name, to insure sented this new interpretation of the at meetings with the USG to be elected this removed under the constitution. This is a proper attribution co-existence period, in which the lame spring. The old members would have real disgrace to the students. 1 intend to When questioned after the meeting duck and newly-elected USG will work no votes, but would serve in an advisory take office without Veritas." Lubell and Mclntyre defined the new rules together, after a USG meeting on Monday capacity.
    [Show full text]
  • Mustang Daily, January 10, 1975
    Mustang Daly Volume 39: Number 2 California Polytechnic State University, San Luis Obispo Friday, January 10, 1975 Group claims state colleges Suit charges are slighted • Funding policies racial bias called unjustified BY TOM McCABtIiY at Cal Poly Controversy is growing as a group persists in its attempts to win more money for the system by MARK GROSSI from the State Education fund. Cal Poly has been charged with According to Acala, the whole The Committee for Equal racial discrimination against state university and colleges Treatment in Higher Education Mexican-American employees in system will oe affected by the (CETHE) is gaining recognition a class action suit filed Thursday decision. as it continues to publicize its in San Francisco U.S. District “We were looking for the best belief that each student who Court by the Mexican-American case to bring to court. Cal Poly attends a branch of the Legal Defense and Education represents the best case of University of California (UC) Fund (MALDEF). discrimination in the California annually receives close to $300 The case cited in the suit is that state university and colleges more than do students who are of Dr. Manuel Guerra, demoted sytem.” enrolled in comparable programs head of Poly’s Foreign Language Guerra was demoted from at a state college or university. Department. According to Carlos photo by DAVID STUBBS department head, the suit According to CETHE co­ Alcala, national director of charges, after Kennedy learned founder J. William Leasure, the educational litigation for he had filed a complaint with the discrepency in funding is due to Steve Archer sings praises to God in a performance here MALDEF, $810,000 in damages Thursday.
    [Show full text]
  • Grimm's Fairy Stories
    Grimm's Fairy Stories Jacob Grimm and Wilhelm Grimm The Project Gutenberg eBook, Grimm's Fairy Stories, by Jacob Grimm and Wilhelm Grimm, Illustrated by John B Gruelle and R. Emmett Owen This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: Grimm's Fairy Stories Author: Jacob Grimm and Wilhelm Grimm Release Date: February 10, 2004 [eBook #11027] Language: English Character set encoding: US-ASCII ***START OF THE PROJECT GUTENBERG EBOOK GRIMM'S FAIRY STORIES*** E-text prepared by Internet Archive, University of Florida, Children, and the Project Gutenberg Online Distributed Proofreading Team Note: Project Gutenberg also has an HTML version of this file which includes the original illustrations. See 11027-h.htm or 11027-h.zip: (http://www.ibiblio.org/gutenberg/1/1/0/2/11027/11027-h/11027-h.htm) or (http://www.ibiblio.org/gutenberg/1/1/0/2/11027/11027-h.zip) GRIMM'S FAIRY STORIES Colored Illustrations by JOHN B. GRUELLE Pen and Ink Sketches by R. EMMETT OWEN 1922 CONTENTS THE GOOSE-GIRL THE LITTLE BROTHER AND SISTER HANSEL AND GRETHEL OH, IF I COULD BUT SHIVER! DUMMLING AND THE THREE FEATHERS LITTLE SNOW-WHITE CATHERINE AND FREDERICK THE VALIANT LITTLE TAILOR LITTLE RED-CAP THE GOLDEN GOOSE BEARSKIN CINDERELLA FAITHFUL JOHN THE WATER OF LIFE THUMBLING BRIAR ROSE THE SIX SWANS RAPUNZEL MOTHER HOLLE THE FROG PRINCE THE TRAVELS OF TOM THUMB SNOW-WHITE AND ROSE-RED THE THREE LITTLE MEN IN THE WOOD RUMPELSTILTSKIN LITTLE ONE-EYE, TWO-EYES AND THREE-EYES [Illustration: Grimm's Fairy Stories] THE GOOSE-GIRL An old queen, whose husband had been dead some years, had a beautiful daughter.
    [Show full text]
  • Introduction: Fairy Tale Films, Old Tales with a New Spin
    Notes Introduction: Fairy Tale Films, Old Tales with a New Spin 1. In terms of terminology, ‘folk tales’ are the orally distributed narratives disseminated in ‘premodern’ times, and ‘fairy tales’ their literary equiva- lent, which often utilise related themes, albeit frequently altered. The term ‘ wonder tale’ was favoured by Vladimir Propp and used to encompass both forms. The general absence of any fairies has created something of a mis- nomer yet ‘fairy tale’ is so commonly used it is unlikely to be replaced. An element of magic is often involved, although not guaranteed, particularly in many cinematic treatments, as we shall see. 2. Each show explores fairy tale features from a contemporary perspective. In Grimm a modern-day detective attempts to solve crimes based on tales from the brothers Grimm (initially) while additionally exploring his mythical ancestry. Once Upon a Time follows another detective (a female bounty hunter in this case) who takes up residence in Storybrooke, a town populated with fairy tale characters and ruled by an evil Queen called Regina. The heroine seeks to reclaim her son from Regina and break the curse that prevents resi- dents realising who they truly are. Sleepy Hollow pushes the detective prem- ise to an absurd limit in resurrecting Ichabod Crane and having him work alongside a modern-day detective investigating cult activity in the area. (Its creators, Roberto Orci and Alex Kurtzman, made a name for themselves with Hercules – which treats mythical figures with similar irreverence – and also worked on Lost, which the series references). Beauty and the Beast is based on another cult series (Ron Koslow’s 1980s CBS series of the same name) in which a male/female duo work together to solve crimes, combining procedural fea- tures with mythical elements.
    [Show full text]
  • Everybody Loves a Muscle Boi”: Homos, Heroes, and Foes in Post-9/11 Spoofs of the 300 Spartans
    1 “Everybody Loves a Muscle Boi”: Homos, Heroes, and Foes in Post-9/11 Spoofs of the 300 Spartans Ralph J. Poole “It’s Greek to whom?” In 2007-2008, a significant accumulation of cinematic and other visual media took up a celebrated episode of Greek antiquity recounting in different genres and styles the rise of the Spartans against the Persians. Amongst them are the documentary The Last Stand of the 300 (2007, David Padrusch), the film 300 (2007, Zack Snyder), the video game 300: March to Glory (2007, Collision Studios), the short film United 300 (2007, Andy Signore), and the comedy Meet the Spartans (2008, Jason Friedberg/Aaron Seltzer). Why is the legend of the 300 Spartans so attractive for contemporary American cinema? A possible, if surprising account for the interest in this ancient theme stems from an economic perspective. Written at the dawn of the worldwide financial crisis, the fight of the 300 Spartans has served as point of reference for the serious loss of confidence in the banking system, but also in national politics in general. William Streeter of the ABA Banking Journal succinctly wonders about what robs bankers’ precious resting hours: What a fragile thing confidence is. Events of the past six months have seen it coalesce and evaporate several times. […] This is what keeps central bankers awake at night. But then that is their primary reason for being, because the workings of economies and, indeed, governments, hinge upon trust and confidence. […] With any group, whether it be 300 Spartans holding off a million Persians at Thermopylae or a group of central bankers trying to keep a global financial community from bolting, trust is a matter of individual decisions.
    [Show full text]
  • Old Loves Bloom, New Romances Bud Coordinate School
    tHGH SCHOOL LIB DARIEN, rONN. \iiiiiiiiI.-. Volume LXXV, Number 7 Darien High School, Darien, Connecticut February 11, 1975 Committee To Examine Options, Coordinate School Involvement mittee on Options or Coordinating By SUE ALLARD Committee comprised ofstaffmembers Open-ended morning, co-op teaching, and students whose duty it will be to alternative high school programs,final oversee the entire operation. According ..: exams, and a pass·fail optionfor a sixth to Mr. Catania, members of the Com­ ;; subject are but a few ofthe possible sub­ mittee on Options will not necessarily jects open for investigation and action do the work in individualcommittees: by separatecommittees under a new ad­ "Its object is to try to give overall direc­ hoc committee associated with the tion and c<HJrdination to all activities." School Council. "With imagination and co-operative In addition to Mrs. Marshall as effort we could get a lot of things done chairperson of the Coordinating Com­ that we'd like to do," stated Salvatore mittee, other faculty members include: Jose Leon and Christl Anastasio of the Foreign Language Department Catania, DHS principal. This new William Jacobs, John Rallo, James both are organizing excursions abroad during April vacation. system, a network of committees, was Nicholson, Donald MacAusland, Jim Clark) introduced at a recent faculty meeting. David Herbert, Joan Walsh, Matthew Many teachers have expressed a desire Tirrell, David Hartkopf, and Marjorie Teachers To Lead Tours to become involved in different Ro demann. Mr. Catania will serve as programs. This system is designed to an ex-officio member. try to get some objectives realized by Four seniors and two juniors, from Europe - A 'Great Escape' providing "an effective mechanism to both the School Council and Neirad, support and coordinate these ideas and will also serve on the Coordinating Several members of the faculty have During April vacation Jose Leon of integrate projects into the existing Committee.
    [Show full text]
  • Earogenous Zones
    234 Index Index Note: Film/DVD titles are in italics; album titles are italic, with ‘album’ in parentheses; song titles are in quotation marks; book titles are italic; musical works are either in italics or quotation marks, with composer’s name in parentheses. A Rebours (Huysmans) 61 Asimov, Isaac 130 Abducted by the Daleks/Daloids 135 Assault on Precinct 13 228 Abe, Sada 91–101 Astaire, Fred 131 Abrams, J. 174 Astley, Edwin 104 Abu Ghraib 225, 233 ‘Astronomy Domine’ 81, 82 acousmêtre 6 Atkins, Michael 222 Acre, Billy White, see White Acre, Billy Augoyard, J.-F. 10 Adamson, Al 116 Aury, Dominique (aka Pauline Reage) 86 affect 2, 67, 76 Austin, Billy 215 African music 58 Austin Powers movies 46 Age of Innocence, The 64 Australian Classification Board 170 Ai no borei (‘Empire of Passion’) 100–1 Avon Science Fiction Reader (magazine) 104 Ai no korida (In the Realm of the Senses) 1, 4, Avon Theater, New York 78 7, 89–101 Aihara, Kyoko 100 ‘Baby Did A Bad Bad Thing’ 181–2 Algar, James 20 Bacchus, John 120, 128, 137 Alice in Wonderland (Lewis Carroll) 5, 70, 71, Bach, Johann Sebastian 62 74, 76, 84, 116 Bachelet, Pierre 68, 71, 72, 74 Alien 102 Bacon, Francis 54 Alien Probe 129 Bailey, Fenton 122, 136 Alien Probe II 129 Baker, Jack 143, 150 Alpha Blue 117–19, 120 Baker, Rick 114 Also sprach Zarathustra (Richard Strauss) 46, 112, Ballard, Hank, and the Midnighters 164 113 Band, Charles 126 Altman, Rick 2, 9, 194, 199 Bangs, Lester 141 Amateur Porn Star Killer 231 banjo 47 Amazing Stories (magazine) 103, 104 Barbano, Nicolas 35, 36 Amelie 86 Barbarella 5, 107–11, 113, 115, 119, 120, American National Parent/Teacher Association 147 122, 127, 134, 135, 136 Ampeauty (album) 233 Barbato, Randy 122, 136 Anal Cunt 219 Barbieri, Gato 54, 55, 57 … And God Created Woman, see Et Dieu créa Bardot, Brigitte 68, 107–8 la femme Barker, Raphael 204 Andersen, Gotha 32 Baron, Red 79 Anderson, Paul Thomas 153, 158 Barr, M.
    [Show full text]
  • Download PDF ^ the Three Feathers and Other Grimm Fairy Tales
    E4EZ2UX9LS09 » Kindle » The Three Feathers and Other Grimm Fairy Tales (Paperback) Th e Th ree Feath ers and Oth er Grimm Fairy Tales (Paperback) Filesize: 6.06 MB Reviews Completely essential read pdf. It is definitely simplistic but shocks within the 50 % of your book. Its been designed in an exceptionally straightforward way which is simply following i finished reading through this publication in which actually changed me, change the way i believe. (Damon Friesen) DISCLAIMER | DMCA J7VNF6BTWRBI # Kindle < The Three Feathers and Other Grimm Fairy Tales (Paperback) THE THREE FEATHERS AND OTHER GRIMM FAIRY TALES (PAPERBACK) Caribe House Press, LLC, 2016. Paperback. Condition: New. Language: English . Brand New Book ***** Print on Demand *****.In The Three Feathers and Other Grimm Fairy Tales, translator Catherine Riccio-Berry has remained faithful to the original German folk tales while also demonstrating her own keen ear for the language of playful storytelling. These eighteen carefully selected narratives are among the most engaging to be found in the Grimm Brothers extensive collection. In addition to four classic stories--Snow White, Little Red Riding Hood, Rumpelstiltskin, and Cinderella--this modernized and highly accessible translation also includes a delightful variety of lesser-known tales that range in tone from silly to moralizing to outright violent. Complete list of stories in this collection: The Three Feathers Fitcher s Pheasant Snow White The Story of Hen s Death Little Brother and Little Sister Little Red Riding Hood Hans my Hedgehog Straw, Coal, and Bean The Earth Gnome Doctor Know-It-All Bearskin Mrs. Trudy Mr. Korb Rumpelstiltskin Faithful John The Selfish Son Spindle, Shuttle, and Needle Cinderella.
    [Show full text]
  • The File on Robert Siodmak in Hollywood: 1941-1951
    The File on Robert Siodmak in Hollywood: 1941-1951 by J. Greco ISBN: 1-58112-081-8 DISSERTATION.COM 1999 Copyright © 1999 Joseph Greco All rights reserved. ISBN: 1-58112-081-8 Dissertation.com USA • 1999 www.dissertation.com/library/1120818a.htm TABLE OF CONTENTS INTRODUCTION PRONOUNCED SEE-ODD-MACK ______________________ 4 CHAPTER ONE GETTING YOUR OWN WAY IN HOLLYWOOD __________ 7 CHAPTER TWO I NEVER PROMISE THEM A GOOD PICTURE ...ONLY A BETTER ONE THAN THEY EXPECTED ______ 25 CHRISTMAS HOLIDAY _____________________________ 25 THE SUSPECT _____________________________________ 49 THE STRANGE AFFAIR OF UNCLE HARRY ___________ 59 THE SPIRAL STAIRCASE ___________________________ 74 THE KILLERS _____________________________________ 86 CRY OF THE CITY_________________________________ 100 CRISS CROSS _____________________________________ 116 THE FILE ON THELMA JORDON ___________________ 132 CHAPTER THREE HOLLYWOOD? A SORT OF ANARCHY _______________ 162 AFTERWORD THE FILE ON ROBERT SIODMAK___________________ 179 THE COMPLETE ROBERT SIODMAK FILMOGRAPHY_ 185 BIBLIOGRAPHY __________________________________ 214 iii INTRODUCTION PRONOUNCED SEE-ODD-MACK Making a film is a matter of cooperation. If you look at the final credits, which nobody reads except for insiders, then you are surprised to see how many colleagues you had who took care of all the details. Everyone says, ‘I made the film’ and doesn’t realize that in the case of a success all branches of film making contributed to it. The director, of course, has everything under control. —Robert Siodmak, November 1971 A book on Robert Siodmak needs an introduction. Although he worked ten years in Hollywood, 1941 to 1951, and made 23 movies, many of them widely popular thrillers and crime melo- dramas, which critics today regard as classics of film noir, his name never became etched into the collective consciousness.
    [Show full text]
  • Science Fiction Films of the 1950S Bonnie Noonan Louisiana State University and Agricultural and Mechanical College, [email protected]
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 "Science in skirts": representations of women in science in the "B" science fiction films of the 1950s Bonnie Noonan Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Noonan, Bonnie, ""Science in skirts": representations of women in science in the "B" science fiction films of the 1950s" (2003). LSU Doctoral Dissertations. 3653. https://digitalcommons.lsu.edu/gradschool_dissertations/3653 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. “SCIENCE IN SKIRTS”: REPRESENTATIONS OF WOMEN IN SCIENCE IN THE “B” SCIENCE FICTION FILMS OF THE 1950S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English By Bonnie Noonan B.G.S., University of New Orleans, 1984 M.A., University of New Orleans, 1991 May 2003 Copyright 2003 Bonnie Noonan All rights reserved ii This dissertation is “one small step” for my cousin Timm Madden iii Acknowledgements Thank you to my dissertation director Elsie Michie, who was as demanding as she was supportive. Thank you to my brilliant committee: Carl Freedman, John May, Gerilyn Tandberg, and Sharon Weltman.
    [Show full text]