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PARANORMAL ACTIVITY 3 - Delivers More Terrifying Suspense and Shocks with an Unrated Version on Blu-Ray™/DVD Combo Pack
Record-Setting* Prequel to the Phenomenally Popular Film Series - PARANORMAL ACTIVITY 3 - Delivers More Terrifying Suspense and Shocks With an Unrated Version on Blu-ray™/DVD Combo Pack Debuting January 24, 2012, Blu-ray/DVD Combo Includes Extended Scenes and Chilling Lost Tapes In A First, All Three Films Will be Available for Digital Download in a Seamless, Chronological Experience Prior to the Blu-ray/DVD Debut "A new level of terror."—Brad Miska, BloodyDisgusting.com HOLLYWOOD, Calif., Dec. 20, 2011 /PRNewswire/ -- The record-breaking franchise that has terrified audiences around the world returns with the scariest story yet as PARANORMAL ACTIVITY 3 debuts on January 24, 2012 from Paramount Home Entertainment in a Blu-ray/DVD combo pack with UltraViolet™ and a Digital Copy.PARANORMAL ACTIVITY 3 will also be available On Demand. "Terrifying" (Time) with "heart-pounding scares" (BloodyDisgusting.com), PARANORMAL ACTIVITY 3 takes audiences back to where it all began with the masterminds behind the first two films returning to craft a hauntingly chilling follow up. Directed by Henry Joost and Ariel Schulman, the filmmakers who created the unsettling sensation Catfish, PARANORMAL ACTIVITY 3 achieved the biggest theatrical debut for a horror film ever, ultimately earning more than $200 million worldwide. (Photo: http://photos.prnewswire.com/prnh/20111220/LA25840) Arriving on January 24th, the PARANORMAL ACTIVITY 3 Blu-ray/DVD combo pack includes both the theatrical version of the film and an unrated version with footage not seen in theaters, as well as Lost Tapes that reveal more footage not seen in the film. In addition, all Blu-ray and DVD releases available for purchase will be enabled with UltraViolet, a new way to collect, access and enjoy movies. -
Understanding Music Past and Present
Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N. -
Found-Footage Horror and the Frame's Undoing
Found-Footage Horror and the Frame’s Undoing by CECILIA SAYAD Abstract: This article fi nds in the found-footage horror cycle an alternative way of under- standing the relationship between horror fi lms and reality, which is usually discussed in terms of allegory. I propose the investigation of framing, considered both fi guratively (framing the fi lm as documentary) and stylistically (the framing in handheld cameras and in static long takes), as a device that playfully destabilizes the separation between the fi lm and the surrounding world. The article’s main case study is the Paranormal Activity franchise, but examples are drawn from a variety of fi lms. urprised by her boyfriend’s excitement about the strange phenomena registered with his HDV camera, Katie (Katie Featherston), the protagonist of Paranormal Activity (Oren Peli, 2007), asks, “Are you not scared?” “It’s a little bizarre,” he replies. “But we’re having it documented, it’s going to be fi ne, OK?” S This reassuring statement implies that the fi lm image may normalize the events that make up the fabric of Paranormal Activity. It is as if by recording the slamming doors, fl oating sheets, and passing shadows that take place while they sleep, Micah and Katie could tame the demon that follows the female lead wherever she goes. Indeed, the fi lm repeatedly shows us the two characters trying to make sense of the images they capture, watching them on a computer screen and using technology that translates the recorded sounds they cannot hear into waves they can visualize. -
Race in Hollywood: Quantifying the Effect of Race on Movie Performance
Race in Hollywood: Quantifying the Effect of Race on Movie Performance Kaden Lee Brown University 20 December 2014 Abstract I. Introduction This study investigates the effect of a movie’s racial The underrepresentation of minorities in Hollywood composition on three aspects of its performance: ticket films has long been an issue of social discussion and sales, critical reception, and audience satisfaction. Movies discontent. According to the Census Bureau, minorities featuring minority actors are classified as either composed 37.4% of the U.S. population in 2013, up ‘nonwhite films’ or ‘black films,’ with black films defined from 32.6% in 2004.3 Despite this, a study from USC’s as movies featuring predominantly black actors with Media, Diversity, & Social Change Initiative found that white actors playing peripheral roles. After controlling among 600 popular films, only 25.9% of speaking for various production, distribution, and industry factors, characters were from minority groups (Smith, Choueiti the study finds no statistically significant differences & Pieper 2013). Minorities are even more between films starring white and nonwhite leading actors underrepresented in top roles. Only 15.5% of 1,070 in all three aspects of movie performance. In contrast, movies released from 2004-2013 featured a minority black films outperform in estimated ticket sales by actor in the leading role. almost 40% and earn 5-6 more points on Metacritic’s Directors and production studios have often been 100-point Metascore, a composite score of various movie criticized for ‘whitewashing’ major films. In December critics’ reviews. 1 However, the black film factor reduces 2014, director Ridley Scott faced scrutiny for his movie the film’s Internet Movie Database (IMDb) user rating 2 by 0.6 points out of a scale of 10. -
Audio-Hammer-Studios
For Immediate Release July 1, 2011 Florida’s Own AUDIO HAMMER STUDIOS Churns Out Over 41,000 Records Combined Sold This Week L to R, The Team of AUDIO HAMMER STUDIOS: Jason Suecof, Ronn Miller, Mark Lewis, Eyal Levi This week alone, famed-producer and new GOOD FIGHT ENTERTAINMENT Production Division team member Jason Suecof and his studio, AUDIO HAMMER STUDIOS in Sanford, FL, have churned out a staggering 41,000 records combined sold! Just this year, AUDIO HAMMER STUDIOS has been responsible for recording and producing some of metal’s top records, including Trivium’s In Waves, August Burns Red’s Leveler (debuted at #11 last week on the Billboard Top 200), The Black Dahlia Murder’s Ritual (debuted at #29 last week on the Billboard Top 200), Unearth’s Darkness In The Light, Charred Walls Of The Damned’s upcoming album, and many more. Coming up this year, the studio will be behind the boards for several more of today’s hottest bands in the metal realm. “What can a man with crazy legs say, I’m stoked,” states Suecof. “It’s so cool to me that all of my friends get to work together and make music, and then sometimes you have an awesome week like we did this week, and I’m so proud of everyone that was involved! I personally could not have done it without the hard work of Mark Lewis, who produced The Black Dahlia Murder, Eyal Levi who engineered the August Burns Red and The Black Dahlia Murder mix with me, and of course Ronn Miller (additional engineering, DVD/VIDEO), and Jeremy Frost, guitar set-ups for AUDIO HAMMER STUDIOS and beyond! Thanks to everyone involved with this album. -
Why Found Footage Horror Films Matter : Introduction
Why Found Footage Horror Films Matter : Introduction Peter Turner, Oxford Brookes University The cinematic image of a young woman staring into the camera – crying, hyperventilating, and talking directly to her audience – has become the definitive image of The Blair Witch Project (Myrick and Sanchez, 1999). It is arguably the most famous scene, and certainly the most parodied image of found footage horror cinema in general, perhaps even one of the defining images of cinema in the 1990s. This character, Heather Donahue, is played by a hitherto unknown actress called Heather Donahue, in her feature debut. From what we see on screen, and the manner in which her monologue is delivered, it can be inferred that she is not reciting scripted lines. She does not seem to be acting; her fear appears genuine. Heather is alone in a dark tent, shooting this footage herself with a handheld camera. The shot did not look like most other horror films that had been previously shown in cinemas; it is poorly framed, poorly lit, and the character knows and acknowledges that she is on camera. There had been previous films in this style: Cannibal Holocaust (Deodato, 1980) contains the use of ‘found footage’ within its narrative structure, and Man Bites Dog (Belvaux, Bonzel and Poelvoorde, 1992) is a mock-documentary that purports to be completely filmed by a diegetic film crew. However, neither of these films had the cultural impact or box office success of The Blair Witch Project, a film that eventually spawned numerous imitators, and arguably the entire found footage horror sub- genre that now consists of hundreds of films.1 There is a straightforward economic reason why filmmakers continue to produce found footage horror films. -
Renovations Are Complete
11 20 ZE The Connection goes Medieval! SCHOOL DA CamPus life • Page 12 DeTails on Page 12 ThaT Time i... • Page 20 TheonnectionSchoolcraft Volume 25 Issue 01 C Serving the Schoolcraft Community for 25 years September 12, 2011 Photo by Steven Grill Campus Students currently must walk around the bookstore to the temporary side door overhaul entrance. An artist's rendering shows what everyone can look forward to once renovations are complete. Students return to bring more than $900,000 in upgrades added, students can expect increased and intermediate training areas. Large to the bookstore. The three-phase sales floor space which will ease traffic expanses of glass are being installed find school in the project will increase the size of the during checkout. There will also be a at the south and east ends of room midst of remodeling bookstore significantly. separate buy-back section for students to provide natural lighting in to the By Ramon Razo “Phase one (the addition) is pro- looking to sell their books along with space.” Nwwews Editor jected to be complete and usable an improved and expanded tech zone. Once completed, the PE building’s Students returning to campus after by late October 2011. The other two The Physical Education Building is new and improved fitness center will a long, hot summer are bound to have phases will begin the end of January also currently going through a major be available via a membership to stu- noticed a few of the new renovations and be completed by mid-April,” renovation. The College approved dents, faculty and the public. -
The Glitch Dimension: Paranormal Activity and the Technologies of Vision Steven Shaviro
CHAPTER 18 The Glitch Dimension: Paranormal Activity and the Technologies of Vision Steven Shaviro Paranormal Activity: The Ghost Dimension (Gregory Plotkin, 2015) is a recent low-budget exploitation film that distorts and destroys its own images. Though such a practice is better known in gallery art, it is also found at the opposite end of the aesthetic and economic spectrum, in a crassly commer- cial venture like Ghost Dimension, whose mission to turn a quick profit is not mitigated by the aesthetic concerns of gallery art, nor even by mainstream Hollywood concerns with cultural prestige. I cannot discuss Ghost Dimension, however, without considering the whole series of which it is a part. The six Paranormal Activity movies (2007–15) are works of what Caetlin Benson-Allott calls ‘faux footage horror’.1 That is to say, they consist entirely of (fictional) found footage: video sequences osten- sibly shot by the protagonists themselves, and discovered and compiled after their deaths. The characters, settings and plots of these movies are entirely generic. Though some attempt is made to provide an overarching backstory for the series, there is no real narrative progression from one instalment to the next. Each movie follows the same predictable pattern. Strange events take place: odd noises are heard at night, and objects shift around inexplicably. At first, the disruption is fairly vague and low-key: things just don’t seem entirely right. But the incidents escalate both in frequency and intensity. The residents try to get to the bottom of whatever is going on, by recording the life of the household on video. -
Back in the Game
APP.COM Asbury Park Press Tuesday, Nov.1,2011 Page B5 Health CONTACT: SARAH GRIESEMER :: 732-643-4204 :: [email protected] :: APP.COM/HEALTH STUDENT ATHLETES TREATING CONCUSSIONS People’sPharmacy By Joe Graedon &Teresa Graedon Back Whyget a in the flushot everyyear? Q. Can you tell us about flu vacci- game nations? Idon’tunderstand how the vaccine can wear off so quick- ly that it’srequired every year. Manyschools What other vaccine acts like this? How can we be so confi- taking concussions dent in guessing which vi- ruses will be prevalent in the more seriously coming season? Ikeep won- dering if the vaccine really By Susan Bloom :: For NJ Press Media makes sense, since Idoubt that many people actually One Tu esday in September,19-year-old die from flu. Brookdale Community College sopho- more and star athlete Devin Hope played A. Flu viruses evolve quick- defense as she always did for her school’s ly,which is why each year soccer team —aggressively,giving it her the vaccine is made to pro- all. But something about the shot she tect against different blocked during that day’sgame was dif- strains. If you catch the flu, ferent. your body will recognize “The ball hit me in my right temple, that particular strain, but and it really hurt,” she said. “Ididn’tgo not the slightly different one down, Ijust kept playing, but all the way that may emerge next year home Iwas really dizzy and nauseous and or the year after.You are my head was in excruciating pain, like I right that most other vac- had amigraine. -
T Run up the Stairs!’: Why Removing the Paramount Decrees Would Be Bad for Hollywood
‘DON’T RUN UP THE STAIRS!’: WHY REMOVING THE PARAMOUNT DECREES WOULD BE BAD FOR HOLLYWOOD TYLER RIEMENSCHNEIDER* I. INTRODUCTION Have you ever watched a really great scary movie? A tingle runs down your spine and you feel your muscles tense up as you watch the monster slowly close in on the film’s protagonists. You can feel a sense of dread building up within you; try as they might, the camp counselors, the newly-moved family, the babysitting high schooler, are all helpless. Sure, maybe they’ve made some dumbfounding mistakes (“Don’t run up the stairs!”), but do they deserve the fate they’re sure to meet? In many ways, modern Hollywood feels like a scary movie. Long gone are the days where the major film studios used anticompetitive tactics to bend the rest of the industry to their will. That era was brought to an end via the Paramount Decrees, a series of consent decrees and court opinions in the 1940s and 1950s which used antitrust law to break up the studios’ control and allowed other groups to gain a foothold in the industry.1 Instead, the studios are playing the roles of horror-movie victims, desperately trying to escape the clutches of the Silicon Valley boogeyman. Not only are streaming services like Netflix and Amazon providing consumers with a cheaper, more * Juris Doctor Candidate, 2020, The Ohio State University Michael E. Moritz College of Law. 1 “The Department filed an antitrust lawsuit alleging that eight major motion picture companies had conspired to control the motion picture industry through their ownership of film distribution and exhibition. -
Catfish Discussion Guide
www.influencefilmforum.com Catfish Discussion Guide Director: Henry Joost, Ariel Schulman Year: 2010 Time: 87 min You might know this director from: Paranormal Activity 4 (2012) Paranormal Activity 3 (2011) NY Export: Opus Jazz (2010) FILM SUMMARY From the inception of public internet usage in the early 1990s to the birth of Facebook in 2004, the presence and increasing noise of social media continues to increase in our lives. CATFISH offers a bare-bones analysis of how electronic communication devices and channels, such as Facebook, allow us to create myths about ourselves, invent alternate identities, and even lead us on the rollercoaster of a false love affair. In CATFISH, Yaniv “Nev” Schulman receives an email from an 8-year old, small-town Michigan girl named Abby who wanted to paint some of Nev’s photographs. This seemingly innocent email is the first thread in a twisted web of lies and deceit. The email comes from the suppressed, emotionally downfallen Angela, mother of Abby and stepmother of two severely handicapped sons. Angela feels she has sacrificed so much of her life and that the days of being an artistic, free-thinking woman who is worthy of love have passed her by. At her lowest point, Angela grasps for a pinprick of hope, and there she finds Facebook, with Nev at the other end, ready, willing and equally hungry for the emotional bond that Angela offers. Through a network of fake identities and connections, Angela creates Megan, “a real friendship that I was looking for,” Nev admits once the truth is revealed. -
The Contemporary American Horror Film Remake, 2003-2013
RE-ANIMATED: THE CONTEMPORARY AMERICAN HORROR FILM REMAKE, 2003-2013 Thesis submitted by Laura Mee In partial fulfilment of the requirements for the award of Doctor of Philosophy De Montfort University, March 2014 Abstract This doctoral thesis is a study of American horror remakes produced in the years 2003-2013, and it represents a significant academic intervention into an understanding of the horror remaking trend. It addresses the remaking process as one of adaptation, examines the remakes as texts in their own right, and situates them within key cultural, industry and reception contexts. It also shows how remakes have contributed to the horror genre’s evolution over the last decade, despite their frequent denigration by critics and scholars. Chapter One introduces the topic, and sets out the context, scope and approach of the work. Chapter Two reviews the key literature which informs this study, considering studies in adaptation, remaking, horror remakes specifically, and the genre more broadly. Chapter Three explores broad theoretical questions surrounding the remake’s position in a wider culture of cinematic recycling and repetition, and issues of fidelity and taxonomy. Chapter Four examines the ‘reboots’ of one key production company, exploring how changes are made across versions even as promotion relies on nostalgic connections with the originals. Chapter Five discusses a diverse range of slasher film remakes to show how they represent variety and contribute to genre development. Chapter Six considers socio-political themes in 1970s horror films and their contemporary post-9/11 remakes, and Chapter Seven focuses on gender representation and recent genre trends in the rape-revenge remake.