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Félags- Og Mannvísindadeild
Félags- og mannvísindadeild MA-ritgerð Blaða- og fréttamennska Slægjur Undirflokkur hryllingsmynda Oddur Björn Tryggvason September 2009 Félags- og mannvísindadeild MA-ritgerð Blaða- og fréttamennska Slægjur Undirflokkur hryllingsmynda Oddur Björn Tryggvason September 2009 Leiðbeinandi: Guðni Elísson Nemandi: Oddur Björn Tryggvason Kennitala: 070278-5459 Ágrip Slægjur eru undirflokkur hryllingsmynda sem áttu blómaskeið sitt um miðbik áttunda áratugarins og fyrri hluta þess níunda. Þessar tegundir mynda þóttu ekki merkilegar út frá kvikmyndalegu sjónarmiði og voru harðlega gagnrýndar. Slægjurnar voru álitnar þrepinu ofar en klámmyndir. Auðvelt er að afskrifa myndirnar sökum einsleitni þeirra en þegar betur er að gáð má glögglega sjá að þær eru afsprengi umhverfisins og lýsandi dæmi um þann veruleika sem ákveðin kynslóð upplifði. Óvættirnir voru gjarnan táknrænir fyrir refsivendi óæskilegrar hegðunar og góð gildi ásamt sjálfsbjargarhvöt voru það sem þurfti til að lifa af. Félags- og stjórnmálalegar aðstæður höfðu sitt að segja í upprisu þessarra mynda og þær öðluðust vinsældir á umrótartíma í Bandaríkjunum. Fjallað verður um þessa tegund mynda og leitast við að varpa ljósi á menningarlegt gildi þeirra. bls. 3 Abstract Slasher films are a sub category within horror films that had it‘s glory days in the late seventies and early eighties. These films were not considered very noteworthy from a cinematic viewpoint and were harshly criticized by critics. Slasher films were thought to be one nocth above pornographic films. It‘s easy to write these films off because of their simplitcity but looking beneath the cover one can clearly see that these films are culturally significant and are indicative of a reality experienced by a certain generation. -
Facultad De Ciencias Políticas, Sociales Y De La Comunicación Trabajo De Fin De Grado Grado En Periodismo
Facultad de Ciencias Políticas, Sociales y de la Comunicación Trabajo de Fin de Grado Grado en Periodismo La evolución de la mujer en el subgénero de cine de terror “slasher”: análisis desde una perspectiva de género Alumna: Nieves Martín Ortega Tutor: Luis Fernando Iturrate Cárdenes Curso académico 2018/2019 Resumen La intención de esta investigación es realizar un análisis de los personajes femeninos presentes en el subgénero de terror conocido como “slasher”, y su evolución a lo largo de los años. Se podría decir que el subgénero slasher nace en los 70, con películas como Halloween y La matanza de Texas, que incluirían elementos que serían repetidos hasta la saciedad por futuras películas slasher. A partir de ahí, el subgénero sufre una serie de renacimientos, reinvenciones y remakes a lo largo de varias décadas, hasta llegar a la actualidad. Pero, a pesar de todos los cambios, siempre estará presente en el subgénero la figura de la ‘final girl’, o chica final. Es en esta figura en la que me centraré para analizar la evolución de los personajes femeninos a lo largo de la historia del slasher. Para ello, se han analizado x películas de las principales décadas de éxito del slasher, en las que aparece el personaje de la chica final. Las cuestiones a analizar se han seleccionado en base a conocimientos previos y desde aquellos conceptos más relevantes encontrados en la base teórica de este trabajo. 2 Índice Introducción 4 Justificación 5 Antecedentes y estado actual 7 Marco teórico 13 Objetivos e hipótesis 17 Metodología 18 Resultados y análisis 19 Conclusiones 30 Bibliografía 33 3 1. -
The Fog Free
FREE THE FOG PDF James Herbert | 352 pages | 05 Mar 2010 | Pan MacMillan | 9780330515313 | English | London, United Kingdom The Fog - Wikipedia Looking for a movie the entire family can enjoy? Check out our picks for family friendly movies movies that transcend all ages. For even more, visit our Family Entertainment Guide. See the full list. Against the backdrop of spine-chilling stories of drowned mariners and a year-old shipwreck lying on the bottom The Fog the sea, the peaceful community of the coastal town of Antonio Bay, California is making preparations to celebrate its centennial. However--as strange supernatural occurrences blemish the festivities--an impenetrable opaque mist starts to shroud the seaside village, leading to unaccountable disappearances and the spilling of warm bright-red blood. One long century ago, a hideous crime was committed The Fog the town's elders. Now, the restless dead have returned for revenge, demanding justice. Is there something evil lurking in the fog? Written by Nick Riganas. I watched The Fog for the first time since the early 's the other night. John Carpenter and Debra Hill did a fine job with this one. The good points of the movie deal with the overall story and the setting of the film. The story is explained fully during the movie and the setting in California is superb and creepy. The music is The Fog disturbing. The background music coupled with The Fog uneasiness and lonliness of the town, Antonio Bay, is very effective. No gore whatsoever in this one so the whole family may watch this movie together. -
Queer Presence in Post Modern Horror Films
Georgia State University ScholarWorks @ Georgia State University English Theses Department of English 7-17-2009 Where I am, There (Sh)it will be: Queer Presence in Post Modern Horror Films Melanie McDougald Follow this and additional works at: https://scholarworks.gsu.edu/english_theses Part of the English Language and Literature Commons Recommended Citation McDougald, Melanie, "Where I am, There (Sh)it will be: Queer Presence in Post Modern Horror Films." Thesis, Georgia State University, 2009. https://scholarworks.gsu.edu/english_theses/66 This Thesis 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 Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. WHERE I AM, THERE (SH)IT WILL BE: QUEER PRESENCE IN POST MODERN HORROR FILMS by MELANIE MCDOUGALD Under the Direction of Margaret Mills Harper ABSTRACT This paper will consider the function of queer space and presence in the post modern horror film genre. Beginning with George Romero‟s 1968 film Night of the Living Dead and continuing through to contemporary examples of the genre, the paper posits the function of the queer monster or monstrous as integral to and representative of the genre as a whole. The paper analyzes both the current theory and scholarship of the genre and through Lacanian psychoanalytic theory and queer theory offers a theory of how these theories can add to existing theory -
The Fog Music by John Carpenter Expanded Edition Original Film Soundtrack
JOHN CARPENTER’S THE FOG MUSIC BY JOHN CARPENTER EXPANDED EDITION ORIGINAL FILM SOUNDTRACK THE 2000 REMIXED SOUNDTRACK ALBUM 1. Prologue from The Fog 2. Theme from The Fog 3. Matthew Ghost Story 4. Walk To The Lighthouse 5. Rocks At Drake’s Bay 6. The Fog 7. Antonio Bay 8. Tommy Tells Of Ghost Ships 9. Reel 9 10. Main Theme - Reprise 11. The Fog Rolls In 12. Blake In The Sanctuary 13. Finale 14. Radio Interview with Jamie Lee Curtis THE ORIGINAL 1980 SCORE CUES 1. Ghost Story 2. The Journal 3. Seagrass Attack 4. Andy on the Beach 5. Where’s The Seagrass? 6. Stevie’s Lighthouse 7. Something to Show You 8. An Evil Plan 9. Weatherman 10. Walk to Lighthouse 11. Dane 12. Morgue 13. The Fog Approaches 14. Knock at the Door 15. Fog Reflection 16. Andy’s In Trouble 17. The Fog Enters Town 18. Revenge 19. Number 6 20. The Fog End Credits STARRING ADRIENNE BARBEAU as STEVIE WAYNE JAMIE LEE CURTIS as ELIZABETH SOLLEY JANET LEIGH as KATHY WILLIAMS JOHN HOUSEMAN as MR. MACHEN TOM ATKINS as NICK CASTLE JAMES CANNING as DICK BAXTER CHARLES CYPHERS as DAN O’BANNON NANCY KYES as SANDY FADEL TY MITCHELL as ANDY WAYNE HAL HOLBROOK as FATHER MALONE DARWIN JOSTON as DR. PHIBES And JOHN CARPENTER as BENNETT Directed by JOHN CARPENTER Written by JOHN CARPENTER and DEBRA HILL Produced by DEBRA HILL Original Music by JOHN CARPENTER Cinematography by DEAN CUNDEY Film Editing by CHARLES BORNSTEIN and TOMMY LEE WALLACE Production Design by TOMMY LEE WALLACE Costume Design by STEPHEN LOOMIS and BILL WHITTENS Special Makeup Effects ROB BOTTIN In a year that would see the release of such order to plunder the ship’s stores; out of the fog’s well regarded by current evaluations. -
“Halloween” Returns to Theatres! Original 1978 Teenage Horror Classic Will Play in 125 Select Movie Theatres Nationwide on Oct
“HALLOWEEN” RETURNS TO THEATRES! ORIGINAL 1978 TEENAGE HORROR CLASSIC WILL PLAY IN 125 SELECT MOVIE THEATRES NATIONWIDE ON OCT. 30 & 31, 2006 Digitally Remastered “Halloween” will be Shown for First Time in High-Definition, Plus an In-Theatre Exclusive 20-Minute Featurette with Original Cast Members and Rob Zombie Presented by Trancas International, VOOM’s Monsters HD and National CineMedia FOR IMMEDIATE RELEASE (Denver, CO & Hollywood, CA) October 16, 2006 – Psychotic murderer Michael Myers is coming home this Halloween…he’s back on the big screen for two nights of terror – October 30th & 31st – in select movie theatres nationwide. This special event, featuring the original 1978 teen horror classic “Halloween” digitally remastered in High- Definition, will also include on-screen interviews with cast members as well as an exclusive insider conversation with Rob Zombie, writer/director of “Halloween 9” due out in October 2007. “Halloween” will be presented by Trancas International, VOOM’s Monsters HD and National CineMedia at 8:00 p.m. local time in 125 Regal, United Artists, Edwards, AMC and Georgia Theatre Company movie theatres located across the US. Tickets are available now at www.BigScreenBoxOffice.com or at presenting theatre box offices for $10.00. (For a complete list of theatres, please visit the website.) Rob Zombie said, “I have the privilege of re-imagining ‘Halloween’ for a new generation of audiences with our new production coming out next year. The original ‘Halloween’ is hallowed ground to me, and I’m glad that audiences will be able to see it again in theaters for the first time since 1978.” ABOUT THE ORIGINAL “HALLOWEEN:” While many horror films have been released involving teenagers getting hacked to pieces by a masked madman or gruesome killer, “Halloween” remains the mother of them all. -
Remaking Horror According to the Feminists Or How to Have Your Cake and Eat It, Too David Roche
Remaking Horror According to the Feminists Or How to Have your Cake and Eat It, Too David Roche To cite this version: David Roche. Remaking Horror According to the Feminists Or How to Have your Cake and Eat It, Too. Représentations : la revue électronique du CEMRA, Centre d’Etudes sur les Modes de la Représentation Anglophone 2017. hal-01709314 HAL Id: hal-01709314 https://hal.archives-ouvertes.fr/hal-01709314 Submitted on 14 Feb 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Représentations dans le monde Anglophone – Janvier 2017 Remaking Horror According to the Feminists Or How to Have your Cake and Eat It, Too David Roche, Université Toulouse Jean Jaurès Key words: horror, remake, feminist film theory, post-feminism, politics. Mots-clés : horreur, remake, théorie féministe, post-féminisme, politiques identitaires. Remakes, as Linda Hutcheon has noted, “are invariably adaptations because of changes in context” (170), and this in spite of the fact that the medium remains the same. What Robert Stam has said of film adaptations is equally true of remakes: “they become a barometer of the ideological trends circulating during the moment of production” because they “engage the discursive energies of their time” (45). -
Do Original Ao Remake
UNIVERSIDADE CATÓLICA PORTUGUESA Slashers: do Original ao Remake Dissertação apresentada à Universidade Católica Portuguesa para obtenção do grau de mestre em Ciências da Comunicação - Comunicação, Televisão e Cinema Por Bruno Miguel Silva e Cunha Faculdade de Ciências Humanas Janeiro de 2015 UNIVERSIDADE CATÓLICA PORTUGUESA Slashers: do Original ao Remake Dissertação apresentada à Universidade Católica Portuguesa para obtenção do grau de mestre em Ciências da Comunicação - Comunicação, Televisão e Cinema Por Bruno Miguel Silva e Cunha Faculdade de Ciências Humanas Sob orientação de Catarina Duff Burnay Janeiro de 2015 1 Resumo Verifica-se, na história do cinema, a utilização repetida de temas e enredos com a capacidade de chegar aos espectadores. Desde os grandes estúdios ao cinema independente, é possível identificar a aplicação de uma espécie de fórmula para cada género narrativo, fazendo com que os indivíduos consumam cada filme e cada história como se fossem únicos e diferentes. Um destes géneros é o Slasher. Desde a década de setenta que são produzidos filmes que obedecem a indicadores semelhantes e facilmente reconhecíveis pelo espectador. O seu sucesso massivo tem permitido não só a criação de novos títulos, como a reinvenção, mediante a oferta de mash ups e, acima de tudo, remakes. Com esta dissertação, pretende-se verificar se existe consistência nos padrões das narrativas Slashers originais comparativamente aos seus remakes, pelo que foi construída a seguinte pergunta de partida: “De que modo é que as convenções do subgénero Slasher são trabalhadas nos remakes?” Foi elaborada uma grelha composta por indicadores definidos com base nas características do subgénero Slasher. Para o preenchimento de todos os indicadores, foram visualizados dez filmes do subgénero Slasher, sendo eles cinco originais e os cinco respectivos remakes. -
Reassessing Feminist Film Approaches to the Slasher Genre in the #Metoo Era
THE LAST BREATH IS HERS: REASSESSING FEMINIST FILM APPROACHES TO THE SLASHER GENRE IN THE #METOO ERA A Paper Submitted to the Graduate Faculty of the North Dakota State University of Agriculture and Applied Science By Hannah Leigh Stevens In Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Major Department: English April 2019 Fargo, North Dakota North Dakota State University Graduate School Title THE LAST BREATH IS HERS: REASSESSING FEMINIST FILM APPROACHES TO THE SLASHER GENRE IN THE #METOO ERA By Hannah Leigh Stevens The Supervisory Committee certifies that this disquisition complies with North Dakota State University’s regulations and meets the accepted standards for the degree of MASTER OF ARTS SUPERVISORY COMMITTEE: Dr. Emily Wicktor Chair Dr. Alison Graham-Bertolini Hardy Koenig Approved: 4/08/19 Dr. Rebecca Weaver-Hightower Date Department Chair ABSTRACT You’re Next (2011) and Hush (2016), feature women who at first glance resemble stereotypical final girls. However, throughout their respective films, Erin (You’re Next) and Maddie (Hush) break the expected binary outcome of either a dead girl or franchised final girl, and are recognized as a different iteration of the final girl—a girl who both survives a brutal attack and is able to actively bring resolution to the narrative, representing a turn toward critically and socially sensitive representations of a woman’s experience. In seeing this current trajectory of Erin to Maddie to a new Laurie (Halloween 2018), a revolutionary trend develops that fractures, complicates, and invigorates tired slasher tropes. By recognizing and tracing this trend I give voice to and identify a theory that complicates the final girl, encompasses both of these women characters, and places these films in the realm of a more complex, feminist, depiction of horror. -
Queer Tension : Le Teuer Inside Me
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 8-2010 Queer tension : Le Teuer inside me. Nicholas Ryan Wood 1986- University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Wood, Nicholas Ryan 1986-, "Queer tension : Le Teuer inside me." (2010). Electronic Theses and Dissertations. Paper 1587. https://doi.org/10.18297/etd/1587 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. QUEER TENSION: LE TEUER INSIDE ME By Nicholas Ryan Wood B.A., Centre College, 2004 A Thesis Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Arts Department of English University of Louisville Louisville, Kentucky August 2010 Copyright 2010 by Nicholas Ryan Wood All rights reserved QUEER TENSION: LE TEUER INSIDE ME By Nicholas Ryan Wood B.A., Centre College, 2010 A Thesis Approved on August 2, 2010 by the following Thesis Committee: TheSis Director ii ABSTRACT QUEER TENSION: LE TEUER INSIDE ME Nicholas Ryan Wood August 2, 2010 The film High Tension (2005) is a complex and powerfully threatening portrait of queer monstrosity and negativity. -
Scream (1996) Full Cast & Crew Directed by Wes Craven Writing
Scream (1996) Full Cast & Crew Directed by Wes Craven Writing Credits (WGA) Kevin Williamson ... (written by) Cast (in credits order) verified as complete Drew Barrymore ... Casey Roger Jackson ... Phone Voice (voice) Kevin Patrick Walls ... Steve David Booth ... Casey's Father Carla Hatley ... Casey's Mother Neve Campbell ... Sidney Skeet Ulrich ... Billy Lawrence Hecht ... Mr. Prescott Courteney Cox ... Gale Weathers W. Earl Brown ... Kenny Rose McGowan ... Tatum Lois Saunders ... Mrs. Tate David Arquette ... Deputy Dewey Joseph Whipp ... Sheriff Burke Matthew Lillard ... Stuart Jamie Kennedy ... Randy Lisa Beach ... TV Reporter #1 Tony Kilbert ... TV Reporter #2 C.W. Morgan ... Hank Loomis Frances Lee McCain ... Mrs. Riley Liev Schreiber ... Cotton Weary Troy Bishop ... Expelled Teen #1 Ryan Kennedy ... Expelled Teen #2 Leonora Scelfo ... Cheerleader in Bathroom Nancy Anne Ridder ... Girl in Bathroom (as Nancy Ann Ridder) Lisa Canning ... Reporter with Mask Bonnie Wood ... Young Girl in Video Store Aurora Draper ... Party Teen #1 Kenny Kwong ... Party Teen #2 Justin Sullivan ... Teen on Couch Kurtis Bedford ... Bored Teen Angela Miller ... Girl on Couch Rest of cast listed alphabetically: Linda Blair ... Obnoxious Reporter (uncredited) Wes Craven ... Fred the Janitor (uncredited) Matt McDonald ... Video Customer (uncredited) Freddy W. Smith ... Hall Monitor (uncredited) Henry Winkler ... Principal Arthur Himbry (uncredited) Halloween (1978) Full Cast & Crew Directed by John Carpenter Writing Credits John Carpenter ... (screenplay) and Debra Hill ... (screenplay) Cast (in credits order) verified as complete Donald Pleasence ... Dr. Sam Loomis Jamie Lee Curtis ... Laurie Strode Nancy Kyes ... Annie Brackett (as Nancy Loomis) P.J. Soles ... Lynda van der Klok Charles Cyphers ... Sheriff Leigh Brackett Kyle Richards ... Lindsey Wallace Brian Andrews .. -
Un Pays Qui Se Tient Sage
a garanti sans 3D Ciném TOULOUSE Borderouge (59 Avenue Maurice Bourges-Maunoury) 05 61 50 50 43 • TOURNEFEUILLE (Impasse du Château) 05 34 51 48 38 UN PAYS QUI SE TIENT SAGE Film documentaire « Or, sous tous les cieux, sans ver- d’hier que les rapports entre le Peuple de David DUFRESNE gogne / C’est un usage bien établi / français et la (nécessaire) force publique France 2020 1h26 Dès qu’il s’agit de rosser les cognes / – sensément « instituée pour l’avantage avec les participations croisées Tout le monde se réconcilie » (Georges de tous, et non pour l’utilité particulière de journalistes, de chercheurs, de Brassens, Hécatombe, 1953) de ceux auxquels elle est confiée » (nous militants, de syndicalistes policiers… dit la Déclaration des droits de l’homme et d’Alain Damasio. « Cogne », mot d’argot qui désigne de- de 1789) – sont compliqués, voire ten- puis le 18e siècle, aussi bien chez Hugo dus. Pour le moins. Journaliste indé- « Môme ! On ne dit pas les sergents de que chez Brassens, un gendarme ou un pendant, observateur attentif et intran- ville, on dit les cognes ! » (Victor Hugo, policier, vient bien évidemment de « co- sigeant de la vie publique (on lui doit Les Misérables, 1862) gner ». On le voit, ce n’est donc pas de formidables enquêtes, livres et web- No 267 Du 7 octobre au 10 novembre 2020 / Entrée: 7€ / (1re séances à 4,5€) / Abonnement : 50€ les 10 places Dimanche 25 octobre, 2 rencontres exceptionnelles avec Utopia compte sur vous David Dufresne : à 14h à Borderouge avec le Tactikollectif sur Ulule ! Aidez-nous à et à 19h30 à Tournefeuille avec l'Observatoire des bâtir le premier cinéma Pratiques Policières.