Norwescon 34 ‐ Thursday
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Download the Pocket Program
Northwest’s Premier Science Fiction & Fantasy Convention Norwescon Pocket Program & Event Descriptions April 1− 4 2010 Northwest’s Premier Science Fiction & Fantasy Convention ©John Jude Palencar TABLE OF CONTENTS Hours of Operation . 2 Members Rules . 3 WELCOME Convention Hints . 5 The Convention Committee wishes to welcome you to Norwescon 33! This pocket program Guest of Honor Locations . 11 contains information on the location and schedules for events and services that are Autograph Sessions . 13 available throughout the convention. For more information on these events look in our Program Book, or visit the information table located in the convention space lobby. Also Thursday Programming Grids . 14 remember to check out the Dailyzine for announcements, changes and updates to the programming schedule. Thursday Programming by Subject . 22 Again we the Norwescon ConCom hope you have a Great Time! Friday Programming Grids . 32 Friday Programming by Subject . 40 VOLUNTEERS Saturday Programming Grids . 66 Saturday Programming by Subject . 74 Norwescon 33’s volunteers - staff, leads,and assistants - wish to thank those of you who have given so much to make this event possible. From those who made up Norwescon 33’s Sunday Programming Grids . 102 Executive Team, to concom staff and their assistants, to the fellow who walked in the door Sunday Programming by Subject . 106 and asked, “Where do you need me?” You are all gems in the sea of humanity, and for that you deserve a heartfelt THANK YOU. Without you, this event would not have been possible. Gaming Schedule . 114 Gaming by Subject . 115 Brian Pickett Exhibiting Artists . 120 Norwescon 33 Volunteer Services Lead Artists Alley Participants . -
New Terrors, Emerging Trends and the Future of Japanese Horror
Chapter Six: New Terrors, Emerging Trends and the Future of Japanese Horror Repetition, Innovation, and ‘J-Horror’ Anthologies The following pages constitute not only this book’s final chapter, but its conclusion as well. I adopt this structural and rhetorical manoeuvre for two reasons. Firstly, the arguments advanced in this chapter provide a critical assessment of the state of the horror genre in Japanese cinema at the time of this writing. As a result, this chapter examines not only the rise of a self-reflexive tendency within recent works of Japanese horror film, but also explores how visual and narratological redundancy may compromise the effectiveness of future creations, transforming motifs into clichés and, quite possibly, reducing the tradition’s potential as an avenue for cultural critique and aesthetic intervention. As one might suspect, the promise of quick economic gain – motivated both by the genre’s popularity in Western markets, as well as by the cinematic tradition’s contribution to what James Udden calls a ‘pan-[east-]Asian’ film style (2005: para 5) – inform the fevered perpetuation of predictable shinrei mono eiga (‘ghost films’). Secondly, by examining the emergence of several visually inventive and intellectually sophisticated films by some of Japanese horror cinema’s most accomplished practitioners, this chapter proposes that the creative fires spawned by the explosion of Japanese horror in the 1990s are far from extinguished. As close readings 172 Nightmare Japan of works like Ochiai Masayuki’s Infection (Kansen, 2004), Tsuruta Norio’s Premonition (Yogen, 2004), Shimizu Takashi’s Marebito (2004), and Tsukamoto Shinya’s Vital (2004) variably reveal, the future of Japanese horror cinema may be very bright indeed. -
Poolside and Tricks Free Swim
Friday 4/19/2019 8 8:30 9 9:30 10 10:30 11 11:30 Noon 12:30 1 1:30 2 2:30 3 3:30 4 4:30 5 5:30 6 6:30 7 7:30 8 8:30 9 9:30 10 10:30 11 11:30 Mid 12:30 1 1:30 Pat Scott Caroline Cascade 3 - Marta Chimedum K.G. Sandra M. Cat Patrick Brenda Audrey Curtis C. Ian Sienna Cheryce Cheryl MacEwa Jon Lasser James M. J.F. High Friends of Bill W Readings Murvosh Ohaegbu Anderson Odell Rambo Swenson Cooper Schulman Chen McDonald Saint-Cyr Clayton Dyson n Magner Yoachim Cascade 4 - POC POC Safer Space Safe Space The Ingenuity of Cosplay, Consent, and Painting a Diverse Pre-Masquerade Sex and Romance with How to Start a Writers Human Evolution: What Avengers Dis- Cascade 5&6 Science Builds! Visual Storytelling The Business of Art Complete Fools Other Convention Scrubbing Fic Picture Meeting Monsters Group Does That Really Mean? assemble Hitchhiker's Guide Vocabulary Trench Coats, Capes Story Starts: In the Catharsis and Fear in Cultural Imperialism in Science Fiction/Future Why Nerd Community Putting Together an Cascade 7&8 A Voltron Panel! Horror as Comfort Femminism in Fandom Getting Paid the New Doctor Who and Wraps Beginning Fantasy Everyday Fandom Now Matters Album The Moral of the Story: Maximizing Your The Movie Year in Fictional Religions in Overcoming GM Evolution of the State Putting the Romance Cascade 9 FOSTA-SESTA Fantasy, Horror Current Pitch Idol Fanfic Rec Party Welcome to Slush Working with Worbla Maspuerade Rehearsal Review Fantasy Anxiety Secret Police Back in Necromancy Events LGBTQIA+ NASA's Unsung Building Costumes & Super Hero -
Nominations 1
Section of the WSFS Constitution says The complete numerical vote totals including all preliminary tallies for rst second places shall b e made public by the Worldcon Committee within ninety days after the Worldcon During the same p erio d the nomination voting totals shall also b e published including in each category the vote counts for at least the fteen highest votegetters and any other candidate receiving a numb er of votes equal to at least ve p ercent of the nomination ballots cast in that category The Hugo Administrator reports There were valid nominating ballots and invalid nominating ballots There were nal ballots received of which were valid Most of the invalid nal ballots were electronic ballots with errors in voting which were corrected by later resubmission by the memb ers only the last received ballot for each memb er was counted Best Novel 382 nominating ballots cast 65 Brasyl by Ian McDonald 58 The Yiddish Policemens Union by Michael Chab on 58 Rol lback by Rob ert J Sawyer 41 The Last Colony by John Scalzi 40 Halting State by Charles Stross 30 Harry Potter and the Deathly Hal lows by J K Rowling 29 Making Money by Terry Pratchett 29 Axis by Rob ert Charles Wilson 26 Queen of Candesce Book Two of Virga by Karl Schro eder 25 Accidental Time Machine by Jo e Haldeman 25 Mainspring by Jay Lake 25 Hapenny by Jo Walton 21 Ragamun by Tobias Buckell 20 The Prefect by Alastair Reynolds 19 The Name of the Wind by Patrick Rothfuss Best Novella 220 nominating ballots cast 52 Memorare by Gene Wolfe 50 Recovering Ap ollo -
Screams on Screens: Paradigms of Horror
Screams on Screens: Paradigms of Horror Barry Keith Grant Brock University [email protected] Abstract This paper offers a broad historical overview of the ideology and cultural roots of horror films. The genre of horror has been an important part of film history from the beginning and has never fallen from public popularity. It has also been a staple category of multiple national cinemas, and benefits from a most extensive network of extra-cinematic institutions. Horror movies aim to rudely move us out of our complacency in the quotidian world, by way of negative emotions such as horror, fear, suspense, terror, and disgust. To do so, horror addresses fears that are both universally taboo and that also respond to historically and culturally specific anxieties. The ideology of horror has shifted historically according to contemporaneous cultural anxieties, including the fear of repressed animal desires, sexual difference, nuclear warfare and mass annihilation, lurking madness and violence hiding underneath the quotidian, and bodily decay. But whatever the particular fears exploited by particular horror films, they provide viewers with vicarious but controlled thrills, and thus offer a release, a catharsis, of our collective and individual fears. Author Keywords Genre; taboo; ideology; mythology. Introduction Insofar as both film and videogames are visual forms that unfold in time, there is no question that the latter take their primary inspiration from the former. In what follows, I will focus on horror films rather than games, with the aim of introducing video game scholars and gamers to the rich history of the genre in the cinema. I will touch on several issues central to horror and, I hope, will suggest some connections to videogames as well as hints for further reflection on some of their points of convergence. -
Bamcinématek Presents Ghosts and Monsters: Postwar Japanese Horror, Oct 26—Nov 1 Highlighting 10 Tales of Rampaging Beasts and Supernatural Terror
BAMcinématek presents Ghosts and Monsters: Postwar Japanese Horror, Oct 26—Nov 1 Highlighting 10 tales of rampaging beasts and supernatural terror September 21, 2018/Brooklyn, NY—From Friday, October 26 through Thursday, November 1 BAMcinématek presents Ghosts and Monsters: Postwar Japanese Horror, a series of 10 films showcasing two strands of Japanese horror films that developed after World War II: kaiju monster movies and beautifully stylized ghost stories from Japanese folklore. The series includes three classic kaiju films by director Ishirô Honda, beginning with the granddaddy of all nuclear warfare anxiety films, the original Godzilla (1954—Oct 26). The kaiju creature features continue with Mothra (1961—Oct 27), a psychedelic tale of a gigantic prehistoric and long dormant moth larvae that is inadvertently awakened by island explorers seeking to exploit the irradiated island’s resources and native population. Destroy All Monsters (1968—Nov 1) is the all-star edition of kaiju films, bringing together Godzilla, Rodan, Mothra, and King Ghidorah, as the giants stomp across the globe ending with an epic battle at Mt. Fuji. Also featured in Ghosts and Monsters is Hajime Satô’s Goke, Body Snatcher from Hell (1968—Oct 27), an apocalyptic blend of sci-fi grotesquerie and Vietnam-era social commentary in which one disaster after another befalls the film’s characters. First, they survive a plane crash only to then be attacked by blob-like alien creatures that leave the survivors thirsty for blood. In Nobuo Nakagawa’s Jigoku (1960—Oct 28) a man is sent to the bowels of hell after fleeing the scene of a hit-and-run that kills a yakuza. -
File 770:144
February 2005 1 144 2 File 770:144 Best Dramatic Presentation Retrospective Hugo Awards Long Form (363 ballots) for work done in 1953 The Lord of the Rings: The Return of the King (New Line Cinema). Directed by Peter Jackson; screenplay by Fran Walsh, Best Novel of 1953 (113 ballots) Philippa Boyens & Peter Jackson. Fahrenheit 451 — Ray Bradbury (Ballantine) Best Novella of 1953 (67 ballots) Best Dramatic Presentation “A Case of Conscience” — James Blish (If, Sept. 1953) Short Form (212 ballots) “Gollum’s Acceptance Speech at the 2003 Best Novelette of 1953 (66 ballots) MTV Movie Awards” (Wingnut 144 “Earthman, Come Home” — James Blish Films/New Line Cinema). Written and (Astounding, Nov. 1953) directed by Fran Walsh, Philippa Boyens File 770:144 is edited by Mike & Peter Jackson. Best Short Story of 1953 (96 ballots) Glyer at 705 Valley View Ave., “The Nine Billion Names of God” — Arthur Monrovia CA 91016. File 770 is Best Professional Editor C. Clarke (Star Science Fiction Stories #1, available for news, artwork, (319 ballots) Ballantine) arranged trades, or by subscription: Gardner Dozois $8 for 5 issues, $15 for 10 issues, Best Related Book of 1953 (21 ballots) air mail rate is $2.50. Best Professional Artist Conquest of the Moon — Wernher von Braun, Telephone: (626) 305-1004 Fred L. Whipple & Willy Ley (Viking E-Mail: [email protected] (241 ballots) Press) Art Credits Bob Eggleton Taral: Cover, Bacover Best Dramatic Presentation, Bill Rotsler: 2,3,9,22,23,27,37 Best Semi-Prozine (199 ballots) Short Form, of 1953 (96 ballots) Diana Glyer (photos): 4 Locus, ed. -
Norwescon 36 Post-Con Report 2014
January Norwescon 36 Post-Con Report 2014 GOOD BYE NWC 36, HELLO NWC 37! As we wrap up Norwescon 36, I can only tell you how I feel. It was my first Norwescon as Chairman and I was nervous going into the con, but I can say with absolute conviction that we had a great con. The Norwescon ConCom is the hardest working group of volunteers that anyone could ask for. Both the execs that Brad and I had the honor of hand-picking and their staff worked hard and put on an excellent convention for everyone. It seems too little to just say, “thank you” for your hard work. We wouldn’t be the con we are without all of you. The chairman oversees everything, but there are some departments that are directly under the Chair. They are: Guest of Honor Banquet, charitable events, elections, Google administration, info manager, Phillip K. Dick Event, and EMP liaison. I had a great staff in charge of these and I want to thank them all for their dedicated work. Inside this issue: Ali Grieve picked a fabulous meal and put together the Guest of Honor Banquet on Thursday. People really liked the option to pick which Guest of Honor (GoH) they Art Show Report 2 sat with. Every GoH spoke and we gave them plaques to commemorate their time at Norwescon 36. We also had representatives from our charities speak. Phillip Buff Art Show Awards 3 was in charge of charitable events and he did a super job arranging for them to be at the dinner. -
The Evolution of Japanese Horror Marketing
From Scary to Scary-Cute -The Evolution of Title Japanese Horror Marketing- Author(s) ネルソン,リンジー Citation 明治大学教養論集, 531: 91-116 URL http://hdl.handle.net/10291/19246 Rights Issue Date 2017-12-31 Text version publisher Type Departmental Bulletin Paper DOI https://m-repo.lib.meiji.ac.jp/ Meiji University 明治大学教養論集通巻531 号 (2017• 12) pp. 91-116 From Scary to Scary-Cute: The Evolution of Japanese Horror Marketing NELSON Lindsay Introduction In In the early 2000s I remember seeing a clip from the popular TV Asahi program Matthew's Best Hit TV, the variety show that ran from 2001 2001 to 2006 and featured comedian Takashi Fujii as the blond-haired, buck-toothed buck-toothed "Matthew Minami." The segment focused on "things you can't can't watch" and featured the host and two guests being forced to watch a scene from Ringu 2, the sequel to Hideo Nakata's well-known horror horror film Ringu.1 As the clip from the film played in the lower right- hand corner of the screen (keeping with the Japanese TV tradition of having the audience watch the hosts watch things), "Matthew" and his guests guests covered their eyes, occasionally peeking out from behind them to to utter a shriek of terror. The audience, of course, played along, shriek- ing ing when the film cut to the lifeless face of Sadako staring up at one of the the characters as she tried to climb out of a well. Everything was played up for the cameras, but the terror felt genuine. Almost fifteen years later, I was in Tokyo at the height of the much more aggressive and widespread marketing campaign for the latest film in in the Ringu and Ju-on franchises, Sadako vs. -
The Undead Subject of Lost Decade Japanese Horror Cinema a Thesis
The Undead Subject of Lost Decade Japanese Horror Cinema A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Jordan G. Parrish August 2017 © 2017 Jordan G. Parrish. All Rights Reserved. 2 This thesis titled The Undead Subject of Lost Decade Japanese Horror Cinema by JORDAN G. PARRISH has been approved for the Film Division and the College of Fine Arts by Ofer Eliaz Assistant Professor of Film Studies Matthew R. Shaftel Dean, College of Fine Arts 3 Abstract PARRISH, JORDAN G., M.A., August 2017, Film Studies The Undead Subject of Lost Decade Japanese Horror Cinema Director of Thesis: Ofer Eliaz This thesis argues that Japanese Horror films released around the turn of the twenty- first century define a new mode of subjectivity: “undead subjectivity.” Exploring the implications of this concept, this study locates the undead subject’s origins within a Japanese recession, decimated social conditions, and a period outside of historical progression known as the “Lost Decade.” It suggests that the form and content of “J- Horror” films reveal a problematic visual structure haunting the nation in relation to the gaze of a structural father figure. In doing so, this thesis purports that these films interrogate psychoanalytic concepts such as the gaze, the big Other, and the death drive. This study posits themes, philosophies, and formal elements within J-Horror films that place the undead subject within a worldly depiction of the afterlife, the films repeatedly ending on an image of an emptied-out Japan invisible to the big Other’s gaze. -
American Science Fiction and the Politics of Masculinity, 1965
Making the Men of Tomorrow: American Science Fiction and the Politics of Masculinity, 1965 – 1974 By Jason Bruce James Bourget A thesis submitted to the Graduate Program in English Language and Literature in conformity with the requirements for the Degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada Final submission November, 2016 Copyright © Jason Bruce James Bourget, 2016 Abstract Suggesting that the political diversity of American science fiction during the 1960s and early 1970s constitutes a response to the dominance of social liberalism throughout the 1940s and 1950s, I argue in Making the Men of Tomorrow that the development of new hegemonic masculinities in science fiction is a consequence of political speculation. Focusing on four representative and influential texts from the 1960s and early 1970s, Philip K. Dick’s The Three Stigmata of Palmer Eldritch and Ubik, Robert A. Heinlein’s The Moon Is a Harsh Mistress, and Ursula K. Le Guin’s The Dispossessed, this thesis explores the relationship between different conceptions of hegemonic masculinity and three separate but related political ideologies: the social ethic, market libertarianism, and socialist libertarianism. In the first two chapters in which I discuss Dick’s novels, I argue that Dick interrogates organizational masculinity as part of a larger project that suggests the inevitable infeasibility of both the social ethic and its predecessor, social liberalism. In the next chapter, I shift my attention to Heinlein’s The Moon Is a Harsh Mistress as a way of showing how, unlike Dick, other authors of the 1960s and early 1970s sought to move beyond social liberalism by imagining how new political ideologies, in this case market libertarianism, might change the way men see themselves. -
Norwescon 28 Post Con Report So Easy to Talk to and So Full of Such Interesting Tales from Around the World
Norwescon 28 Post-Con Report October 2005 Exploring the Language of Science Fiction and Fantasy Twenty-Eight An Annual Regional Science Fiction and Fantasy Convention Chairman Shawn Marier The First Page Vice Chairman Tracy Knoedler Welcome to the Postcon report, I’ll make my part short, well Publications Director Patricia Booze short as I can! Editing Team Betty Claar Here you will find the final thoughts and thanks of the staff of Katrina Marire Norwescon 28, a few announcements and hopefully some other Cathy Sullivan useful information for planning out the life of a Science Fiction Fan, check out the fall event schedule for the SFM. Layout Designer Gayle MacArthur I’d personally like to thank my Publication team for all their hard work and dedication to our first year together, Felice Contributing Writers Patricia Booze, Jeffrey Cornish, Nightengale, Katrina Marier, Betty Claar, Cathy Sullivan, Tracy Knoedler, Elizabeth Fellows, Peggy Stewart, R’ykandar Korra’ti, Judy Suryan, Gayle Cheryl Ferguson, Jeromie Foulger, MacArthur, Don Glover, Angela Suryan and Erica Weiland. Jerry Gieseke, Ali Grieve, Shawn Marier, Jamie “Sunny Jim” Morgan, To Shawn and Tracy for believing I could step into some William Sadorus, Anita Taylor, Eric mighty big shoes and to those members of the executive team Weber, Sally Woehrle and concom who helped my team get there. I’d also like to extend a very special thank you to Stephen Photo Department Angela Suryan, Eric Weiland and Hickman and Michael Whelan for their beautiful art work, and special thanks to Tom Walls their amazing generosity in its use. To all that wrote the words, they were all great words.