Louisville Slugger Museum & Factory Goes Batty with Home Run
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List of Shows Master Collection
Classic TV Shows 1950sTvShowOpenings\ AdventureStory\ AllInTheFamily\ AManCalledShenandoah\ AManCalledSloane\ Andromeda\ ATouchOfFrost\ BenCasey\ BeverlyHillbillies\ Bewitched\ Bickersons\ BigTown\ BigValley\ BingCrosbyShow\ BlackSaddle\ Blade\ Bonanza\ BorisKarloffsThriller\ BostonBlackie\ Branded\ BrideAndGroom\ BritishDetectiveMiniSeries\ BritishShows\ BroadcastHouse\ BroadwayOpenHouse\ BrokenArrow\ BuffaloBillJr\ BulldogDrummond\ BurkesLaw\ BurnsAndAllenShow\ ByPopularDemand\ CamelNewsCaravan\ CanadianTV\ CandidCamera\ Cannonball\ CaptainGallantOfTheForeignLegion\ CaptainMidnight\ captainVideo\ CaptainZ-Ro\ Car54WhereAreYou\ Cartoons\ Casablanca\ CaseyJones\ CavalcadeOfAmerica\ CavalcadeOfStars\ ChanceOfALifetime\ CheckMate\ ChesterfieldSoundOff\ ChesterfieldSupperClub\ Chopsticks\ ChroniclesOfNarnia\ CimmarronStrip\ CircusMixedNuts\ CiscoKid\ CityBeneathTheSea\ Climax\ Code3\ CokeTime\ ColgateSummerComedyHour\ ColonelMarchOfScotlandYard-British\ Combat\ Commercials50sAnd60s\ CoronationStreet\ Counterpoint\ Counterspy\ CourtOfLastResort\ CowboyG-Men\ CowboyInAfrica\ Crossroads\ DaddyO\ DadsArmy\ DangerMan-S1\ DangerManSeason2-3\ DangerousAssignment\ DanielBoone\ DarkShadows\ DateWithTheAngles\ DavyCrockett\ DeathValleyDays\ Decoy\ DemonWithAGlassHand\ DennisOKeefeShow\ DennisTheMenace\ DiagnosisUnknown\ DickTracy\ DickVanDykeShow\ DingDongSchool\ DobieGillis\ DorothyCollins\ DoYouTrustYourWife\ Dragnet\ DrHudsonsSecretJournal\ DrIQ\ DrSyn\ DuffysTavern\ DuPontCavalcadeTheater\ DupontTheater\ DustysTrail\ EdgarWallaceMysteries\ ElfegoBaca\ -
Bad for Good William D
Bad For Good William D. Routt Beyond good and evil [1] Even before Tim Burton made a movie based on his life, almost everyone knew two things about Edward D. Wood, Jr. The first was that he directed "the worst movie ever made", Plan 9 From Outer Space (1956). The second was that he was a transvestite. The two things seem to be linked in some way - or, at least, they often crop up together, as they did just now. And, when you think about it, that is strange.[2] But then, reactions to Ed Wood do tend towards the strange. I remember when I first saw Plan 9. It was on television. In fact, I cannot imagine seeing an Ed Wood movie anywhere else but on television; they were made-for-TV, direct-to-video, before such forms were invented. It was late at night (of course). I was tired and the experience was a hallucinatory one. The film did not seem to have a plot. It opened with "Criswell Predicts", for God's sake! Now and then there were shots of Bela Lugosi stalking with his cape over his eyes (not Lugosi at all, as I later learned) and Vampira staring through creepy branches and Tor Johnson menacing with his arms raised and his mouth open. Cadillac hubcaps (or paper plates or plastic models - anyhow, not flying saucers) spinning across the sky. A tremendous amount of stock footage. Meandering pointless dialogue. Nothing happened: it was a movie of pure effect. For years afterward I described this film of my imagining, whose title I had forgotten, to people who were not interested. -
I Look at This Slush and Try to Remember — at One Time I Made Good
54 SHOWGIRLS, TEEN WOLVES AND ASTRO ZOMBIES HOLY WOOD! Growing up, we were always a family of movie-watchers. When my mum passed away in 2006, I devoted my only Empire editorial to how her guiding me through early screenings of The Wizard Of Oz and Psycho greatly informed my appreciation of how cinema could be artistic, scary and funny all at once. Her simple advice — ‘If a movie doesn’t grab you within 10 minutes, it’s probably not going to’ — similarly has stuck with me, both as a reviewer and a would-be scriptwriter. Dad’s appreciation of movies was less theoretical but also resonant. Two decades of watching war movies with the retired army reservist — ‘Look at that, walking on a ridge in silhouette!’ was a favourite, followed by a machine-gun noise to indicate he’d just killed all of our heroes — bred an intolerance for flagrant inauthenticity. It was also Dad, who as a salesman for publishers Harper & Row, one night brought home J. Hoberman and Jonathan MARCH Rosenbaum’s fantastic 1983 book Midnight Movies, which expanded my film reading beyond Famous Monsters, Starlog and Fangoria and opened my eyes to — and created an appetite for — the alternative cinema of George Romero, John Waters, David Lynch and Ed Wood. A year later, through his connections, Dad put me forward for a ‘Kids rate the movies’ feature in the Sydney Morning Herald. My 300-word review, of an Aussie flick called Street Hero, wasn’t exactly Pauline Kael calibre (‘The only fault I could pick, in my opinion, is that some scenes are a little unrealistic …’) but it was a start and definitely helped chart my course. -
HORROR FILMS Page 1 of 23
HORROR FILMS Page 1 of 23 HORROR FILMS Horror Films are unsettling films designed to frighten and panic, cause dread and alarm, and to invoke our hidden worst fears, often in a terrifying, shocking finale, while captivating and entertaining us at the same time in a cathartic experience. Horror films effectively center on the dark side of life, the forbidden, and strange and alarming events. They deal with our most primal nature and its fears: our nightmares, our vulnerability, our alienation, our revulsions, our terror of the unknown, our fear of death and dismemberment, loss of identity, or fear of sexuality. Horror films go back as far as the onset of films themselves, over a 100 years ago. From our earliest days, we use our vivid imaginations to see ghosts in shadowy shapes, to be emotionally connected to the unknown and to fear things that are improbable. Watching a horror film gives an opening into that scary world, into an outlet for the essence of fear itself, without actually being in danger. Weird as it sounds, there's a very real thrill and fun factor in being scared or watching disturbing, horrific images. Whatever dark, primitive, and revolting traits that simultaneously attract and repel us are featured in the horror genre. Horror films are often combined with science fiction when the menace or monster is related to a corruption of technology, or when Earth is threatened by aliens. The fantasy and supernatural film genres are not synonymous with the horror genre, although thriller films may have some relation when they focus on the revolting and horrible acts of the killer/madman. -
Contents PROOF
PROOF Contents List of Illustrations ix Acknowledgements x About the Contributors xi Introduction 1 1 A-Bombs, B-Pictures, and C-Cups 17 DavidJ.Skal 2 ‘It’s in the Trees! It’s Coming!’ NightoftheDemonand the Decline and Fall of the British Empire 33 Darryl Jones 3 Mutants and Monsters 55 Kim Newman 4 ‘Don’t Dare See It Alone!’ The Fifties Hammer Invasion 72 Wayne Kinsey 5 Genre, Special Effects and Authorship in the Critical Reception of Science Fiction Film and Television during the 1950s 90 Mark Jancovich and Derek Johnston 6 Hammer’s Dracula 108 Christopher Frayling 7 Fast Cars and Bullet Bras: The Image of the Female Juvenile Delinquent in 1950s America 135 Elizabeth McCarthy 8 ‘A Search for the Father-Image’: Masculine Anxiety in Robert Bloch’s 1950s Fiction 158 Kevin Corstorphine 9 ‘Reading her Difficult Riddle’: Shirley Jackson and Late 1950s’ Anthropology 176 Dara Downey vii July 5, 2011 12:20 MAC/CAME Page-vii 9780230_272217_01_prexiv PROOF viii Contents 10 ‘At My Cooking I Feel It Looking’: Food, Domestic Fantasies and Consumer Anxiety in Sylvia Plath’s Writing 198 Lorna Piatti-Farnell 11 ‘All that Zombies Allow’ Re-Imagining the Fifties in Far from Heaven and Fido 216 Bernice M. Murphy Bibliography 234 Filmography 244 Index 250 July 5, 2011 12:20 MAC/CAME Page-viii 9780230_272217_01_prexiv PROOF 1 A-Bombs, B-Pictures, and C-Cups1 David J. Skal When the atomic bomb leveled Hiroshima on 6 August 1945, newspaper readers learned not only of the appalling devastation but also of the explosion’s unearthly beauty, a glowing hothouse blossom rising to the heavens. -
Transatlantica, 2 | 2015 Exploiting Exploitation Cinema: an Introduction 2
Transatlantica Revue d’études américaines. American Studies Journal 2 | 2015 The Poetics and Politics of Antiquity in the Long Nineteenth-Century / Exploiting Exploitation Cinema Exploiting Exploitation Cinema: an Introduction David Roche Electronic version URL: http://journals.openedition.org/transatlantica/7846 DOI: 10.4000/transatlantica.7846 ISSN: 1765-2766 Publisher AFEA Electronic reference David Roche, “Exploiting Exploitation Cinema: an Introduction”, Transatlantica [Online], 2 | 2015, Online since 14 July 2016, connection on 29 April 2021. URL: http://journals.openedition.org/transatlantica/ 7846 ; DOI: https://doi.org/10.4000/transatlantica.7846 This text was automatically generated on 29 April 2021. Transatlantica – Revue d'études américaines est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Exploiting Exploitation Cinema: an Introduction 1 Exploiting Exploitation Cinema: an Introduction David Roche 1 What is exploitation cinema? Exploitation cinema is not a genre; it is an industry with a specific mode of production. Exploitation films are made cheap for easy profit. “Easy” because they are almost always genre films relying on time-tried formulas (horror, thillers, biker movies, surfer movies, women-in-prison films, martial arts, subgenres like gore, rape-revenge, slashers, nazisploitation, etc.). “Easy” because they offer audiences what they can’t get elsewhere: sex, violence and taboo topics. “Easy” because they have long targetted what has since become the largest demographic group of moviegoers: the 15-25 age group (Thompson and Bordwell, 310, 666). The exploitation film is not a genre, and yet it is often described as such.1 This is, no doubt, because these movies do, as a group, share common semantic, syntactic and pragmatic elements that, for Rick Altman, make up the “complex situation” that is a film genre (Altman, 84). -
Infousa Dvds 2015
InfoUSA - DVD List Documentary Films: 1) Abraham and Mary Lincoln: A House Divided (6 x 60 min/ 2001/ PBS) 2) Against the Odds: The Artists of the Harlem Renaissance (60 min/ 1993/ Amber Edwards) 3) America Revealed (240 min/ 2012/ PBS) 4) American President (5 x 120 min/ 2000) 5) Andy Warhol (4 hours/ 2006/ PBS, Ric Burns) 6) Andy Warhol: The Complete Picture (104 min/ 2003/ Chris Rodley) 7) Annie Leibovitz: Life Through a Lens (83 min/ 2007/ Barbara Leibovitz) 8) Ansel Adams (100 min/ 2002/ PBS) 9) art:21 - Art in The Twenty-First Century: Season One & Season Two (8 x 60 min/ 2001/ PBS) 10) Arthouse Films - Beautiful Losers (90 min/ 2008/ Aaron Rose) 11) Arthouse Films - Herb & Dorothy (87 min/ 2008/ Megumi Sasaki) 12) Arthouse Films - Jean-Michel Basquiat: The Radiant Child (93 min/ 2010/ Tamra Davis) 13) Arthouse Films - Joan Mitchell: Portrait of an Abstract Painter (58 min/ 1993/ Marion Cajori) 14) Arthouse Films - Next (95 min/ 2005/ Pablo Aravena) 15) Arthouse Films - Painters Painting (116 min/ 1973/ Emile de Antonio) 16) Arthouse Films - Rem Koolhaas (97 min/ 2007/ Markus Heidingsfelder) 17) Arthouse Films - Visual Acoustics (83 min/ 2009/ Eric Bricker) 18) Ascent of Man (5x DVD - 676 min/ 1973-2007/Jacob Bronowski & Adrian Malone) 19) Atomic Cafe (88 min/ 1982/ Jayne Loader, Kevin Rafferty, Pierce Rafferty) 20) Barack Obama: From His Childhood Years to His Historic Election (47 min/ 2008/ Biography Channel) 21) Baseball (1140 min - 10 DVD/ 1994/ PBS) 22) Black Power Mixtape 1967-1975 (96 min/ 2011/ Göran Olsson) 23) Bob Dylan: -
SFRA Newsletter
University of South Florida Scholar Commons Digital Collection - Science Fiction & Fantasy Digital Collection - Science Fiction & Fantasy Publications 10-1-1992 SFRA ewN sletter 200 Science Fiction Research Association Follow this and additional works at: http://scholarcommons.usf.edu/scifistud_pub Part of the Fiction Commons Scholar Commons Citation Science Fiction Research Association, "SFRA eN wsletter 200 " (1992). Digital Collection - Science Fiction & Fantasy Publications. Paper 143. http://scholarcommons.usf.edu/scifistud_pub/143 This Article is brought to you for free and open access by the Digital Collection - Science Fiction & Fantasy at Scholar Commons. It has been accepted for inclusion in Digital Collection - Science Fiction & Fantasy Publications by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. The SFRA Review Published ten times a year for the Science Fiction Research Association by Alan Newcomer, Hypatia Press, 360 West First, Eugene, Oregon, 97401. Copyright © 1992 by the SFRA. Editorial correspondence: Betsy Harfst, Editor, SFRA Review, 2326 E. Lakecrest Drive, Gilbert, AZ 85234. Send changes of address and/or inquiries concerning subscriptions to the Trea surer, listed below. Note to Publishers: Please send fiction books for review to: Robert Collins, Dept. of English, Florida Atlantic University, Boca Raton, FL 33431-7588. Send non-fiction books for review to Neil Barron, 1149 Lime Place, Vista, CA 92083. Juvenile-Young Adult books for review to Muriel Becker, 60 Crane Street, Caldwell, NJ 07006. Audio-Video materials for review to Michael Klossner, 410 E. 7th St, Apt 3, Little Rock, AR 72202 SFRA EXECUTIVE COMMITTEE President Peter Lowentrout, Dept. of Religious Studies California State University, Long Beach, CA 90840 Vice-President Muriel Becker, Montclair State College Upper Montclair, NJ 07043 Secretary David G. -
Textuality, Extratextuality, and Intention in `Ed Wood Films? After Plan 9 from Outer Space
Bartlett, B. (2019) Madman, genius, hack, auteur?: Intertextuality, extratextuality, and intention in `Ed Wood films? after Plan 9 From Outer Space. Continuum, (doi:10.1080/10304312.2019.1677979) There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/201651/ Deposited on: 14 November 2019 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk Madman, genius, hack, auteur?: Intertextuality, extratextuality, and intention in ‘Ed Wood films’ after Plan 9 From Outer Space (Becky Bartlett) Edward D. Wood, Jr’s position as a ‘romantic’ cult auteur (Sexton & Mathijs 2012, 68) was initially established in the 1980s, and has since been solidified through repetition in academic and fan-authored literature, as well as other exegetic texts including Tim Burton’s biopic Ed Wood (1994), adapted from Rudolf Grey’s excellent, and far more comprehensive, biography Nightmare of Ecstasy (1992). Through these texts and others, the ‘character’ of Wood (Routt 2001, 2) has been constructed as a sympathetic outsider, a ‘unique’ auteur with a distinctive vision. He is also, as is well known, the ‘worst director of all time,’ having been awarded the title after his fourth directorial feature, Plan 9 From Outer Space (1959) was voted the ‘worst film of all time’ in a readers’ poll for The Golden Turkey Awards (Medved and Medved 1980). On the surface, these identities might seem incompatible. Andrew Sarris proposes ‘technical competence’ as the first criterion through which auteur status is established, because a ‘great director has to be at least a good director’ (Sarris 2000, in Sitney 2000, 132). -
Challenger #39
1 Challenger #39 Guy & Rosy Lillian, editors * 154A Weybridge Circle, Royal Palm Beach FL 33411 * [email protected] * 318/218-2345 * Spring 2015 CONTENTS “Beasts” by Richard Wilbur 3 “Monsters into the City”: An Editorial GHLIII (illo by Carl Gafford) 4 The Thing – Part II GHLIII 7 The Challenger Tribute: Mary Axford GHLIII 14 Attack of the Amazing Colossal Monsters Jim Ivers (illo by Charlie Williams) 15 Monsters of the Midway Steven H Silver (illo by ?) 27 Monsters of the Midway Mike Resnick (illo by Randy Cleary) 29 The State of the Magazines Gregory Benford 33 Poems Mike Estabrook (illos by Randy Cleary & Nancy Mayberry) 38 My Main Man Meade … GHLIII (illos by many) 43 “Well That Was Fun” Joseph Major (illos by Anon.) 50 “We Three Kongs of Skull Island Are” GHLIII 53 Ill-Winds Still Blow Taral Wayne 58 A Proof of Niven’s Law Joseph Major 64 One Man’s Poison Walt Wentz 73 The Chorus Lines The Chorus (illo by Thomas Edison) 75 Cover by RON SANDERS Challenger no. 39 is GHLIII Press Publication #1171, February-March 2015. Copyright 2015 by Guy H. Lillian III. All rights revert to the contributor upon first printing and on-line publication. Uncredited text by Guy Lillian. Yes, master. 2 “Beasts” Richard Wilbur Beasts in their major freedom Slumber in peace tonight. The gull on his ledge Dreams in the guts of himself the moon-plucked waves below, And the sunfish leans on a stone, slept By the lyric water; In which the spotless feet Of deer make dulcet splashes, and to which The ripped mouse, safe in the owl’s talon, cries Concordance. -
Fantasyland/Aggieland
FANTASYLAND/AGGIELAND: A Bibliographic History of Science Fiction and Fantasy at Texas A&M University and in Brazos County, Texas, 1913-1985. compiled by Bill Page College Station, TX 2007 Page 1 of 134 INTRODUCTION Bill Page None of the local activites before 1967 were part of any fannish organizations -- at least not as far as I can determine. There's really no way to pick an exact beginning date for the history of science fiction and fantasy in Brazos County. For example, Bryan had a book store by 1870. It probably sold an occasional fantasy or science fiction novel, such as The Tempest or Frankenstein. After the end of the Civil War, newspapers, including the Galveston News, could be purchased in the county, as were magazines such as Godey's Ladies Book and Leslies Illustrated Weekly. These carried an occasional sf/f story. Persons wanting to know more about the early history of newspapers, magazines, libraries, and literary societies in Brazos County should read the chapters "Libraries," "Lodges and Civic Organizations," and "Cultural History: The Arts and Recreation in the Nineteenth Century" in Brazos County History: Rich Past -- Bright Future. I'm not sure when the first fantasy or science fiction film was shown in the county. Movies came to Bryan at least as early as January 1897, when "the magniscope, Edison's latest and greatest invention in the way of vitascopes" appeared in the Grand Opera House. (See the Bryan Daily Eagle, January 28, 1897, p. 4, cols. 2, 6). Page 2 of 134 Additional Sources: Additional material on the fantastic at Texas A&M University after 1985 can be found in several sources. -
Dvds at MCL As of JAN 2016
ALL DVDs at MCL as of JAN 2016 (Alphabetical) Title Category DEWEY 1 2 3 MAGIC: MANAGING DIFFICULT BEHAVIOR IN CHILDREN 2-12 (DVD) Psychological Issues 649.64 ONE 10 ITEMS OR LESS (DVD) Movies - Contemporary 10 MINUTE SOLUTION: HOT BODY BOOT CAMP (DVD) Health & Fitness 613.71 TEN 10 MINUTE SOLUTIONS: QUICK TUMMY TONERS (DVD) Health & Fitness 613.71 TEN 10 THINGS I HATE ABOUT YOU (DVD) Movies - Contemporary 100 CARTOON CLASSICS (DVD) Children's Programs 100 YEARS OF THE WORLD SERIES (DVD) Recreation & Sports 796.357 ONE 100, THE: SEASON 1 (DVD) Television 100, THE: SEASON 2 (DVD) Television 1000 TIMES GOOD NIGHT (DVD) Movies - Foreign - Norway 1001 CLASSIC COMMERCIALS (DVD) Documentary, History & Biography 659.143 ONE 101 DALMATIANS (DVD) (Animated) Children's Programs 101 DALMATIANS (DVD) (Diamond Edition) Children's Programs 101 DALMATIANS II: PATCH'S LONDON ADVENTURE (DVD) Children's Programs 101 FITNESS GAMES FOR KIDS AT CAMP VOL 5: STRENTH AND AGILITY GAMES (DVD) Children's Information 613.7042 ONE 101 REYKJAVIK (DVD) (Icelandic) Movies - Foreign - Iceland 102 DALMATIANS (DVD) Children's Programs 11 FLOWERS (DVD) (Chinese) Movies - Foreign - China 11TH OF SEPTEMBER: MOYERS IN CONVERSATION (DVD) Documentary, History & Biography 12 (DVD) (Russian) Movies - Foreign - Russia 12 ANGRY MEN (DVD) Movies - Classic 12 MONKEYS (DVD) Movies - Contemporary 12 YEARS A SLAVE (DVD) Movies - Contemporary 12:01 (DVD) Movies - Contemporary 127 HOURS (DVD) Movies - Contemporary 13 ASSASSINS (DVD)(Japan) Movies - Foreign - Japan 13 GHOSTS (DVD) Movies