Sign of the Librarian in the Cinema of Horror: an Exploration of Filmic Function Antoinette G

Total Page:16

File Type:pdf, Size:1020Kb

Sign of the Librarian in the Cinema of Horror: an Exploration of Filmic Function Antoinette G Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 Sign of the Librarian in the Cinema of Horror: An Exploration of Filmic Function Antoinette G. Graham Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION AND INFORMATION SIGN OF THE LIBRARIAN IN THE CINEMA OF HORROR: AN EXPLORATION OF FILMIC FUNCTION By ANTOINETTE G. GRAHAM A Dissertation submitted to the School of Library and Information Studies in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2010 Copyright © 2010 Antoinette G. Graham All Rights Reserved The members of the committee approve the dissertation of Antoinette G. Graham defended on October 5, 2010. _____________________________ Gary Burnett Professor Directing Dissertation _____________________________ Valliere Richard Auzenne University Representative _____________________________ Lisa Tripp Committee Member _____________________________ Eliza T. Dresang Committee Member Approved: _____________________________________ Larry Dennis, Dean College of Communication & Information _____________________________________ Corinne Jörgensen, Director School of Library & Information Studies The Graduate School has verified and approved the above-named committee members. ii TABLE OF CONTENTS Abstract ................................................................................................................. v Preamble ............................................................................................................... vii 1. INTRODUCTION .............................................................................................. 1 1.1 Statement of the Problem ........................................................................ 2 1.2 Background of the Problem ..................................................................... 4 1.3 Significance of the Problem ..................................................................... 5 1.4 Research Question .................................................................................. 6 1.4.1 But Why Horror? ........................................................................... 8 1.5 Methodology ............................................................................................ 10 1.5.1 Value of the Semiotic Lens ............................................................ 11 1.5.2 The Semiotics of Horror ................................................................ 13 1.6 Assumptions ............................................................................................ 15 1.7 Limitations ................................................................................................ 16 1.8 Contributions to the Research ................................................................. 17 1.9 Summary ................................................................................................. 18 2. LITERATURE REVIEW .................................................................................... 19 2.1 The Librarian as Cultural Symbol and Stereotype ................................... 19 2.1.1 Librarian Stereotypes in Films ........................................................ 21 2.1.2 The Librarian Anti-Stereotype ........................................................ 26 2.1.3 "You can take the librarian out of the library, but …" ...................... 28 2.1.4 Conditioned Responses to the Librarian Symbol ........................... 29 2.1.5 Nonnarrative Motivations for Filmic Elements ................................ 30 2.2 The Icon of Library ................................................................................... 31 2.2.1 Library as Institutional Framework ................................................. 35 2.2.2 Library Tasks as Filmic Elements .................................................. 38 2.3 The Narrative Realistic Cinematic Structure ............................................ 39 2.4 Conventional Signifiers of Horror Films .................................................... 42 2.5 Function of Librarian Characters in Cinema ............................................. 45 2.5.1 Minor Librarian Roles ..................................................................... 47 2.5.2 Major Librarian Roles ........................................................................50 2.5.3 Librarian Characters as Information Obstructionists ...................... 50 2.5.4 The Librarian Symbol as Myth ....................................................... 51 2.5.5 Librarian as Semiotic Sign ............................................................. 52 2.5.6 Librarian as Icon, as Index, as Symbol .......................................... 54 2.5.7 Cinema and the Communication of Meaning ................................. 55 2.6 A Semiotic Approach ............................................................................... 57 2.7 Conclusion ............................................................................................... 58 iii 3. METHODOLOGY ............................................................................................. 60 3.1 Research Sample .................................................................................... 60 3.2 Character Analyses .................................................................................. 61 3.3 Sign Systems as Semiotic Process .......................................................... 62 3.4 Esslin's Table of Sign Systems ................................................................ 63 3.4.1 Sign Systems Common to All Dramatic Media ............................... 65 3.4.2 Sign Systems Confined to Cinema and Television ........................ 66 3.5 The Semiotic Frame and Interpretation .................................................... 66 3.6 Conclusion ............................................................................................... 67 4. DATA ANALYSIS ............................................................................................. 68 4.1 Research Sample and Criteria .................................................................. 68 4.2 Statistical Overview .................................................................................. 69 4.3 Data Related to Filmic Function ............................................................... 71 4.4 Character Function as Imposed Design ................................................... 73 4.4.1 Exposition as Librarian Function .................................................... 74 4.4.2 Plot Advancement as Librarian Function ....................................... 77 4.4.3 Humor as Librarian Function .......................................................... 79 4.4.4 Irony as Librarian Function ............................................................ 84 4.4.5 Symbolism as Librarian Function ................................................... 87 4.5 Character Function Related to Narrative Role ......................................... 92 4.5.1 Action Hero as Librarian Function .................................................. 93 4.5.2 Dying as Librarian Function ........................................................... 96 4.5.3 Killing as Librarian Function ........................................................... 99 4.5.4 Victim as Librarian Function ........................................................... 103 4.5.5 Seeker of Knowledge as Librarian Function .................................. 107 4.5.6 Information Provider as Librarian Function .................................... 109 4.5.7 Information Obstructionist as Librarian Function ............................ 112 4.5.8 Maintainer/Violator of Rules as Librarian Function ......................... 114 4.5.9 Occupational Status as Librarian Function .................................... 116 4.6 Character Function from a Narrative Viewpoint ....................................... 120 4.6.1 Emotional Support as Librarian Function ....................................... 121 4.6.2 Lover or Sexual/Asexual Object as Librarian Function .................. 123 4.6.3 Monster as Librarian Function ........................................................ 130 5. CONCLUSION ................................................................................................. 132 5.1 General Observations .............................................................................. 133 5.2 Library Settings in Horror Films ............................................................... 136 5.3 The Bigger Picture ................................................................................... 137 5.4 Denouement ............................................................................................ 139 Appendix: Plot Summaries of Sample Films ........................................................ 141 References ............................................................................................................ 150 Film References .................................................................................................... 157 Biographical Sketch ............................................................................................... 164 iv ABSTRACT Librarian characters in films have long been the subject of academic study, usually comparing their features with those of the stereotype or real librarians. Little attention is given
Recommended publications
  • Activision Publishing and Twentieth Century Fox Consumer Products Family Guy: Back to the Multiverse in Retail Stores Today
    Activision Publishing And Twentieth Century Fox Consumer Products Family Guy: Back To The Multiverse In Retail Stores Today MINNEAPOLIS, Nov. 20, 2012 /PRNewswire/ -- Universes are about to collide as Activision Publishing, Inc., a wholly owned subsidiary of Activision Blizzard, Inc. (NASDAQ: ATVI), and Twentieth Century Fox Consumer Products announced today that Family Guy: Back to the Multiverse is now available at retail outlets nationwide. The console video game takes the source material from the Family Guy series, including its hilarious sense of humor and outrageous spirit, to offer fans an unforgettable, interactive third-person action experience. Family Guy: Back to the Multiverse introduces an all-new original story written and voiced by Family Guy talent and influenced by the famous Family Guy season eight episode, "Road to the Multiverse", where Stewie and Brian travel on an out- of-this-world journey through Quahog's bizarre parallel universes. Gamers will travel through all-new settings on a mission to save Quahog and stop the destructive schemes of Bertram, Stewie's nemesis. Playing as either Stewie or Brian, each equipped with unique special weapons and abilities, gamers will encounter an array of Family Guy characters, references and gut-busting jokes. Additionally, fans can share this hilarious experience and invite friends and family to jump into the wild Family Guy world through drop-in/drop-out co-op multiplayer mode and competitive multiplayer challenges. Family Guy: Back to the Multiverse is now available for the Xbox 360® video game and entertainment system from Microsoft and PlayStation®3 computer entertainment system for a suggested retail price of $59.99, and is rated M (Mature) by the ESRB.
    [Show full text]
  • Postmodernism: the American T.V. Show, 'Family Guy, As a Politically Incorrect Document
    Postmodernism: The American T.V. Show, 'Family Guy, As a Politically Incorrect Document Tyron Tyson Smith1; Ajit Duara2* 1Symbiosis Institute of Media and Communication, Symbiosis International (Deemed University), Pune, Maharashtra, India. 2*Symbiosis Institute of Media and Communication, Symbiosis International (Deemed University), Pune, Maharashtra, India. 2*[email protected] Abstract Postmodernism is a movement that grew out of modernism. Movements in art, literature, and cinema focused on a particular stance. The visual artists who created entertainment focused on expressing the creator herself/himself beginning from German expressionism to modernism, surrealism, cubism, etc. These art movements played an important part in what an artist (literature, art, and visual) portrayed to his or her audience. As perspectives played an important part, an understanding of what the artist needed to portray was critical. Modernism dealt with this portrayal, which came about due to the changes taking place in society. In terms of the industry, where the overall product dealt with features like individualism, experimentation and absurdity, modernism dealt with a need to overthrow past notions of what painting, literature, and the visual arts needed to be. "After World War II, the focus moved from Europe to the United States, and abstract expressionism (led by Jackson Pollock) continued the movement's momentum, followed by movements such as geometric abstractions, minimalism, process art, pop art, and pop music." Postmodernism helped do away with these shortcomings. An understanding of postmodernism is explored in this paper. The main point which sets it apart is concepts like pastiche, intersexuality, and spectacle. Concerning pop culture, an understanding of referencing is a constant trait used by postmodern art.
    [Show full text]
  • The Rise of Controversial Content in Film
    The Climb of Controversial Film Content by Ashley Haygood Submitted to the Department of Communication Studies in partial fulfillment of the requirements for the degree of Masters of Arts in Communication at Liberty University May 2007 Film Content ii Abstract This study looks at the change in controversial content in films during the 20th century. Original films made prior to 1968 and their remakes produced after were compared in the content areas of profanity, nudity, sexual content, alcohol and drug use, and violence. The advent of television, post-war effects and a proposed “Hollywood elite” are discussed as possible causes for the increase in controversial content. Commentary from industry professionals on the change in content is presented, along with an overview of American culture and the history of the film industry. Key words: film content, controversial content, film history, Hollywood, film industry, film remakes i. Film Content iii Acknowledgements I would like to thank my family for their unwavering support during the last three years. Without their help and encouragement, I would not have made it through this program. I would also like to thank the professors of the Communications Department from whom I have learned skills and information that I will take with me into a life-long career in communications. Lastly, I would like to thank my wonderful Thesis committee, especially Dr. Kelly who has shown me great patience during this process. I have only grown as a scholar from this experience. ii. Film Content iv Table of Contents ii. Abstract iii. Acknowledgements I. Introduction ……………………………………………………………………1 II. Review of the Literature……………………………………………………….8 a.
    [Show full text]
  • First-Run Smoking Presentations in U.S. Movies 1999-2006
    First-Run Smoking Presentations in U.S. Movies 1999-2006 Jonathan R. Polansky Stanton Glantz, PhD CENTER FOR TOBAccO CONTROL RESEARCH AND EDUCATION UNIVERSITY OF CALIFORNIA, SAN FRANCISCO SAN FRANCISCO, CA 94143 April 2007 EXECUTIVE SUMMARY Smoking among American adults fell by half between 1950 and 2002, yet smoking on U.S. movie screens reached historic heights in 2002, topping levels observed a half century earlier.1 Tobacco’s comeback in movies has serious public health implications, because smoking on screen stimulates adolescents to start smoking,2,3 accounting for an estimated 52% of adolescent smoking initiation. Equally important, researchers have observed a dose-response relationship between teens’ exposure to on-screen smoking and smoking initiation: the greater teens’ exposure to smoking in movies, the more likely they are to start smoking. Conversely, if their exposure to smoking in movies were reduced, proportionately fewer teens would likely start smoking. To track smoking trends at the movies, previous analyses have studied the U.S. motion picture industry’s top-grossing films with the heaviest advertising support, deepest audience penetration, and highest box office earnings.4,5 This report is unique in examining the U.S. movie industry’s total output, and also in identifying smoking movies, tobacco incidents, and tobacco impressions with the companies that produced and/or distributed the films — and with their parent corporations, which claim responsibility for tobacco content choices. Examining Hollywood’s product line-up, before and after the public voted at the box office, sheds light on individual studios’ content decisions and industry-wide production patterns amenable to policy reform.
    [Show full text]
  • Mainstream Rock Tracks
    1i1C-7L710 EiZN AG.F SITES + SOUNDS (Continued front page 80) Ten it comes time to pen songs, Nine Days' ed laughing. I realized that as much as she aggra- times you can spend months fine -tuning a song. I vocalist /guitarist John Hampson follows vates me, I absolutely love her when she smiles. will never say that I crafted this pop gem. What and Nokia Ventures among its finan- the adage "Write what you know," because, "I came up with a chorus to a song, and when I really happened was, I don't know where it came cial backers, is hoping to put its serv- he says, "when you're done with a song, it's the only started singing it, it was bouncing around in my from, but everything was about a true feeling." ice to work in everything from Inter- way you feel personally like you did it right." This honesty also permeates the group's debut net music appliances and online radio Hampson's personal attachment to Nine Days' don't know where 550 Music /Epic album, "The Madding Crowd," a to Internet retailers and Web portals. it came from, but single "Absolutely (Story Of A Girl)," No. 17 on everythinT, was reference to Thomas Hardy's book "Far From The It already has its own streaming this issue's Modern Rock Tracks chart, stemmed about a true Madding Crowd." Hampson says, "I read it when service known as RadioMongo, from a pre -show realization about his girlfriend. feeling' I was about 20, a time in my life that I was look- which will be featured in the free- He says, "I was playing a gig and got there -John Hampson, Nine Days ing for something important.
    [Show full text]
  • FAMILY GUY “The Glenn Beck Quagmire”
    FAMILY GUY “The Glenn Beck Quagmire” Written by Marcos Luevanos Marcos Luevanos (626) 485-2140 [email protected] ACT ONE EXT./ESTAB. GRIFFINS’ HOUSE - DAY INT. GRIFFINS’ LIVING ROOM - SAME PETER blasts an air horn. PETER (CALLING UPSTAIRS) Hurry it up you guys! The world and I have waited long enough for “Pretty Woman 2: Reality Sets In.” INT. SUBURBAN HOME - MORNING (CUTAWAY) A sloppily dressed RICHARD GERE yells at a crying JULIA ROBERTS. TWO CHILDREN observe from the staircase. RICHARD GERE I’m not getting what the problem is. You knew I slept with hookers when you married me. (SCOFFS) That’s how we met! INT. GRIFFINS’ LIVING ROOM - DAY (BACK TO SCENE) The doorbell rings. Peter opens it to reveal an incredibly ill QUAGMIRE. PETER Hey Quagmire! (DISGUSTED) Whoa, you look worse than Lindsay Lohan in a well-lit room. FAMILY GUY - "The Glenn Beck Quagmire" 2. QUAGMIRE That bad, huh? I have an appointment at the free clinic but I can’t seem to, you know, see. Would you be able to give me a ride to the doctor? PETER Sure thing. I was running low on free condoms anyway. (CALLING UPSTAIRS) Hey slowpokes, eighty-six the movie, I’m taking Quagmire to get his junk checked out. LOIS (O.S.) What? PETER (CALLING UPSTAIRS) I said, I’m taking Quagmire to get his junk checked out. (NORMAL, TO QUAGMIRE) It is your junk, right? QUAGMIRE Right. PETER (CALLING UPSTAIRS) Yeah, it’s his junk. Quagmire smacks his forehead. FAMILY GUY - "The Glenn Beck Quagmire" 3.
    [Show full text]
  • Emotional and Linguistic Analysis of Dialogue from Animated Comedies: Homer, Hank, Peter and Kenny Speak
    Emotional and Linguistic Analysis of Dialogue from Animated Comedies: Homer, Hank, Peter and Kenny Speak. by Rose Ann Ko2inski Thesis presented as a partial requirement in the Master of Arts (M.A.) in Human Development School of Graduate Studies Laurentian University Sudbury, Ontario © Rose Ann Kozinski, 2009 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 OttawaONK1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-57666-3 Our file Notre reference ISBN: 978-0-494-57666-3 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation.
    [Show full text]
  • The Mummy Returns Egypt
    The mummy returns Egypt. Activity about the film “The mummy returns” THE MUMMY RETURNS AN ACTIVITY FOR BOTH HISTORY AND ENGLISH LESSONS (1º ESO, BILINGUAL GROUP) OBJETIVES / OBJETIVOS -Using Past Simple -Using Irregular verbs in the past -Using short answers -Using WHAT, WHO, WHY, HOW, WHERE -Using Time expressions 1. Identificar los límites cronológicos de Egipto. 2. Conocer la importancia de la civilización egipcia. 3. Conocer la forma de gobierno del Antiguo Egipto. 4. Entender la relevancia de la arqueología como medio para el conocimiento de culturas del pasado. 5. Apreciar la identificación existente entre las creencias religiosas y la producción material por medio del estudio de los monumentos funerarios: pirámides, mastabas e hipogeos. 6. Reconocer y apreciar las manifestaciones artísticas y culturales de la cultura egipcia. ASSESMENT / CRITERIOS DE EVALUACIÓN -To be able to use the Past Simple -To be able to use the Present Simple -To be able to make questions with What, How, Why, When and Where -To be able to use short answers -To be able to use Time expressions 1. Establecer las principales etapas de la civilización egipcia. 2. Poner de relieve la singularidad de la civilización egipcia frente a otras culturas de la Antigüedad. 3. Explicar el papel jugado por la figura del faraón en el Estado egipcio. 4. Relacionar el proceso de momificación y enterramiento con la proliferación de los grandes monumentos funerarios. 5. Identificar las distintas manifestaciones del arte egipcio. BEFORE THE FILM READING COMPREHENSION: Ancient Egypt. Culture and religion. o (Reading comprehension, matching exercise and Finding out more Activities) READING AND LISTENING COMPREHENSION: Princess of Death.
    [Show full text]
  • Key Player Remains out of Game
    -FEATURES- -SPORTS- The groundhog did not see Bo Larragan and the Red his shadow. What does Foxes had a rough time this mean for us? pg. 5 controlling Loyola's Jason Rowe, pg. 16 the student newspaper of diarist College VOLUME #52 ISSUE #10 Welcome Back!! FEBRUARY 4,1999 Key player remains out of game byJEFFDAHNCKE John Ritschdorff and others re- StaffWriter viewed Eligibility questions surround­ Cielebak's ing one of their best players status. have brought the Marist mens Cielebak was basketball season to a screech­ ruled offi­ ing halt. cially ineli­ On Jan. 15, Manst learned that gible to play, the NCAA was investigating their report was sent to Cinl-ploD/JocSu) i> Toihasz Cielebak, a junior for­ International flags in the Rotunda represent countries where students are studying ward from Poland, for his in­ the NCAA volvement in basketball over- and .the NCAA must.-.. Flags represent growing In a statement released by the school after learning of the in­ "I just feel like we interest in studying abroad vestigation, athletic director Tim Murray briefly described the are operating with by CHRIS GROG AN now Surprisingly, Sydney. Aus­ tcrnational Education office situation. News Fditnr tralia is also a populai destina­ encourages students who "There have been some ques­ one hand behind II you are like many heie at tion foi Marist students want to study in foreign lands tions raised about Tomasz's par-, our back." Marist who pass thiough the According to Whalen, Marist do lor the entire school ycai ticipation in the European club Rotunda at least once a day.
    [Show full text]
  • Kil ../]/Vl' /~-.- All Rights Reserved
    ARCHETYPAL PATTERNS IN IBSEN'S HEDDA GABLER A Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts by Maureen Frances Voigt, Bachelor of Arts The Ohio State University 1984 Approved by Copywright ~ 1984 / ~ "' by Maureen Frances Voigt kiL ../]/vl' /~-.- All rights reserved. ; Adviser Department of English "A plant which is to be brought to the fullest possible unfolding of its particular character must first of all be able to grow in the soil wherein it is planted." Carl Jung, Psychological Types Archetypal Patterns in Ibsen's Hedda Gabler Henrich Ibsen is often described as a social dramatist. In many of his plays, the focus is on such issues as the rights of women, a theme in A Doll House (1879), or illegitimacy, which is a major concern in The Wild Duck (1884). Ibsen shocked his audiences by his frank treatment of such social themes. In Ghosts (1881), a son suffers because of the venereal disease that he has inherited from his father. Because of its daring theme, the play could not be performed in the Scandinavian countries, and its first performance was in chicago. l By calling attention to social issues, Ibsen reminded his world that its prudish attitudes were really hypocriti­ cal because it pretended that the realities of life did not exist. In nineteenth-century Norwegian society, appearances meant more than realities, but through his plays, Ibsen 1 2 forced people to see life's truths behind bourgeois society's pretentious exterior. He felt that it was the poet's task to "see" life and to convey his vision in such a way "that whatever is seen is perceived by the audience just as the poet saw it."2 Thus, in an Ibsen play, the characters must confront life as it is, not as they would like it to be or as society dictates it.
    [Show full text]
  • March 2013 NASFA Shuttle
    Te Shutle March 2013 Te Next NASFA Meetng is Saturday 16 March 2013 at te Regular Locaton ConCom Meeting 16 March, 3P; see below for details Member of MindGear LLC <mindgearlabs.com>, discussing d Oyez, Oyez d 3D printers. (And doubtless he’ll touch on some of the other cool stuff in their lab.) The next NASFA Meeting will be at 6P, Saturday 16 MARCH ATMM March 2013 at the regular meeting location—the Madison The host and location for the March After-the-Meeting Meet- campus of Willowbrook Baptist Church (old Wilson Lumber ing are undetermined at press time, though there’s a good Company building) at 7105 Highway 72W (aka University chance it will be at the church. The usual rules apply—that is, Drive). Please see the map below if you need help finding it. please bring food to share and your favorite drink. MARCH PROGRAM Also, assuming it is at the church, please stay to help clean The March program will be Rob Adams, the Managing up. We need to be good guests and leave things at least as clean as we found them. CONCOM MEETINGS The next Con†Stellation XXXII concom meeting will be 3P Saturday 16 March 2013—the same day as the club meeting. Jeff Road Jeff Kroger At press time the plan is to meet at the church, but that’s subject to confirmation that the building will be available at that time. US 72W Please stay tuned to email, etc., for possible updates. (aka University Drive) CHANGING SHUTTLE DEADLINES The latest tweak to the NASFA Shuttle schedule shifted the usual repro date somewhat to the right (roughly the weekend before each meeting) but much of each issue will need to be Slaughter Road Slaughter put to bed as much as two weeks before the monthly meeting.
    [Show full text]
  • Letters to the Deaditor
    LETTERS TO THE DEADITOR Hey Corpsy – I’ve been incarcerated SEND YOUR LETTERS TO: since the ripe age of 15 and now I’m 22, so you can imagine I’ve read a lot of magazines, [email protected] or but your magazine is, hands-down, the great - est fuckin’ ‘zine ever! I’ve been intrigued G&C MAGAZINE ATTN: with death since I was a child, which led to Letters to the Deaditor my demise and earned me a life sentence in a 11333 Moorpark Street #192 California state prison. As a child I spent Studio City CA 91602 hours on the web looking at dead stuff, read - ing books about killers and watching tons of horror films. I’m glad to see a magazine Hagens (Body Worlds). You can use me with dead-icated to the things I love. Keep that shit the girls when I am no more! up! Richard Josh Thank you for the generous offer of your Hi Josh. Thanks for the note. So sorry that corpse, Richard, but our vault is filled to the you used the fantasy aspects of horror that brim with models for future shoots. Seems you saw on the web, and turned them into a everyone wants to hook up with our girls tragic reality, throwing away your young life. after they become corpses. Also, frankly, we True, we are “dead-icated” to death and hor - don’t take Body Worlds hand-me-downs. If ror, with a slice of comedy, but we separate you want to model for G&C, we do our own real-life horror (which surrounds our lives) body prep, including a deep tissue massage would call “outcasts” around here due to our with the fantasy of horror films and maga - and a happy ending.
    [Show full text]