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Guillermo Del Toro’S Bleak House
GuillermoAt Home With Monstersdel Toro By James Balestrieri Guillermo del Toro’s Bleak House. Photo ©Josh White/ JWPictures.com. LOS ANGELES, CALIF. — The essence of “Guillermo del Toro: At Home With Monsters,” the strange and wonderful exhibition at the Los Angeles County Museum of Art (LACMA) through November 27, is this: Guillermo del Toro, born in 1964, is a major writer and director whose films include Cronos (1993), The Devil’s Backbone (2001), Hellboy (2004), Pan’s Labyrinth (2006), Pacific Rim (2013) and Crimson Peak (2015). He is a master who creates worlds that embrace horror, science fiction, fantasy and fairy tales. He insists that, as fantastic as they are, these worlds are located and grounded beside, beneath and in the real world, our world — a world, he might argue, that we merely imagine as real. The membrane separating these worlds is thin, porous and portal-ridden. The worlds are distorted reflections of one another. This distortion becomes the occasion for his ideas and art. Page from Notebook 2 by Guillermo del Toro. Leather-bound notebook, ink on paper, 8 by 10 by 1½ inches. Collection of Guillermo del Toro. ©Guillermo del Toro. Photo courtesy Insight Editions. Jointly organized by LACMA with the Minneapolis Institute of Art and the Art Gallery of Ontario, this first retrospective of the filmmaker’s work arrays sculpture, paintings, prints, photography, costumes, ancient artifacts, books, maquettes and film to create a complex portrait of a creative genius. Roughly 60 of the 500 objects on view are from LACMA’s collection. More belong to the artist. -
This October, See What's Playing on HBO,® STARZ,® SHOWTIME® And
This October, see what’s playing on ® ® ® ® HBO, STARZ, SHOWTIME and CINEMAX Channels 501–511, Channels 525–542, Channels 545–557, Channels 515–523, 1501 1525, 1535 1545 1515 Here’s just a sample of what you can watch in October. (All programming times ET) SUN MON TUE WED THU FRI SAT Ray Donovan PREMIERES: American Sniper Past episodes 1 McFarland, USA 2 PREMIERE 3 available on @ 9pm on @ 8pm on HBO, ch. 501 STARZ, ch. 525 You can binge watch every episode ch. 1545 NEW EPISODES: of every season of Homeland,® The SXSW Comedy Night Blunt Talk @ 9pm Affair® and Ray Donovan.® Plus, you Meet the Fockers Two with W. Kamau & Survivor’s Remorse @ 9pm on have access to a huge selection of hit Bell @ 11pm on @ 9:30pm on STARZ, ch. 525 SHOWTIME, ch. 545 movies, sports and more. STARZ, ch. 525 Unbroken @ 8:30pm NEW EPISODES: Splatterday Saturday: on HBO, ch. 501 Real Time with Night of the Living Start watching today! Tune in That Awkward Bill Maher @ 10pm on Dead (1968) to SHOWTIME® On Demand Moment HBO, ch. 501 @ 10:35pm on @ 8:20pm on Strike Back® @ 10pm THE MOVIE on STARZ® The Knick on CINEMAX® on Ch. 1545. CINEMAX, ch. 515 on CINEMAX, ch. 515 CHANNEL, ch. 553 SEASON Crimson Peak Remember The Fight Game Penny Dreadful PREMIERES: Focus PREMIERES: 4 HBO FIRST LOOK 5 the Titans 6 with Jim Lampley 7 Now playing on 8 Just Before I Go 9 PREMIERE 10 The Leftovers @ 10:30pm on @ 9:30pm on NEW EPISODE @ 9pm on ch. -
Crimson Peak
1 Crimson Peak Reviewed by Garry Victor Hill Directed by Guillermo Del Toro. Produced by Guillermo Del Toro, Thomas Tull, Callum Greene and Jon Tashi. Executive Producers: Jillian Share & Maguy R. Cohen. Production Design by Thomas E. Saunders. Screenplay by Guillermo Del Toro & Mathew Robbins. Photography by Dan Laustsen. Editing by Bernat Vilplana. Music by Fernando Velázquez. A Universal Pictures Production. Original Release: October 2015. MA rating. Length: 119 minutes. Rating 85% All pictures are taken from the public domain or Wikimedia 2 Cast Edith Cushing: Mia Wasikowska Lucille Sharpe: Jessica Chastain Thomas Sharpe: Tom Huddleston Doctor Alan McMichael: Charlie Hunnam Carter Cushing: Jim Beaver Ogilvie: Jonathan Hyde Mrs McMichael: Leslie Hope Ferguson: Bruce Clay Eunice: Emily Coutts Young Edith: Sofia Wells Finlay: Alec Stockwell Coroner: Bill Lake Reverend: Sean Hewitt Review Crimson Peak is a superior horror film; more of a chiller than a thriller - until the last thirty minutes, then it unleashes thrills and horrors galore. Those last thirty minutes are made all the more effective by the suspenseful build-up. Until then the narrative segments the chilling suspense with brief moments of horror. These not only warn; they tantalise about the mystery on the way to the revealing climax. 3 Almost any viewer will either work out what that mystery, or at the least, aspects of it, long before the naïve heroine Edith Cushing does. Originality is not the film’s strength. Naïve, isolated, inexperienced, young women have been going to dark sinister, isolated, aristocratic houses (and staying there!) since at least 1847, when Jane Eyre was published. -
The Ghost Is Just a Metaphor: Guillermo Del Toro's Crimson Peak
EUROPEAN JOURNAL OF MEDIA STUDIES www.necsus-ejms.org The ghost is just a metaphor: Guillermo del Toro’s Crimson Peak, nineteenth-century female gothic, and the slasher Evangelia Kindinger NECSUS 6 (2), Autumn 2017: 55–71 URL: https://necsus-ejms.org/the-ghost-is-just-a-metaphor- guillermo-del-toros-crimson-peak-nineteenth-century-female- gothic-and-the-slasher/ Keywords: final girl, Guillermo del Toro, horror-ghost film, nine- teenth-century gothic A brief overview of American film and television since the 1990s affirms Ma- ría del Pilar Blanco and Esther Peeren’s conclusion: ‘It seems that ghosts are everywhere these days.’[1] With the release of Crimson Peak in 2015, Mexican filmmaker Guillermo del Toro did not only add another horror movie to his oeuvre,[2] but as a horror-ghost film[3] Crimson Peak joins a long list of cine- matic representations of ghosts. It also displays del Toro’s unique style, his vision of movies as ‘durchkonzipierte und bis ins letzte Detail kontrollierte Gesamtkunstwerke [conceptualised and detailed, total works of art]’.[4] Set in Buffalo, New York, around 1900, the film introduces Edith Cushing, the young, white, upper-class daughter of industrial mogul Carter Cushing, who spends her time writing ghost stories and trying to get them pub- lished.[5] When English baronet Thomas Sharpe and his sister Lucille arrive in Buffalo to find investors for Thomas’ clay mining invention, Edith falls in love with him. Her father is very suspicious of the siblings and after black- mailing them to leave Buffalo following the revelation that Thomas is already married, he is killed by an unknown figure in black who is later revealed as Lucille. -
Universitat Pompeu Fabra Departament De Traducció I
Universitat Pompeu Fabra Departament de Traducció i Ciències del Llenguatge Programa Oficial de Doctorat Pluricentric dubbing in French and Spanish The translation of linguistic variation and prefabricated orality in films Presentat per Pascale Trencia Supervisió del projecte per Dra. Victòria Alsina, Dra. Jenny Brumme i Dra. Kristin Reinke Barcelona, setembre de 2019 Dedicatòria i Agraïments A mis padres, Guy y Lise, a mi hermana Marion, a Guillermo, a mis directoras, Vicky, Jenny y Kristin, y a todos los que han cruzado mi camino durante estos cincos años de estudios doctorales. Esta tesis lleva un poco de cada uno de vosotros. Resum El present estudi examina com es tradueix el discurs fílmic, especialment els elements marcadors de la variació lingüística, al francès i al castellà, dues llengües pluricèntriques, és a dir, llengües que tenen més d’un centre normatiu. El fet que diverses nacions adoptin mesures per promoure la indústria nacional del doblatge, en general per motius econòmics i culturals, en ocasions porta a duplicar les varietats de doblatge. Per tant, una qüestió clau és saber com es comparen aquestes versions doblades i com aconsegueixen transmetre la variació lingüística i la oralitat prefabricada a través de les seves respectives traduccions. L’objectiu d’aquesta investigació consisteix a examinar quines són les principals diferències i similituds entre el discurs fílmic doblat de Quebec i de França (per al francés) i d’Espanya i Amèrica Llatina (per a l’espanyol), sobre la base d’un estudi de la pel·lícula Death Proof (2007) de Quentin Tarantino. Aquesta pel·lícula va ser seleccionada pel seu alt nivell de variació lingüística i la importància que Tarantino dóna a la llengua (no estàndard) de les seves pel·lícules. -
Film Reviews
Irish Journal of Gothic and Horror Studies 15 (Autumn 2016) FILM REVIEWS (Please note that reviews may contain spoilers) He Never Died (Dir. by Jason Krawczyk) USA/Canada 2015 Alternate Ending Studios And the Lord said, ‘What have you done? The voice of your brother’s blood is crying to me from the ground. And now you are cursed from the ground, which has opened its mouth to receive your brother’s blood from your hand. When you till the ground, it shall no longer yield to you its strength; you shall be a fugitive and a wanderer on the earth.’ –Genesis 4. 10-12 When it comes to entertainment, the only thing more commercial then sex is violence. And in the thousands of years since the Bible documented its first slaying, this seemingly insatiable desire to watch or read about homicide seems to remain unquenched. From Midsommer Murders (1997-present) to Memento (2000), and from Silence of the Lambs (1991) to Silent Witness (1996), there’s nothing more commercially profitable, it seems, then depicting a good murder. Tapping into primal and animalistic instincts, the representation of murder draws upon a sense that the human condition is to be fundamentally flawed, and suggests that such universal emotions as greed, jealousy, lust, and pride motivate a significant number of murders. The Old Testament figure of Cain, supposedly the first murderer (of his brother Abel), was forever cursed to ‘be a fugitive and a wanderer of the earth’ for all eternity.1 Cain’s story of fraternal betrayal and antagonism is one commonly represented in films such as Bloodline (2005), Before the Devil Knows You’re Dead (2007), We Own the Night (2007), and the Broadway musical Blood Brothers (1983-present). -
The South According to Quentin Tarantino
University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 2015 The South According To Quentin Tarantino Michael Henley University of Mississippi Follow this and additional works at: https://egrove.olemiss.edu/etd Part of the American Studies Commons Recommended Citation Henley, Michael, "The South According To Quentin Tarantino" (2015). Electronic Theses and Dissertations. 887. https://egrove.olemiss.edu/etd/887 This Thesis is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. THE SOUTH ACCORDING TO QUENTIN TARANTINO A Thesis presented in partial fulfillment of requirements for the degree of Master of Arts in the Department of the Center for the Study of Southern Culture The University of Mississippi by MICHAEL LEE HENLEY August 2015 Copyright Michael Lee Henley 2015 ALL RIGHTS RESERVED ABSTRACT This thesis explores the filmmaker Quentin Tarantino’s portrayal of the South and southerners in his films Pulp Fiction (1994), Death Proof (2007), and Django Unchained (2012). In order to do so, it explores and explains Tarantino’s mixture of genres, influences, and filmmaking styles in which he places the South and its inhabitants into current trends in southern studies which aim to examine the South as a place that is defined by cultural reproductions, lacking authenticity, and cultural distinctiveness. Like Godard before him, Tarantino’s movies are commentaries on film history itself. In short, Tarantino’s films actively reimagine the South and southerners in a way that is not nostalgic for a “southern way of life,” nor meant to exploit lower class whites. -
How the Horror Genre Revitalizes Macbeth
SOMETHING WICKED THIS WAY COMES: HOW THE HORROR GENRE REVITALIZES MACBETH A Paper Submitted to the Graduate Faculty of the North Dakota State University of Agriculture and Applied Science By Rebecca Jacquelyn Patton Crisman In Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Major Department: English Option: Literature April 2019 Fargo, North Dakota North Dakota State University Graduate School Title Something Wicked This Way Comes: How the Horror Genre Revitalizes Macbeth By Rebecca Jacquelyn Patton Crisman 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. Rebecca Weaver-Hightower Chair Dr. Alison Graham Bertolini Jess Jung, MFA Approved: April 11, 2019 Dr. Rebecca Weaver-Hightower Date Department Chair ABSTRACT This project examines Rupert Goold’s adaptation of Shakespeare’s Macbeth in terms of the horror genre. Using filmic elements of the horror genre, touchstone horror texts, and Carol Clover’s Men, Women, and Chainsaws, this project examines the Witches and Lady Macbeth as they are situated in the horror genre using various filmic elements. This project examines the character tropes of the horror genre – the monster, the victim, and the hero, and the ways in which the Witches and Lady Macbeth are at various points all three of these characters – an impossibility, within the horror genre. This adaptation, this project finds, disrupts the tropes of horror characterization, in order to illustrate the ways in which these still used tropes are problematic and damaging in terms of gender identity. -
Introduction
Introduction othic as we know it today is a term that is both hybrid and hybrid- Gising, simultaneously morphing to refer to an increasingly wider span of new cultural productions whilst also continuously expanding retrospectively to appropriate more materials from the past. Gothic as a genre has become more amorphous and difficult to contain. As Fred Botting has written: ‘The diffusion of Gothic forms and figures […] makes the definition of a homogenous generic category very difficult’ (Botting, 1996: 9). Though the first burgeoning of Gothic novels is easy to locate chronologi- cally, the Gothic leaches acquisitively backwards and forwards in time whilst also crossing generic borders. For example, David R. Castillo writes of Julián de Medrano’s La Silva Curiosa / The Strange Wood, published in 1583, nearly two centuries before the first commonly accepted date for the appearance of Gothic writing: ‘The story has all ingredients of a full-blown gothic fantasy: Faustian motives, visions of damnation, voices from the dead, restless corpses […] as is so often the case in classic gothic fiction beginning with Horace Walpole’s The Castle of Otranto (1764), this is ultimately a story about the crushing weight of the past’ (Castillo, 2010: 69). If critics have started to note the proleptic nature of early modern literature in terms of anticipating the Gothic, theoret- ical descriptions of the ‘domestic Gothic’ of the 1860s onwards and the late Victorian Gothic of the 1890s have helped give weight to Richard J. Hand’s confident instatement of German Expressionism within the area of Gothic influence (Hand, 2013: 271). The primacy of Bram Stoker’s vampire novel for F. -
Recepcija Nasilja U Kinematografiji (Na Primjeru Quentina Tarantina)
Recepcija nasilja u kinematografiji (na primjeru Quentina Tarantina) Kaparić, Mirna Master's thesis / Diplomski rad 2019 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: University North / Sveučilište Sjever Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:122:100360 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-10-10 Repository / Repozitorij: University North Digital Repository Diplomski rad broj 8/NOVD/2019 Recepcija nasilja u kinematografiji (na primjeru Quentina Tarantina) Mirna Kaparić, 0553/336D Koprivnica, rujan 2019. godine Odjel za Komunikologiju, medije i novinarstvo Diplomski rad broj 8/NOVD/2019 Recepcija nasilja u kinematografiji (na primjeru Quentina Tarantina) Studentica Mirna Kaparić, 0553/336D Mentorica Izv. prof. dr. sc. Iva Rosanda Žigo Koprivnica, rujan 2019. godine Predgovor Prilikom gledanja Pasa iz rezervoara Quentina Tarantina, iako staroga osamnaest godina, filmski su prizori neugodni, a one osjetljivije mogu dovesti do prekrivanja očiju i skretanja pogleda u stranu. Čuveni eksplicitni prizor osakaćenoga uha na premijeri 1992. godine dio gledateljstva prisilio je na odlazak iz kinodvorane jer nisu nesmetano mogli nastaviti pratiti radnju. Nakon zgražanja javlja se negodovanje uz pitanje – prizor je potpuno nebitan za priču, zašto je izražen toliko jasno i nedvosmisleno? Izuzev toga, cijelom radnjom osjeti se mačizam; nadmoć, grubost i obespravljenost potlačenih od strane skupine muškaraca bez ijednoga ženskog lika. Nasilje ove vrste u filmovima potaklo je mnoga znanstvena istraživanja i proučavanja, osobito američke kinematografije gdje su prizori nasilja najčešći. Istražujući Tarantina i njegov rad, uviđa se veličina njegova dugogodišnjeg stvaralaštva i vrsnoća istoga, dobiva dojam o načinu na koji djeluje, zašto ga gledateljstvo cijeni te u koju se svrhu i zbog čega odvažno koristi nasiljem, a krajnji je razlog upravo izazivanje gore opisanoga osjećaja. -
Words by Jaideep
Samuel L Jackson sported a Jheri curl wig to play hitman Jules Winnfield wenty years on, it isn’t any easier to try to summarise Pulp Fiction than when it first exploded in our faces. Let’s say: Samuel L Jackson has an epiphany, John Travolta accidentally blows a kid’s brains out, Christopher Walken presents a gold watch that’s been stored up his backside to the young son of his late wartime friend, Ving Rhames gets jumped on a pommel horse, Bruce Willis rides a chopper named Grace, and Uma Thurman learns a thing or two about snorting heroin. There’s also a mysterious briefcase that glows inside, Big Kahuna Burgers and a 1992 Acura NSX driven by Harvey Keitel. Pulp Fiction made us look at movies differently, to obsess over details and semiotics like never before, even though its writer- director Quentin Tarantino seemed like a regular movie nerd; that guy we’ve all heard of who watches films non-stop on a couch in his basement. Pulp Fiction landed a sucker punch. And it felt like an emphatic flip of the middle finger at scurrilous critics and arch intellectuals, perhaps, or just to ensure its presence was felt. This was straight-up dope packaged for dead-end cinephiles to deliberate on issues of post-modernism and the makings of neo-noir, while we were winding VHS ribbons to shreds. Pulp Fiction, for us, was the introduction to everything from De Palma to Hitchcock, Fellini to Kurosawa. It was a lava pool bubbling over with cinematic and cultural references, into which we dipped to emerge lippier, if not smarter, and somewhat wise to the arcane world of celluloid. -
Friday, January 26, 2018 5
Friday, January 26, 2018 5 From Left, Chef Bassam AlAlawi, and Mahmood AlSharqawi Cult Hollywood burger gets a Bahraini twist Harpreet Kaur/DTNN (BACA) by Graffiti Artist initiative focused on blending philosophy is to try working AlSharqawi told DT News. producers also get benefitted [email protected] Mahmood AlSharqawi alias the genres of street food and on prevailing ideas to add “We took elements of these and known.” ahrain got a rare blend of Huvil and Chef Bassam street art. a message of harmony and movies to present our Shouq Al Alawi, the curator tastes from cult director AlAlawi, the owner of The experiment, now in its positivity. Chef Bassam artwork and if you see there of the week-long event that BQuentin Tarantino’s movies Darrasin café. third edition, sheds light on the AlAlawi said he developed will be characters of these concluded yesterday, told this week. What started off as an creative processes that take his knowledge of cooking three artists portrayed in my DT News that the current The Big Kahuna Burger experimental project to bridge place when two individuals on his own. For him, food graffiti.” edition is challenging. “The from Pulp Fiction and the the culture of art and food from different creative preparation has always been Chef Bassam AlAlawi artists are pushing their hot slice of apple strudel has now turned into a creative disciplines collaborate. They a way of expressing creativity said, “I would first like to limits to come up with covered in whipped cream movement where artists could create a painting, an and comfort.