Bloody Hooks: a Collection of Adventure Hooks for Horror Gaming
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Grand-Guignol, the French Theatre of Horror As a Form of Violent Entertainment
Coded Realities No. 1 - Year 4 12/2013 - LC.3 Blood, Monstrosity and Violent Imagery: Grand-Guignol, the French Theatre of Horror as a Form of Violent Entertainment Tanja Jurković Abstract During the sixty-year period of its existence, Grand-Guignol, the French theatre of horror, gained a status of a legendary theatre which dealt with horrors and terrors of human mind, successfully connecting faits divers (common, everyday facts) with the erotic and titillating scenes of violence on stage. The performance style, the writing, the special effects, and the directorship over the course of years, made this theatre a legendary place where blood flowed in streams and people fainted during performances, in this way making its indelible mark in horror genre today. In this paper, the author is trying to focus the attention on the theatre of Grand-Guignol as a form of violent entertainment and the way the representations of violence and horror enacted on its stage affected the audience, through Goldstein’s theory of the importance of visual imagery in different media today. Furthermore, through comparison of violent acts presented on the stage of the Grand- Guignol and the atmosphere they create in the viewer’s mind with some of the aspects of Artaud’s vision of his theatre of cruelty, the author attempts to show how this form of violent entertainment in the theatrical media influences the vision of that same violence within the audience, with the sense of security as the main idea in which the viewers feel safe to enjoy, envision and in a way become the participants in the performances enacted on the small stage of the Grand-Guignol. -
Changeling::: the Lost
Author: Chris Handley Editing: Sam Kapral, Bryce Perry, Katherine (www.thereadingpanda.com) Cover Art: Malacar Thanks to: Mike, Stephen, Adrian, Mark, James, and to my rpg group Steve, Heather, Chris, and Emily. The World of Darkness, Changeling: the Lost, Vampire: the Requiem, Werewolf: the Forsaken, Mage: the Awakening and White Wolf are all trademarks of CCP North America. This book is a fan-written project that makes no claim to the intellectual property of the trademarks above. All work within this ebook are the work and views of the writer, inspired by the trademarks above, and in no way should be thought of as accurate, credible or real. All art used in this work are either my own or are used under the creative commons license. The supernatural elements of this book are fictional and intended for the purpose of entertainment. Within the book are mature themes. Reader discretion is advised. Broken Masks, Splintered Dreams Venice - La Serenissima - a city of lust, greed, mystery, magic and dreams. It is the fairy city of man sat upon ever rising waters. Venice sits at the gateway of the classical and medieval worlds, an ancient nexus now nothing more than a city-sized, water-logged, museum of the Renaissance. Venice may no longer be a centre of the mortal world, but it has remained the centre of the world for those that live within its shadows. Venice has a dynamic, colorful, and sordid history since the fall of the Roman Empire, and has always been influenced by those other beings that take an interest in human affairs. -
Grand Guignol: the Theatre of Horror, the Efficacy of Horrific Staging, and When My Body Cried Out
Grand Guignol: The Theatre of Horror, the Efficacy of Horrific Staging, and When My Body Cried Out A Senior Honors Project Presented to the Faculty of the Departments of English and Theatre, University of Hawaiʻi at Mānoa In Partial Fulfillment of the Requirements for Bachelor of Arts in English with Honors By Angie Anderson 15 April 2017 Committee: Todd Sammons, PhD, Mentor Markus Wessendorf, PhD Acknowledgments Thank you, firstly, to my mentors, Dr. Todd Sammons and Dr. Markus Wessendorf, for guiding me through this long and tiring process--your patience, time, good humor, pointed questions, and savvy are all greatly appreciated. Without you, this would have never been finished. And thank you, Dr. James Caron, for encouraging me to pursue this project and helping me navigate the logistics of its creation. Thank you to all of the incredibly important and beloved people who read my play in its infancy and offered vital feedback. Thank you all for taking the time to read this dark piece. I know it’s difficult and draining and it means a lot to me that you would help me, despite the blood and guts, especially Dr. Lurana O’Malley, Kevin CK Berg, Jennifer Yoo, Joanna Mills, Malia Wessel, and Joanna Gordon. Thank you Mom and Dad, for dressing up as scary things when I was little. I’m sure that had no effect on me as an adult. Thank you for reminding me that without the terrible things in the world, we couldn’t appreciate the blessed things. i Abstract Grand Guignol is a French genre of theatre that exploited the very strong and real human experience of intense fear in order to create impactful pieces of drama that, though fleeting, affected people deeply and sparked the flame of modern concepts of gore, shock, and thrill. -
Literariness.Org-Michael-Cook-Auth
Crime Files Series General Editor: Clive Bloom Since its invention in the nineteenth century, detective fiction has never been more popular. In novels, short stories, films, radio, television and now in computer games, private detectives and psychopaths, prim poisoners and overworked cops, tommy gun gangsters and cocaine criminals are the very stuff of modern imagination, and their creators one mainstay of popular consciousness. Crime Files is a ground-breaking series offering scholars, students and discerning readers a comprehensive set of guides to the world of crime and detective fiction. Every aspect of crime writing, detective fiction, gangster movie, true-crime exposé, police procedural and post-colonial inves- tigation is explored through clear and informative texts offering comprehen- sive coverage and theoretical sophistication. Published titles include : Maurizio Ascari A COUNTER-HISTORY OF CRIME FICTION Supernatural, Gothic, Sensational Pamela Bedore DIME NOVELS AND THE ROOTS OF AMERICAN DETECTIVE FICTION Hans Bertens and Theo D’haen CONTEMPORARY AMERICAN CRIME FICTION Anita Biressi CRIME, FEAR AND THE LAW IN TRUE CRIME STORIES Ed Christian ( editor ) THE POST-COLONIAL DETECTIVE Paul Cobley THE AMERICAN THRILLER Generic Innovation and Social Change in the 1970s Michael Cook NARRATIVES OF ENCLOSURE IN DETECTIVE FICTION The Locked Room Mystery Michael Cook DETECTIVE FICTION AND THE GHOST STORY The Haunted Text Barry Forshaw DEATH IN A COLD CLIMATE A Guide to Scandinavian Crime Fiction Barry Forshaw BRITISH CRIME FILM Subverting -
Immersed in Horror: a Study of the Historical and Contemporary Influences of Poe’S Shadows
Immersed in Horror: A Study of the Historical and Contemporary Influences of Poe’s Shadows Elizabeth Kurtzman Thesis submitted to the faculty of the Virginia Polytechnic Institute and State University in partial fulfillment of the requirements for the degree of Master of Arts In English Shoshana Milgram Knapp Amanda Nelson Katharine Cleland May 9, 2019 Blacksburg, Virginia Keywords: Horror, Theatre, Edgar Allan Poe, Immersive Theatre, Haunted Attractions, Ghosts Copyright © 2019 Elizabeth M. Kurtzman Unless otherwise stated Immersed in Horror: A Study of the Historical and Contemporary Influences of Poe’s Shadows Elizabeth Kurtzman ABSTRACT Though the cinematic genre of horror was not designated until the twentieth century, elements of this genre have appeared onstage since the time of the Greeks. Theatre history is rife with examples of theatrical ghosts and horrors, whose ever- changing representation indicates society’s evolving relationship to and expectation for horror onstage. In 2019, Virginia Tech presented the installation Poe’s Shadows, which combined elements of traditional theatre, original art, and innovative technology to present an immersive experience of Edgar Allan Poe’s work. This production was a unique collaborative work that combined the creative labor of both faculty and students, while also invoking past horror theatre techniques and technologies. The properties of the Cube performance space allowed the Poe’s Shadows creative team to imitate hand- cranked panoramas, magic lantern shows, and shadow plays, while also using sound effects and narration that combined elements of theatrical tradition and ghost shows. By studying the history of Poe’s Shadows, as well as the reception of the installation, one can see how the theatre’s evolving relationship with horror is effected by audience demand and expectation, as well as newly available technologies. -
Genre, Gender, Giallo: the Disturbed Dreams of Dario Argento
GENRE, GENDER, GIALLO: THE DISTURBED DREAMS OF DARIO ARGENTO COLETTE JANE BALMAIN A thesis submitted in partial fulfilment of the requirements of the University of Greenwich For the Degree of Doctor of Philosophy JANUARY 2004 ACKNOWLEDGEMENTS This thesis is dedicated to my parents, Oavid Balmain, and Peggy Balmain, and my sister, Louise Balmain, without whose emotional and financial support and belief in me, it would not have been possible. I am extremely grateful to a wide number of people who have supported, encouraged and enabled me to produce this work. My special thanks go to my supervisor, Carolyn Brown, for her time and effort and unstinting encouragement during the process of writing. I also thank my ex-colleagues at Greenwich University who all contributed in some way to the intellectual space of this thesis - in particular: Oavid Pattie; John Williams; Oenise Leggett; Peter Humm; Susan Rowlands and Ann Cormack. I am also particularly grateful to Ann Battison and Mavis lames for helping me negotiate the administrative backdrop to the final production of this thesis. My colleagues at Buckinghamshire Chilterns University College have also played a part in enabling me to complete - Ruth Gunstone; Lois Orawmer; Alison Tedman; John Mercer and Andy Butler in particular. Also thanks to Lorna Scott for her help with proofreading and printing. Finally special thanks must go to my examiners: Professor Sue Golding (Greenwich University); Or Simon O'Sullivan (Goldsmith's College, University of London) and Or Jenny Bavidge (University of Greenwich). Or Colette Balmain January 2004 - Ill - ABSTRACT This thesis presents an examination of the giallo films of Dario Argento from his directorial debut The Bird with the Crystal Plumage (1970) to The Stendhal Syndrome ( 1996). -
The Interview Bizarre: 6 Questions for 7 Filmmakers
THE INTERVIEW BIZARRE: 6 QUESTIONS FOR 7 FILMMAKERS web.archive.org/web/20120205004551/http://www.filmthreat.com/interviews/46169 By Jeremy Knox If you give it enough time, everything returns to the beginning. Le Théâtre du Grand-Guignol was French shock-horror theatre. It was founded in the 1890′s by Oscar Metenier, and lasted until 1962 when it closed because Europeans had become desensitized to fictional violence and no longer appreciated its many quirks and charms. Yet the dark spirit of the thing endured, escaping the confines of the stage and haunting cinema. It lived through people like Alfred Hitchcock and H.G. Lewis and George Romero and Tom Savini. The screams of the victims on the screen was it’s heartbeat. The fear oozing out of the audience in the theatre was it’s blood. As I was writing my questions for The Theatre Bizarre filmmakers, it occurred to me that I was very interested in what each of them thought about the Grand Guignol itself. So I asked them four identical questions, all pertaining to the Guignol, and two more personal questions relating to the segment that they had directed. I wanted to know if the ghost of the Guignol still haunted us all, and most importantly… how sharp its teeth were. Enjoy. Jeremy Kasten (Segment: The Theatre Bizarre) #1 Did you do any research on the Grand Guignol before starting your segment? If so, what elements or bits of historical detail influenced the end result? I’ve been fascinated by the Grand Guignol theatre movement for many years and because of my on-going fascination didn’t need to do research to learn about it. -
Playboy Magazine Collection an Inventory
1 Playboy Magazine Collection An Inventory Creator: Hefner, Hugh (1926-2017) Title: Playboy Magazine Collection Dates: 1955-2018, bulk 1955-1979. Abstract: This collection consists of issues of Playboy and OUI magazines ranging from December 1955-June 2018. Playboy is unique among other erotic magazines of its time for its role as a purveyor of culture through political commentary, literature, and interviews with prominent activists, politicians, authors, and artists. The bulk of the collection dates from the 1960s-1970s and includes articles and interviews related to political debates such as the Cold War, Communism, Vietnam, the Civil Rights Movement, second-wave feminism, LGBTQ rights, and the depiction and consumption of the body. Researchers studying American Culture in the 1960s/70s, Gender & Sexuality, History of Advertising, and History of Photography will find this material of particular interest. Extent: 18 boxes, 7.5 linear feet Language: English Repository: Drew University Library, Madison NJ Biographical and History Note: Hugh Hefner, (April 9, 1926 – September 27, 2017), the founder and editor-in-chief of Playboy magazine, was known as a free speech activist, philanthropist, and proponent of sexual freedom. He founded Playboy magazine in 1953 with $1,000 seed money provided by his mother, Grace Hefner, a devout Methodist. The magazine quickly became known for its subversive visual, literary, and political content. Playboy is unique among other erotic magazines of the same time period for its role as a purveyor of culture through political commentary, literature, and interviews with prominent activists, politicians, authors, and artists. As a lifestyle magazine, Playboy curated and commodified the image of the modern bachelor of leisure. -
Revenant Issue 2 (2016) 'Brand New Ancient Legends': Creating
146 ‘Brand New Ancient Legends’: Creating Werewolves for a Welsh Halloween Richard J. Hand, University of East Anglia Abstract: Research and pedagogical interest in Grand-Guignol and popular horror performance at the University of South Wales has led to the commissioned creation of an annual public Halloween event for a council in Wales. In 2015, the event took place at a Nature Reserve with the theme of ‘Werewolves’. This article gives an account of this Practice-as-Research project, in which a large ensemble developed skills in various areas: writers investigated the lycanthropic folklore and culture of Wales and beyond; performers trained in storytelling and physical performance; and a technical and stage management team facilitated the overall experience. This article gives a detailed account of the cultural context, creative process and final production of the 2015 ‘Werewolves’ event. In so doing, it demonstrates how an ensemble working intensively on a focused project with a willing audience can present an example of a negotiated horror world through which the seeming oxymoron of a ‘brand new ancient legend’ can be inaugurated. Key Words: Halloween, Wales, Werewolves, Practice-as-Research, Grand-Guignol Theatre, Popular Horror Culture, Immersive Performance Revenant Issue 2 (2016) 147 Since 2011, the Drama Department at the University of South Wales (USW Drama) has been commissioned by Cardiff City Council to create a walkthrough horror performance for the city’s Halloween festivities. The annual project has mapped closely onto the department’s research strength in Grand-Guignol horror theatre.1 The Théâtre du Grand-Guignol – the Parisian ‘theatre of horror’ – opened in 1897 in and survived until the early 1960s. -
Stage Fright: an Examination of Horror-Based Theatre Through Theory and Practice
University of Central Florida STARS Electronic Theses and Dissertations, 2020- 2020 Stage Fright: An Examination of Horror-based Theatre Through Theory and Practice Ramon Paradoa University of Central Florida Part of the Theatre and Performance Studies Commons Find similar works at: https://stars.library.ucf.edu/etd2020 University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2020- by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Paradoa, Ramon, "Stage Fright: An Examination of Horror-based Theatre Through Theory and Practice" (2020). Electronic Theses and Dissertations, 2020-. 395. https://stars.library.ucf.edu/etd2020/395 STAGE FRIGHT: AN EXAMINATION OF HORROR-BASED THEATRE THROUGH THEORY AND PRACTICE by RAMON LAZARO PARADOA B.A. University of Central Florida, 2015 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Theatre in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Fall Term 2020 Major Professor: Belinda Boyd © 2020 Ramon Lazaro Paradoa ii ABSTRACT The horror genre wears masks of various shapes, sizes, and textures in the creative outlets in which it exists. While often criticized and chastised by the craftiest of pop culture critics, the general agreement is that the genre successfully fulfills its purpose in satisfying a craving for screams while providing a sub-cultured home for a specific demographic of misfits. -
Crime Fiction and the Grand-Guignol: Natural Bedfellows?
Crime Fiction and the Grand-Guignol: Natural Bedfellows? Michael Wilson Readers of this august journal will no doubt have red-light district of Montmartre. Montmartre itself witnessed a frisson of anticipated pleasure when the had a long theatrical tradition and was the birthplace British Library announced that its publication for of Naturalism when André Antoine founded the September 2019 in the Crime Classics Series was to Théâtre Libre in 1887 and outraged audiences with be John Dickson Carr’s first novel, It Walks By his radical and experimental staging of plays that Night, first published in 1930 as a Harper Sealed were considered too daring for mainstream theatres. Mystery Story. An equally intense shiver of delight Méténier had been one of Antoine’s dramatists and would no doubt have run up and down the same disciples, contributing comédies rosses, short plays spines when learning that Tony Medawar’s third that depicted the underbelly of Parisian life, and volume of “forgotten stories of mystery and when the Théâtre Libre closed in 1896, Méténier suspense”, Bodies from the Library 3 (Collins decided to establish a replacement and established Crime Club, 2020), would include the earlier the Grand-Guignol, the smallest theatre in Paris at novella, from which the novel evolved. “Grand the time, in the following year. Guignol”[1] was first published in two parts in The If the Grand-Guignol began life as a serious Haverfordian, Carr’s former college magazine, in project in radical short-form stage naturalism, then March and April 1929, mimicking the ‘Sealed it didn’t stay that way for long. -
The Subversive Spectacle of Grande Dame Guignol Cinema
Belmont University Belmont Digital Repository English Theses School of Humanities Spring 4-22-2021 Look At Her: The Subversive Spectacle of Grande Dame Guignol Cinema Michelle Smith [email protected] Follow this and additional works at: https://repository.belmont.edu/english_theses Part of the American Film Studies Commons, American Popular Culture Commons, English Language and Literature Commons, Feminist, Gender, and Sexuality Studies Commons, and the Film and Media Studies Commons Recommended Citation Smith, Michelle, "Look At Her: The Subversive Spectacle of Grande Dame Guignol Cinema" (2021). English Theses. 2. https://repository.belmont.edu/english_theses/2 This Thesis is brought to you for free and open access by the School of Humanities at Belmont Digital Repository. It has been accepted for inclusion in English Theses by an authorized administrator of Belmont Digital Repository. For more information, please contact [email protected]. 2 Table of Contents Chapter One: Introduction.................................................................................................................3 Chapter Two: Narrative...................................................................................................................15 Chapter Three: Cinematic Style.......................................................................................................38 Chapter Four: Performance & Context…………….…...................................................................54 Chapter Five: Reception & Conclusion……………………………………….…………………..67