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Eptember L Heist
Ksini1975 CASSIAR, B.C. VOLUME 19 EPTEMBER L HEIST TOP ROW - JACK GRANT, JOHN WRIGHT, JOHN OLSON, JACK ROBISON 2ND ROW - JENNY DEROUIN, BEVERLY EVANS, KAREN CLARK, KATHY ROBISON LEFT TO RIGHT. 2ND ROW - DAVID RASMUS, DONNA A B LIN , N ATALIE OLSON, PAUL WOOD, B IL L BURR MISSING FROM PICTURE: MARGARET METCALFE, KIRSTEN SMIDT, PAT HICKMAN. Joining the staff are: Margaret Metcalfe, who takes over the Kindergarten. CASSIAR SCHOOL STAFF. NUMBERS FIFTEEN Mr. Metcalfe has taught in Scotland and Africa. Cassiar Elementary Secondary School welcomes ten new Jenny DeRouin, teaches Grade three. Mrs. DeRouin members to the staff for the coming school year. The new has taught previously in Clinton Creek and Ontario. comers join Beverly Evans, Grade one; Paul Wood, Grade Four; John Olson, Grade Six and Seven; Natalie Olson, Kathy and Jack Robison, have come to Cassiar from English and Commerce; and Pat Hickman, Industrial Good Hope Lake where they taught last year. Mrs. Robison Education and Math; — all of whom are well known to teaches the Grade Two Class, and Mr. Robison has charge Cassiar residents and students. of the Grade Five-Six Group. New members of the Secondary Staff include: KAREN CLARK - LEARNING ASSISTANT Bill Burr, who after training at U.B.C. and Simon Mrs. Karen Clark has been appointed full time Fraser, assumes teaching duties in Mathematics and Science learning assistant for the Stikine School District. Karen, who is widely known in the north for her contribu John Wright, an experienced teacher from New Denver tions to education, will supervise learning assistance and Squamish, teaches the Social Studies courses. -
ABSTRACT Title of Document: COMMUNICATING FEAR in FILM
ABSTRACT Title of Document: COMMUNICATING FEAR IN FILM MUSIC: A SOCIOPHOBIC ANALYSIS OF ZOMBIE FILM SOUNDTRACKS Pedro Gonzalez-Fernandez Master of Arts, 2014 Directed By: Dr. Patrick Warfield, Musicology The horror film soundtrack is a complex web of narratological, ethnographic, and semiological factors all related to the social tensions intimated by a film. This study examines four major periods in the zombie’s film career—the Voodoo zombie of the 1930s and 1940s, the invasion narratives of the late 1960s, the post-apocalyptic survivalist fantasies of the 1970s and 1980s, and the modern post-9/11 zombie—to track how certain musical sounds and styles are indexed with the content of zombie films. Two main musical threads link the individual films’ characterization of the zombie and the setting: Othering via different types of musical exoticism, and the use of sonic excess to pronounce sociophobic themes. COMMUNICATING FEAR IN FILM MUSIC: A SOCIOPHOBIC ANALYSIS OF ZOMBIE FILM SOUNDTRACKS by Pedro Gonzalez-Fernandez Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Master of Arts 2014 Advisory Committee: Professor Patrick Warfield, Chair Professor Richard King Professor John Lawrence Witzleben ©Copyright by Pedro Gonzalez-Fernandez 2014 Table of Contents TABLE OF CONTENTS II INTRODUCTION AND LITERATURE REVIEW 1 Introduction 1 Why Zombies? 2 Zombie Taxonomy 6 Literature Review 8 Film Music Scholarship 8 Horror Film Music Scholarship -
The Zombie in Popular Culture from "Night of the Living Dead" to "Shaun of the Dead"
Brigham Young University BYU ScholarsArchive Theses and Dissertations 2010-03-17 Ghouls, Hell and Transcendence: The Zombie in Popular Culture from "Night of the Living Dead" to "Shaun of the Dead" Jasie Stokes Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Classics Commons, and the Comparative Literature Commons BYU ScholarsArchive Citation Stokes, Jasie, "Ghouls, Hell and Transcendence: The Zombie in Popular Culture from "Night of the Living Dead" to "Shaun of the Dead"" (2010). Theses and Dissertations. 2103. https://scholarsarchive.byu.edu/etd/2103 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Ghouls, Hell and Transcendence: the Zombie in Popular Culture from Night of the Living Dead to Shaun of the Dead Jasie Stokes A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Carl Sederholm Charlotte Stanford Kerry Soper Department of Humanities, Classics and Comparative Literature Brigham Young University April 2010 Copyright © 2010 Jasie Stokes All Rights Reserved ABSTRACT Ghouls, Hell and Transcendence: the Zombie in Popular Culture from Night of the Living Dead to Shaun of the Dead Jasie Stokes Department of Humanities, Classics and Comparative Literature Master of Arts Considering the amount of media created around the zombie and the sustained interest in its role in our society, we can clearly see that a cultural phenomenon is underway, and it is important for us to question this phenomenon in order to gain some understanding of how and why its appeal has stretched so far. -
From Voodoo to Viruses: the Evolution of the Zombie in Twentieth Century Popular Culture
From Voodoo to Viruses: The Evolution of the Zombie in Twentieth Century Popular Culture By Margaret Twohy Adviser: Dr. Bernice Murphy A thesis submitted in partial fulfilment of the Degree of Master’s of Philosophy in Popular Literature Trinity College Dublin Dublin, Ireland October 2008 2 Abstract The purpose of this thesis is to explore the evolutionary path the zombie has followed in 20th Century popular culture. Additionally, this thesis will examine the defining characteristics of the zombie as they have changed through its history. Over the course of the last century and edging into the 21st Century, the zombie has grown in popularity in film, videogames, and more recently in novels. The zombie genre has become a self-inspiring force in pop culture media today. Films inspired a number of videogames, which in turn, supplied the film industry with a resurgence of inspirations and ideas. Combined, these media have brought the zombie to a position of greater prominence in popular literature. Additionally, within the growing zombie culture today there is an over-arcing viral theme associated with the zombie. In many films, games, and novels there is a viral cause for a zombie outbreak. Meanwhile, the growing popularity of zombies and its widening reach throughout popular culture makes the genre somewhat viral-like as well. Filmmakers, authors and game designers are all gathering ideas from one another causing the some amount of self- cannibalisation within the genre. 3 Table of Contents Introduction 4 Chapter One 7 Evolution of the Dead Chapter Two 21 Contaminants, Viruses, and Possessions—Oh my! Chapter Three 34 Dawn of the (Digital) Dead Chapter Four 45 Rise of the Literary Zombie Conclusion 58 Bibliography 61 4 Introduction There are perhaps few, if any fictional monsters that can rival the versatility of the humble zombie (or zombi)1. -
Find a Quiet Place in the Finger Lakes Spring 2009 by Carol White Llewellyn
TheThe magazinemagazine thatthat re-introducesre-introduces itsits readersreaders The magazine that re-introduces its readers toto thisthis specialspecial NewNew YorkYork StateState regionregion eacheach passingpassing seasonseason to this special New York State region each passing season Home || Contact Us || Subscribe/Renew || Gift Subscriptions || Calendar || Advertiser Links || Where to Buy || ExploretheFingerLakesFingerLakes Home | Contact Us | Subscribe/Renew | Gift Subscriptions | Calendar | Advertiser Links | Where to Buy | ExploretheFingerLakes Search: Search: << Back to Archived Article Main Page << Back to Archived Article Main Page Print Article || Email to a Friend Print Article | Email to a Friend Lifestyle LifestyleLifestyle FindFindFind aa a QuietQuiet Quiet Place PlacePlace ininin thethethe FingerFinger LakesLakes Spring 2009 SpringSpring 2009 2009 by Carol White Llewellyn byby Carol Carol White White Llewellyn Llewellyn In Bloomfield, an A-frame house stands nestled among tall trees and evergreens. Except for the mailbox, you might drive past without noticing its presence. The solitude of its location serves Eric Moon and Jan McKie well. Eric is a professional voiceover talent, and Jan is a former graphic artist turned entrepreneur. They both work from home, and the concept of The Quiet Place is their brainchild. The Quiet Place opened in April 2000 as one secluded getaway cabin conveniently located near Cumming Nature Center, Bristol Mountain, Grimes Glen and several wonderful restaurants and wine trails. Today, there are eight cabins and cottages scattered throughout the Finger Lakes, each one designated as The Quiet Place. The cabins range in size from one to four bedrooms, with the largest accommodating up to eight people. Serenity is inspirational A life-size scarecrow greets me from a lawn chair as I step onto their deck. -
Taylor Doctoralthesis Complete
21st Century Zombies: New Media, Cinema, and Performance By Joanne Marie Taylor A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Performance Studies and the Designated Emphasis in Film Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Peter Glazer, Chair Professor Brandi Wilkins Catanese Professor Kristen Whissel Fall 2011 21st Century Zombies: New Media, Cinema, and Performance © 2011 by Joanne Marie Taylor Abstract 21st Century Zombies: New Media, Cinema, and Performance by Joanne Marie Taylor Doctor of Philosophy in Performance Studies and a Designated Emphasis in Film Studies University of California, Berkeley Professor Peter Glazer, Chair This project began with a desire to define and articulate what I have termed cinematic performance, which itself emerged from an examination of how liveness, as a privileged performance studies concept, functions in the 21st century. Given the relative youth of the discipline, performance studies has remained steadfast in delimiting its objects as those that are live—shared air performance—and not bound by textuality; only recently has the discipline considered the mediated, but still solely within the circumscription of shared air performance. The cinema, as cultural object, permeates our lives—it is pervasive and ubiquitous—it sets the bar for quality acting, and shapes our expectations and ideologies. The cinema, and the cinematic text, is a complex performance whose individual components combine to produce a sum greater than the total of its parts. The cinema itself is a performance—not just the acting—participating in a cultural dialogue, continually reshaping and challenging notions of liveness, made more urgent with the ever-increasing use of digital technologies that seem to further segregate what is generally considered real performance from the final, constructed cinematic text. -
Disability in Popular Horror
Volume 15 REVIEW OF DISABILITY STUDIES: AN INTERNATIONAL JOURNAL Issue 1 Editorial “Disability in Popular Horror: A New Trend?” Raphael Raphael, PhD RDS Associate Editor of Creative Works and Multimedia University of Hawaiʻi at Mānoa, Center on Disability Studies Since its inception, film has always been fascinated with disability, although we don’t usually like to mention it. (I have written elsewhere how imagining the disabled body and the experience of having a disability has helped shape the medium of film, in ways largely overlooked or disavowed.) As a genre, horror (which might be the most popular kind of film at the moment) has always been especially interested in disability; the threat of becoming disabled or the threat of being attacked by a character with a visible disability or disfigurement have long been dependable narrative devices. Even when a disabled character is presented as sympathetic, the very experience of having a disability is traditionally imagined as itself a source of terror. For example, in Wait until Dark (1967), we are invited to vicariously experience being a young, sightless Audrey Hepburn faced with threats made horrific precisely by her inability to see. Recently, in just the past year, a very different trend might be emerging in horror films. Although this trend unsettles many years of cultural scripts about disability, it appears to be largely overlooked in the dominant, charged debates about recent horror films. This new trend---if it’s safe to call it that based on the two most popular recent horror films (A Quiet Place and Bird Box)---appears to imagine disability in an entirely new way. -
Family Values in the Movie “A Quiet Place”: a Semiotic Approach
DOI: https://doi.org/10.24843/JH.2020.v24.i04.p01 p-ISSN: 2528-5076, e-ISSN: 2302-920X Terakreditasi Sinta-4, SK No: 23/E/KPT/2019 Humanis Vol 24.4 Nopember 2020: 339-349 Family Values in the Movie “A Quiet Place”: A Semiotic Approach Ni Putu Ayuniantari*, Eunike Iona Saptanti, Eunike Serfina Fajarini LSPR Communication and Business Institute, Jakarta [[email protected]] Jakarta, DKI Jakarta, Indonesia *Corresponding Author Abstract There are only few commercially successful horror movies over fifty years since 1970s that win many awards. One of many horror films released in 2018 that left deep impression for audiences is ―A Quiet Place‖. McClintock (2018) claimed that the movie has earned more than $300M globally, making strides toward becoming one of the biggest-grossing original scary movies ever. ―A Quiet Place‖ is a silence movie directed by John Krasinski. Because of its silence and quietness, the audiences were forced to focus on the nonverbal signs in the movie. The theme of this movie was family values. One of many important films is mise –en-scene as this communicates indirectly to the audiences. The aim of this study was to know how the theme ―Family Values‖ was visualized in the movie. Using qualitative approach and Semiotics analysis method, this study focused on how the signs and mise-en-scene in the film were interpreted based on the researchers’ interpretation using Metz’ Grand Syntagmatique (1974). This study was a desk research and the data were obtained from selected scenes of the movie. The results showed that there were five syntagma category used in the film; i.e. -
An Animated Examination of Horror in Cinema
An Animated Examination of Cinematic Horror Elisa Stanis Spring 2019 Thesis submitted in completion of Honors Senior Capstone requirements for the DePaul University Honors Program Thesis Director: Devin Bell, Animation Faculty Reader: Brian Ferguson, Animation S t a n i s | 2 “The night is dark and full of terrors” - George R. R. Martin "What are common tropes in horror movies, and how have they evolved over time?" By researching the history of horror-related storytelling in cinema, I designed an animated short that pays homage to cinematic horror. My research explores the evolution of horror-related movies and alters the aesthetics of animation to fit differing visual themes. I delve into the details of designing a character that can be altered to exist in these conjoining sections, as well as how to best cinematically tell my story. Additionally, I specifically examine the role of young women in horror movies, as well as the idea of turning mundane actions into terrifying experiences. S t a n i s | 3 TABLE OF CONTENTS Abstract ________________________________________________________________________ 02 Acknowledgements ____________________________________________________________ 04 Introduction ____________________________________________________________________ 05 Concept to Creation ____________________________________________________________ 06 Designing a Protagonist _______________________________________________________ 08 Thematic Content: Structured by Segment: Traditional Horror (1960s) __________________________________________ -
Introduction
INTRODUCTION Having picked this book off the shelf, you’re probably asking yourself, “How could there be a neuroscience of zombies?” While yes, zombies do have brains (you have to destroy their brains in order “kill” them, or so the myth goes), we would be hard pressed to make a case that “zombie neuroscience” qualifies as its own field of study. Neuroscience— the study of the brain, particularly its relationship to behavior and cognition—already has its fair share of perhaps silly and fantastical “specialty” subfields; why add to the list? Well, did you know that we neuroscientists have the answer to every thing? Regular readers of the Opinion page of the New York Times or other popular media outlets will already know that neuroscience can explain why you are in love with your iPhone, why lying to your kids about Santa is a neurologically sound form of parenting, and why inducing a coma leads to proof of heaven. You see, by filtering all of human existence through our very muddy lens we can answer all of life’s questions. By our estimates, an fMRI study explaining the meaning of life should be coming out by sometime early 2015 (hint: it involves 42 brain regions). We hate to break it to our colleagues in the fields of philosophy, religion, and physics, but thanks to a few fancy brain imaging machines and a couple of decades of pretty hard think- ing about stuff, we neuroscientists now can understand every- thing, so they’ll probably need to seek employment elsewhere. If neuroscience is the panacea and explanation for everything else, why not the zombie apocalypse? There’s a market for that, right? Verstynen.indb 1 7/24/2014 8:15:00 AM 2 | Introduction Let’s return to the book you are holding in your hands. -
Genre Hybridization in Shaun of the Dead
Angles New Perspectives on the Anglophone World 1 | 2015 Brevity is the soul of wit Things Are Going to Change: Genre Hybridization in Shaun of the Dead Jean-François Baillon and Nicolas Labarre Electronic version URL: http://journals.openedition.org/angles/2150 DOI: 10.4000/angles.2150 ISSN: 2274-2042 Publisher Société des Anglicistes de l'Enseignement Supérieur Electronic reference Jean-François Baillon and Nicolas Labarre, « Things Are Going to Change: Genre Hybridization in Shaun of the Dead », Angles [Online], 1 | 2015, Online since 01 November 2015, connection on 02 September 2020. URL : http://journals.openedition.org/angles/2150 ; DOI : https://doi.org/10.4000/ angles.2150 This text was automatically generated on 2 September 2020. Angles. New Perspectives on the Anglophone World is licensed under a Creative Commons Attribution- NonCommercial-ShareAlike 4.0 International License. Things Are Going to Change: Genre Hybridization in Shaun of the Dead 1 Things Are Going to Change: Genre Hybridization in Shaun of the Dead Jean-François Baillon and Nicolas Labarre Page 1: ‘Things are going to change’: Genre hybridization in Shaun of the Dead Credits: Jean-François Baillon and Nicolas Labarre. Angles, 1 | 2015 Things Are Going to Change: Genre Hybridization in Shaun of the Dead 2 Page 2: ‘Things are going to change’: Genre hybridization in Shaun of the Dead Credits: Jean-François Baillon and Nicolas Labarre. Page 3: ‘Things are going to change’: Genre hybridization in Shaun of the Dead Credits: Jean-François Baillon and Nicolas Labarre. Angles, 1 | 2015 Things Are Going to Change: Genre Hybridization in Shaun of the Dead 3 Page 4: ‘Things are going to change’: Genre hybridization in Shaun of the Dead Credits: Jean-François Baillon and Nicolas Labarre. -
Academy Invites 842 to Membership
MEDIA CONTACT [email protected] July 1, 2019 FOR IMMEDIATE RELEASE ACADEMY INVITES 842 TO MEMBERSHIP LOS ANGELES, CA – The Academy of Motion Picture Arts and Sciences is extending invitations to join the organization to 842 artists and executives who have distinguished themselves by their contributions to theatrical motion pictures. The 2019 class is 50% women, 29% people of color, and represents 59 countries. Those who accept the invitations will be the only additions to the Academy’s membership in 2019. Six individuals (noted by an asterisk) have been invited to join the Academy by multiple branches. These individuals must select one branch upon accepting membership. New members will be welcomed into the Academy at invitation-only receptions in the fall. The 2019 invitees are: Actors Adewale Akinnuoye-Agbaje – “Suicide Squad,” “Trumbo” Yareli Arizmendi – “A Day without a Mexican,” “Like Water for Chocolate” Claes Bang – “The Girl in the Spider’s Web,” “The Square” Jamie Bell – “Rocketman,” “Billy Elliot” Bob Bergen – “The Secret Life of Pets,” “WALL-E” Bruno Bichir – “Crónica de un Desayuno,” “Principio y Fin” Claire Bloom – “The King’s Speech,” “Limelight” Héctor Bonilla – “7:19 La Hora del Temblor,” “Rojo Amanecer” Juan Diego Botto – “Ismael,” “Vete de Mí” Sterling K. Brown – “Black Panther,” “Marshall” Gemma Chan – “Crazy Rich Asians,” “Mary Queen of Scots” Rosalind Chao – “I Am Sam,” “The Joy Luck Club” Camille Cottin – “Larguées,” “Allied” Kenneth Cranham – “Maleficent,” “Layer Cake” Marina de Tavira – “Roma,” “La Zona (The