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Australian Found-Footage Horror Film
Finders Keepers AUSTRALIAN FOUND-FOOTAGE HORROR FILM Alexandra Heller-Nicholas looks at how two Australian films,The Tunnel and Lake Mungo, fit into the hugely popular found-footage horror trend, and what they can reveal about this often critically disregarded subgenre. 66 • Metro Magazine 176 | © ATOM FACING PAGE, FROM TOP: MATHEW (MARTIN SHARPE) USES TECHNOLOGY TO TRY TO CONTROL HIS DEAD SISTER IN LAKE MUNGO; STEVE (STEVE MILLER) EXPLORES WHAT LURKS BELOW IN THE TUNNEL THIS PAGE, TOP ROW: THE TUNNEL BOTTOM ROW AND INSET BELOW: LAKE MUNGO When horror academic Mark Jancovich Ghostwatch. Looking beyond film, television dismissed The Blair Witch Project (Daniel and radio, there are numerous significant Myrick & Eduardo Sánchez, 1999) as ‘a media hoaxes such as the New York Sun’s one-off gimmick rather than the start of a ‘Great Moon Hoax’ in 1835 that suggest a new cycle of horror production’ in 2002, few broader history behind the current found- suspected how premature this prediction footage horror phenomenon. would be.1 The extraordinarily successful Paranormal Activity franchise (2007–2012) While the diversity of this subgenre’s history left Blair Witch in its dust, and found footage has been simplified, the broader areas from – or faux found footage – has become the which found-footage horror has drawn its horror format du jour. Horror fans and critics inspiration have also been largely under- now discuss found footage as an overused stated. Documentary is the most obvious, cliché that is past its use-by date, and even but found-footage horror’s relationship to horror directors themselves go to consid- amateur filmmaking traditions is arguably erable lengths to clarify how their found- to a number of screen trends and events, just as important. -
Expanded Mockuworlds. Mockumentary As a Transmedial Narrative Style 2015
Repositorium für die Medienwissenschaft Cristina Formenti Expanded Mockuworlds. Mockumentary as a Transmedial Narrative Style 2015 https://doi.org/10.25969/mediarep/16508 Veröffentlichungsversion / published version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Formenti, Cristina: Expanded Mockuworlds. Mockumentary as a Transmedial Narrative Style. In: IMAGE. Zeitschrift für interdisziplinäre Bildwissenschaft. Themenheft zu Heft 21, Jg. 11 (2015), Nr. 1, S. 63– 80. DOI: https://doi.org/10.25969/mediarep/16508. Erstmalig hier erschienen / Initial publication here: http://www.gib.uni-tuebingen.de/image/ausgaben-3?function=fnArticle&showArticle=325 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine This document is made available under a Deposit License (No Weiterverbreitung - keine Bearbeitung) zur Verfügung gestellt. Redistribution - no modifications). We grant a non-exclusive, Gewährt wird ein nicht exklusives, nicht übertragbares, non-transferable, individual, and limited right for using this persönliches und beschränktes Recht auf Nutzung dieses document. This document is solely intended for your personal, Dokuments. Dieses Dokument ist ausschließlich für non-commercial use. All copies of this documents must retain den persönlichen, nicht-kommerziellen Gebrauch bestimmt. all copyright information and other information regarding legal Auf sämtlichen Kopien dieses Dokuments müssen alle protection. You are not allowed to alter this document in any Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen way, to copy it for public or commercial purposes, to exhibit the Schutz beibehalten werden. Sie dürfen dieses Dokument document in public, to perform, distribute, or otherwise use the nicht in irgendeiner Weise abändern, noch dürfen Sie document in public. dieses Dokument für öffentliche oder kommerzielle Zwecke By using this particular document, you accept the conditions of vervielfältigen, öffentlich ausstellen, aufführen, vertreiben oder use stated above. -
Ghosts in the Machine: Haunted Screens
Ghosts in the Machine: Haunted Screens RODGERS, Diane <http://orcid.org/0000-0002-3117-4308> Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/27615/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version RODGERS, Diane (2020). Ghosts in the Machine: Haunted Screens. In: Haunts - haunted places and haunting practices, Sheffield Hallam University [online], 29 October 2020. Sheffield Hallam University Spaces and Places Grou. (Unpublished) Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk Ghosts in the Machine: Haunted Screens Diane A. Rodgers – October 2020 SLIDE 1 Television programmes with supernatural themes have often spooked the nation and, on occasion, fooled viewers into thinking what they were watching was real. SLIDE 2 On Hallowe’en in 1992, the BBC broadcast Ghostwatch which, presented in the guise of live television, became infamous as one of the most complained-about television programmes of all time. It terrified audiences when a supposedly real live ghost investigation, (and the programme itself!) seemed to become possessed. It was an example of a writer - Stephen Volk - testing the credulity of TV audiences by featuring a number of techniques to blur the boundary between fact and fiction to spook viewers. SLIDE 3 A ninety- minute television play, Ghostwatch was presented on BBC One at Halloween as a piece of reality television investigating supernatural activities in the house of a single mother and her two young daughters. -
The Supernatural Media Virus Virus Anxiety in Gothic Fiction Since 1990
From: Rahel Sixta Schmitz The Supernatural Media Virus Virus Anxiety in Gothic Fiction Since 1990 July 2021, 290 p., pb., 5 b&w ill., 54 col. ill. 44,00 € (DE), 978-3-8376-5559-9 E-Book: PDF: 43,99 € (DE), ISBN 978-3-8394-5559-3 Since the 1990s, the virus and the network metaphors have become increasingly pop- ular, finding application in a broad range of everyday discourses, academic disciplines, and fiction genres. In this book, Rahel Sixta Schmitz defines and discusses a trope recurring in Gothic fiction: the supernatural media virus. This trope comprises the confluence of the virus, the network, and a deep, underlying media anxiety. This study shows how Gothic narratives such as House of Leaves or The Ring feature the super- natural media virus to negotiate as well as actively shape imaginations of the network society and the dangers of a globalized, technologized world. Rahel Sixta Schmitz, born in 1991, earned her doctorate in cultural studies at the Justus Liebig University in Giessen, Germany in 2020. Her research focuses on Gothic fic- tion across all narrative media, especially Gothic in the late twentieth and twenty-first century. For further information: www.transcript-verlag.de/en/978-3-8376-5559-9 © 2021 transcript Verlag, Bielefeld Contents Acknowledgments............................................................9 Introduction: The Age of Virus Anxiety ...................................... 11 1. The Virus, the Network, and the Supernatural Media Virus ............ 39 1.1 Theories of Metaphor .................................................. 39 1.2 The Viral Metaphor: The Spread of the Virus Across Disciplines ......... 44 1.3 The Ubiquity of the Network Metaphor and the Emergence of the Network Society .................................................. -
The Stone Roses Music Current Affairs Culture 1980
Chronology: Pre-Stone Roses THE STONE ROSES MUSIC CURRENT AFFAIRS CULTURE 1980 Art created by John 45s: David Bowie, Ashes Cinema: Squire in this year: to Ashes; Joy Division, The Empire Strikes Back; N/K Love Will Tear Us Apart; Raging Bull; Superman II; Michael Jackson, She's Fame; Airplane!; The Out of My Life; Visage, Elephant Man; The Fade to Grey; Bruce Shining; The Blues Springsteen, Hungry Brothers; Dressed to Kill; Heart; AC/DC, You Shook Nine to Five; Flash Me All Night Long; The Gordon; Heaven's Gate; Clash, Bankrobber; The Caddyshack; Friday the Jam, Going Underground; 13th; The Long Good Pink Floyd, Another Brick Friday; Ordinary People. in the Wall (Part II); The d. Alfred Hitchcock (Apr Police, Don't Stand So 29), Peter Sellers (Jul 24), Close To Me; Blondie, Steve McQueen (Nov 7), Atomic & The Tide Is High; Mae West (Nov 22), Madness, Baggy Trousers; George Raft (Nov 24), Kelly Marie, Feels Like I'm Raoul Walsh (Dec 31). In Love; The Specials, Too Much Too Young; Dexy's Fiction: Midnight Runners, Geno; Frederick Forsyth, The The Pretenders, Talk of Devil's Alternative; L. Ron the Town; Bob Marley and Hubbard, Battlefield Earth; the Wailers, Could You Be Umberto Eco, The Name Loved; Tom Petty and the of the Rose; Robert Heartbreakers, Here Ludlum, The Bourne Comes My Girl; Diana Identity. Ross, Upside Down; Pop Musik, M; Roxy Music, Non-fiction: Over You; Paul Carl Sagan, Cosmos. McCartney, Coming Up. d. Jean-Paul Sartre (Apr LPs: Adam and the Ants, 15). Kings of the Wild Frontier; Talking Heads, Remain in TV / Media: Light; Queen, The Game; Millions of viewers tune Genesis, Duke; The into the U.S. -
Fantastika Journal
FANTASTIKA JOURNAL Volume 4 • Issue 1 • July 2020 ISSN: 2514-8915 Fantastika Journal • Volume 4 • Issue 1 • July 2020 EDITOR’S NOTE “Fantastika” A term appropriated from a range of Slavonic languages by John Clute. It embraces the genres of Fantasy, Science Fiction, and Horror, but can also include Alternate History, Gothic, Steampunk, Young Adult Dystopic Fiction, or any other radically imaginative narrative space. The goal of Fantastika Journal and its annual conference is to bring together academics and independent researchers who share an interest in this diverse range of fields with the aim of opening up new dialogues, productive controversies and collaborations. We invite articles examining all mediums and disciplines which concern the Fantastika genres. “Most people think time is like a river that flows swift and sure in one direction. But I have seen the face of time, and I can tell you: they are wrong. Time is an ocean in a storm. You may wonder who I am or why I say this. Sit down and I will tell you a tale like none you have ever heard.” (Prince of Persia: The Sands of Time, 2003) Time is traditionally seen as being linear; the progression of one moment to the next, a strict separation of past, present, and future based on sequential and causational relationships. Yet memory, imagination, day-dreaming, nostalgia, planning and many other routine processes blur the boundaries between them as temporal linearity appears to fold back upon itself. Certainly, we cannot avoid the reality that time conceptually propels us along in one direction, but it is simultaneously multidirectional and chaotic. -
Haunted Media, Globalization and Televisual Horror
Theory and Practice in English Studies Volume 9, No. 1–2, 2020 E-ISSN: 1805-0859 “THERE'S A DEMON IN THE INTERNET”: HAUNTED MEDIA, GLOBALIZATION AND TELEVISUAL HORROR Klára Feikusová Abstract This paper is focused on the portrayal of media, more precisely television and new media, in television horror shows in the context of globalization and the implica- tions of this portrayal. The media and their technologies have always been de- monized in one way or another. Every new invention, every new means of com- munication is viewed with a mix of awe and suspicion. New technology and new media become objects of phobia. Once a new medium is introduced, it usually takes the position of a phobic object, relieving the old one from this burden. How- ever, a certain level of anxiety remains with the old medium. No genre shows this quite as well as horror. In the horror genre, the media and their physical forms are often shown either as a threat itself or bringer of thereof. The internet and social media are just as monstrous. But how are these monsters, material or not, por- trayed in the media itself? In this paper I will analyze how television horror shows mediate the anxiety about threats linked to new media, social media, and television itself. In the first half of the paper, I focus on haunted media as a travelling concept in the television landscape. In the second half, I use the TV show Evil (2019-) as a case study, ana- lyzing how it portrays new media as an ultimate threat in the era of globalization. -
Approaches to Surveillance in Contemporary British Television Comedy Stephanie Clayton
Approaches to Surveillance in Contemporary British Television Comedy Stephanie Clayton Thesis Submitted for the Degree of Doctor of Philosophy University of East Anglia School of Art, Media and American Studies April 2019 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived therefrom must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. 2 Acknowledgements: I consider it a great privilege to have had the opportunity to complete a PhD. All my sincere and heartfelt thanks to my supervisors, Dr Brett Mills and Prof Su Holmes for their mentorship and guidance. Thank you to my examiners, Dr Melanie Williams and Prof Jane Roscoe for their insightful questions and comments and to Dr Richard Hand for chairing my Viva. To all the women I have met, learned from, and befriended in academia thank you for continuing to support and inspire me. To the Norfolk and Norwich University Hospital, thank you for your continued care and for keeping me alive. And most importantly, to my Mom and Dad for everything (if I started listing specific things, it would be longer than the thesis that follows). 3 Abstract: In 2001, the year David Lyon coined the term ‘surveillance society’, the study of surveillance was in its infancy. Visual and audio surveillance were well-established and digital and biometric surveillance were on the rise. Today, stories about digital surveillance and data-mining are often in the popular press. -
Syllabus Should Be Understood As a Provisional Plan for What We Will Do in Class
LNDN FILM 3367 The City Made Strange: London on Screen in Horror and Science Fiction Cinema CAPA London Film Program Fall and Spring Course Description London has existed for more than two thousand years, and the ghosts of the recent and ancient past remain abroad in its streets and its culture. This course aims to explore the deep funds of strangeness and otherness that permeate London’s places and spaces, through examining films and television series that show the city as a brimming reservoir of past and future shocks. The course will examine science fiction, horror and noir/neo-gothic cinema and television from all eras, with a particular emphasis on works that take London itself as a major part of their story. These might be disaster or alien invasion films that see the city as a site of destruction or devastation, horror films which render a familiar city frightening and strange, or noir explorations of London’s underbelly that expose sides of the city that are normally hidden. The course will both present an alternative history of London on film, and also provide students with rich possibilities for the analytic study of film and television. Horror and science fiction are notorious as vessels for the expression of both social and political anxieties, and the selection of films would encourage analyses of both psychological content and broader contexts (areas might include, for instance, Cold War-era fears, body horror, racial or class concerns). Readings will be both critical and complementary, and hope to locate uncanny London on film in relation not only to American cinematic tropes in genres such as horror, but also to the large fictional and occult literature which features London as a place of archaic energies and occult forces. -
Million Reasons Kpop Skam Trainspotting Hesmondhalgh Masculinity in Advertising We Need to Talk About Kevin
THE MAGAZINE FOR STUDENTS OF FILM AND MEDIA STUDIES FEBRUARY 2018 ISSUE 63 MILLION REASONS KPOP SKAM TRAINSPOTTING HESMONDHALGH MASCULINITY IN ADVERTISING WE NEED TO TALK ABOUT KEVIN MM63_feb7_cover_final.indd 1 07/02/2018 15:58 Contents MediaMagazine is published by the English and Media Centre, a non-profit making organisation. The Centre publishes a wide range of classroom materials and runs courses for teachers. If you’re studying English at A Level, look out for emagazine, also published 06 10 by the Centre. 24 14 04 Making the Most of 14 The Changing Face MediaMag of Masculinity: 1960s vs Modern Day Advertising 05 2018 MediaMagazine Helen Dugdale looks at Production how far the advertising industry has come in its The English and Media Centre 06 Reasons to Believe representations of men. 18 Compton Terrace London N1 2UN Giles Gough examines Telephone: 020 7359 8080 the responses to the 18 All That Heaven . .? Fax: 020 7354 0133 ‘text within a text’ in All That Heaven Allows is Email for subscription enquiries: 13 Reasons Why. a snapshot of important [email protected] Hollywood history. Roy 10 We Need to Talk Stafford explains. About Kevin Editors: Andrew McCallum 24 The Rise of K-pop Jenny Grahame and examines Lynn Ramsay’s Korean music, film and TV Claire Pollard use of technical codes are becoming enormously Copy-editing: and elements of genre popular in the UK. Melodie Andrew McCallum in this set text film. Karczewski examines this Subscriptions manager: modern cultural phenomenon. Bev St Hill Design: Sam Sullivan Newington Design This magazine is not photocopiable. -
Title: “'Towns That Go Bump in the Night': Haunted Urbanity and Ghostly
Title: “‘Towns that go bump in the night’: Haunted Urbanity and Ghostly Narratives in the UK” By: Alexander Hay Supernatural Studies: An Interdisciplinary Journal of Art, Media, and Culture, Vol. 6, No. 2, pp. 59-83 Supernatural Studies 59 “Towns that go bump in the night”: Haunted Urbanity and Ghostly Narratives in the UK Alexander Hay Most if not all towns and cities in the UK have at least one haunted landmark, often several. Locations ranging from Southampton to York to Cardiff, for example, are host to a wide range of venues and locations, from industrial estates to haunted theatres, all said to be host to spectral presences of one sort or another. It is fair to say, then, that paranormal urban landscapes loom large in British culture and its urban experience. Given the sheer number of these occurrences, what does this reveal about how we relate to our towns and cities? Do our large number of haunted cities and towns reflect an ongoing narrative tradition in our popular culture, or do haunted sites instead reflect a sense of alienation and disillusionment with our surroundings, be it in the form of shuttered pubs, the London Underground, or the nondescript environs of a semi- detached house with its own poltergeist? Other areas of interest in this paper include how press coverage both reflects and disseminate urban ghost narratives, alongside the rise of housing inequalities and entrenched poverty that increasingly define British towns and cities. Whether these urban ghosts exist, of course, is another matter. Keywords: city, ghosts, hauntings, homelessness, housing, media, news, town, urban Hauntings, both in fiction and reported as real events, loom large in the British cultural imagination, if the seventeen year lifespan of the Most Haunted TV show and regular, sensationalist coverage in both the popular and local press—for example, The Southern Daily Echo covers day-to-day life and hauntings in Southampton with much the same editorial tone as the national tabloid press—is anything to go by. -
Australian Journal of Parapsychology ISSN: 1445-2308 Volume 19, Number 1, Pp
© 2019 AIPR, Inc. Australian Journal of Parapsychology ISSN: 1445-2308 Volume 19, Number 1, pp. 5-43 “Meme-Spirited”: II. Illustrating the VAPUS Model for Ghost Narratives SHARON A. HILL ,BRIAN LAYTHE ,NEIL DAGNALL ,KENNETH DRINKWATER ,CIARÁN O’K EEFFE ,ANNALISA VENTOLA , &JAMES HOURAN Abstract: We continue our integrative review of nearly 20 years of sociocultural research and popular trends on ghosts, haunted houses, and poltergeists (collectively termed “ghostly episodes”) that commenced in Part I (Hill, O’Keeffe, Laythe, Dagnall, Drinkwater, Ventola, & Houran, 2018). That analysis characterized the powerful brand personality of ghost narratives in terms of their Versatility, Adaptability, Participatory nature, Universality, and Scalability. This VAPUS model emphasizes that these narratives serve as cultural memes which, in part, reflect interpersonal or group dynamics. We illustrate these themes via three analyses that explore the role of the media, the use of technology to legitimatize amateur organizations, and the resulting conflict between popularized ghost-hunting groups, skeptic organizations, and parapsychology. Optimistically, we expect the VAPUS model can guide the development of new means or methods that aim to delineate and even bridge some of the competing social forces that shape or sustain these narratives in the popular culture and thereby constructively advance research in this domain. Keywords: branding, engagement, ghost, haunt, media, meme, popular culture. INTRODUCTION Part I of this two-part article (Hill et al., 2018) explored how ghosts, haunted houses, and poltergeist-like disturbances (collectively denoted here as ghostly episodes )—as anomalous experiences and cultural narratives— are particularly appealing, meaningful, and enduring due to their capacity to foster emotional and rational engagement across diverse demographic populations, as well as their capability to promote social interaction.