A Cinema of Confrontation
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Finn Ballard: No Trespassing: the Post-Millennial
Page 15 No Trespassing: The postmillennial roadhorror movie Finn Ballard Since the turn of the century, there has been released throughout America and Europe a spate of films unified by the same basic plotline: a group of teenagers go roadtripping into the wilderness, and are summarily slaughtered by locals. These films may collectively be termed ‘roadhorror’, due to their blurring of the aesthetic of the road movie with the tension and gore of horror cinema. The thematic of this subgenre has long been established in fiction; from the earliest oral lore, there has been evident a preoccupation with the potential terror of inadvertently trespassing into a hostile environment. This was a particular concern of the folkloric Warnmärchen or ‘warning tale’ of medieval Europe, which educated both children and adults of the dangers of straying into the wilderness. Pioneers carried such tales to the fledging United States, but in a nation conceptualised by progress, by the shining of light upon darkness and the pushing back of frontiers, the fear of the wilderness was diminished in impact. In more recent history, the development of the automobile consolidated the joint American traditions of mobility and discovery, as the leisure activity of the road trip became popular. The wilderness therefore became a source of fascination rather than fear, and the road trip became a transcendental voyage of discovery and of escape from the urban, made fashionable by writers such as Jack Kerouac and by those filmmakers such as Dennis Hopper ( Easy Rider, 1969) who influenced the evolution of the American road movie. -
Gender and the Quest in British Science Fiction Television CRITICAL EXPLORATIONS in SCIENCE FICTION and FANTASY (A Series Edited by Donald E
Gender and the Quest in British Science Fiction Television CRITICAL EXPLORATIONS IN SCIENCE FICTION AND FANTASY (a series edited by Donald E. Palumbo and C.W. Sullivan III) 1 Worlds Apart? Dualism and Transgression in Contemporary Female Dystopias (Dunja M. Mohr, 2005) 2 Tolkien and Shakespeare: Essays on Shared Themes and Language (ed. Janet Brennan Croft, 2007) 3 Culture, Identities and Technology in the Star Wars Films: Essays on the Two Trilogies (ed. Carl Silvio, Tony M. Vinci, 2007) 4 The Influence of Star Trek on Television, Film and Culture (ed. Lincoln Geraghty, 2008) 5 Hugo Gernsback and the Century of Science Fiction (Gary Westfahl, 2007) 6 One Earth, One People: The Mythopoeic Fantasy Series of Ursula K. Le Guin, Lloyd Alexander, Madeleine L’Engle and Orson Scott Card (Marek Oziewicz, 2008) 7 The Evolution of Tolkien’s Mythology: A Study of the History of Middle-earth (Elizabeth A. Whittingham, 2008) 8 H. Beam Piper: A Biography (John F. Carr, 2008) 9 Dreams and Nightmares: Science and Technology in Myth and Fiction (Mordecai Roshwald, 2008) 10 Lilith in a New Light: Essays on the George MacDonald Fantasy Novel (ed. Lucas H. Harriman, 2008) 11 Feminist Narrative and the Supernatural: The Function of Fantastic Devices in Seven Recent Novels (Katherine J. Weese, 2008) 12 The Science of Fiction and the Fiction of Science: Collected Essays on SF Storytelling and the Gnostic Imagination (Frank McConnell, ed. Gary Westfahl, 2009) 13 Kim Stanley Robinson Maps the Unimaginable: Critical Essays (ed. William J. Burling, 2009) 14 The Inter-Galactic Playground: A Critical Study of Children’s and Teens’ Science Fiction (Farah Mendlesohn, 2009) 15 Science Fiction from Québec: A Postcolonial Study (Amy J. -
Kaiju-Rising-II-Reign-Of-Monsters Preview.Pdf
KAIJU RISING II: Reign of Monsters Outland Entertainment | www.outlandentertainment.com Founder/Creative Director: Jeremy D. Mohler Editor-in-Chief: Alana Joli Abbott Publisher: Melanie R. Meadors Senior Editor: Gwendolyn Nix “Te Ghost in the Machine” © 2018 Jonathan Green “Winter Moon and the Sun Bringer” © 2018 Kane Gilmour “Rancho Nido” © 2018 Guadalupe Garcia McCall “Te Dive” © 2018 Mari Murdock “What Everyone Knows” © 2018 Seanan McGuire “Te Kaiju Counters” © 2018 ML Brennan “Formula 287-f” © 2018 Dan Wells “Titans and Heroes” © 2018 Nick Cole “Te Hunt, Concluded” © 2018 Cullen Bunn “Te Devil in the Details” © 2018 Sabrina Vourvoulias “Morituri” © 2018 Melanie R. Meadors “Maui’s Hook” © 2018 Lee Murray “Soledad” © 2018 Steve Diamond “When a Kaiju Falls in Love” © 2018 Zin E. Rocklyn “ROGUE 57: Home Sweet Home” © 2018 Jeremy Robinson “Te Genius Prize” © 2018 Marie Brennan Te characters and events portrayed in this book are fctitious or fctitious recreations of actual historical persons. Any similarity to real persons, living or dead, is coincidental and not intended by the authors unless otherwise specifed. Tis book or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher except for the use of brief quotations in a book review. Published by Outland Entertainment 5601 NW 25th Street Topeka KS, 66618 Paperback: 978-1-947659-30-8 EPUB: 978-1-947659-31-5 MOBI: 978-1-947659-32-2 PDF-Merchant: 978-1-947659-33-9 Worldwide Rights Created in the United States of America Editor: N.X. Sharps & Alana Abbott Cover Illustration: Tan Ho Sim Interior Illustrations: Frankie B. -
The Rhetorical Significance of Gojira
UNLV Theses, Dissertations, Professional Papers, and Capstones 5-2010 The Rhetorical Significance of Gojira Shannon Victoria Stevens University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Repository Citation Stevens, Shannon Victoria, "The Rhetorical Significance of Gojira" (2010). UNLV Theses, Dissertations, Professional Papers, and Capstones. 371. http://dx.doi.org/10.34917/1606942 This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. THE RHETORICAL SIGNIFICANCE OF GOJIRA by Shannon Victoria Stevens Bachelor of Arts Moravian College and Theological Seminary 1993 A thesis submitted in partial fulfillment of the requirements for the Master of Arts in Communication Studies Department of Communication Studies Greenspun College of Urban Affairs Graduate College University of Nevada, Las Vegas May 2010 Copyright by Shannon Victoria Stevens 2010 All Rights Reserved THE GRADUATE COLLEGE We recommend the thesis prepared under our supervision by Shannon Victoria Stevens entitled The Rhetorical Significance of Gojira be accepted in partial fulfillment of the requirements for the degree of Master of Arts in Communication Studies David Henry, Committee Chair Tara Emmers-Sommer, Committee Co-chair Donovan Conley, Committee Member David Schmoeller, Graduate Faculty Representative Ronald Smith, Ph. -
Film Review Aggregators and Their Effect on Sustained Box Office Performance" (2011)
Claremont Colleges Scholarship @ Claremont CMC Senior Theses CMC Student Scholarship 2011 Film Review Aggregators and Their ffecE t on Sustained Box Officee P rformance Nicholas Krishnamurthy Claremont McKenna College Recommended Citation Krishnamurthy, Nicholas, "Film Review Aggregators and Their Effect on Sustained Box Office Performance" (2011). CMC Senior Theses. Paper 291. http://scholarship.claremont.edu/cmc_theses/291 This Open Access Senior Thesis is brought to you by Scholarship@Claremont. It has been accepted for inclusion in this collection by an authorized administrator. For more information, please contact [email protected]. CLAREMONT McKENNA COLLEGE FILM REVIEW AGGREGATORS AND THEIR EFFECT ON SUSTAINED BOX OFFICE PERFORMANCE SUBMITTED TO PROFESSOR DARREN FILSON AND DEAN GREGORY HESS BY NICHOLAS KRISHNAMURTHY FOR SENIOR THESIS FALL / 2011 November 28, 2011 Acknowledgements I would like to thank my parents for their constant support of my academic and career endeavors, my brother for his advice throughout college, and my friends for always helping to keep things in perspective. I would also like to thank Professor Filson for his help and support during the development and execution of this thesis. Abstract This thesis will discuss the emerging influence of film review aggregators and their effect on the changing landscape for reviews in the film industry. Specifically, this study will look at the top 150 domestic grossing films of 2010 to empirically study the effects of two specific review aggregators. A time-delayed approach to regression analysis is used to measure the influencing effects of these aggregators in the long run. Subsequently, other factors crucial to predicting film success are also analyzed in the context of sustained earnings. -
In Cold Blood Unbroken
2020 RISING 11TH GRADE AP ENGLISH LANGUAGE SUMMER READING Students should read two books. Assessments will occur within the first two weeks of class and may include discussions, writing assignments, presentations, and/or tests. • These books are available in affordable paperbacks, online, or in local libraries. • Be sure the title and author match the assigned book and you are reading an unabridged edition. • If published with additional texts or stories, only read the assigned title. • These titles are taken from recommended reading lists for AP English exams and college- bound students. It is your responsibility to view all of these reading materials within a Christian perspective. While holding firm to your own beliefs, consider how any controversial elements reflect the flawed, sinful circumstances of separation from God and faith. #1 Required Book for all AP English Language Students: In Cold Blood by Truman Capote "Until one morning in mid-November of 1959, few Americans--in fact, few Kansans--had ever heard of Holcomb. Like the waters of the river, like the motorists on the highway, and like the yellow trains streaking down the Santa Fe tracks, drama, in the shape of exceptional happenings, had never stopped there." If all Truman Capote did was invent a new genre-— journalism written with the language and structure of literature-—this "nonfiction novel" about the brutal slaying of the Clutter family by two would-be robbers would be remembered as a trail-blazing experiment that has influenced countless writers. But Capote achieved more than that. He wrote a true masterpiece of creative nonfiction. #2 Required Book for all AP English Language Students: Unbroken by Laura Hillenbrand (Amazon.com description) On a May afternoon in 1943, an American military plane crashed into the Pacific Ocean and disappeared, leaving only a spray of debris and a slick of oil, gasoline, and blood. -
Death Sentences the Aesthetics and Politics of Last Words in In Cold
Death Sentences The Aesthetics and Politics of Last Words in In Cold Blood, Capote, and Infamous Hannah Melville Senior Thesis Department of English Spring 2020 Melville 1 Acknowledgements This thesis was made possible through the help and support of many people. I would like to thank my advisor Lindsay Reckson whose thoughtful feedback and dedication guided me through the process, turning rambling drafts into a coherent work. Professor Gustavus Stadler introduced me to the novel and alerted me to its adaptations. The librarians at Haverford College helped me locate texts while on campus and aided me from afar, once I was home. I cannot thank them enough for their devotion to the students at Haverford College in these remarkable circumstances. Julie Hanss motivated me throughout this process, offering an ear whenever I needed to discuss an idea. My suitemates provided endless encouragement. I would also like to thank my family for supporting and accommodating me during this unstable time. Melville 2 When Truman Capote was initially sent to Holcomb, Kansas, in 1959, his assignment was to write an article about a recent murder for The New Yorker (Giordano). Upon his arrival, his inability to control his word count caused the intended article to evolve into the book In Cold Blood. Since its publication in book form in 1966, In Cold Blood has been adapted four times.1 Each adaptation presents different nuances to the story but respects the progression of events within the original text. The narrative unfolds as two men – Perry Smith and Richard “Dick” Hickcock – murder the Clutter family and attempt to evade the police. -
Chapter 1 Chapter 2
Notes Chapter 1 1. Jeffrey Mirel, “The Traditional High School: Historical Debates over Its Nature and Function,” Education Next 6 (2006): 14–21. 2. US Census Bureau, “Education Summary––High School Gradu- ates, and College Enrollment and Degrees: 1900 to 2001,” His- torical Statistics Table HS-21, http://www.census.gov/statab/ hist/HS-21.pdf. 3. Andrew Monument, dir., Nightmares in Red, White, and Blue: The Evolution of American Horror Film (Lux Digital Pictures, 2009). 4. Monument, Nightmares in Red. Chapter 2 1. David J. Skal, Screams of Reason: Mad Science and Modern Cul- ture (New York: Norton, 1998), 18–19. For a discussion of this more complex image of the mad scientist within the context of postwar film science fiction comedies, see also Sevan Terzian and Andrew Grunzke, “Scrambled Eggheads: Ambivalent Represen- tations of Scientists in Six Hollywood Film Comedies from 1961 to 1965,” Public Understanding of Science 16 (October 2007): 407–419. 2. Esther Schor, “Frankenstein and Film,” in The Cambridge Com- panion to Mary Shelley (Cambridge: Cambridge University Press, 2003), 63; James A. W. Heffernan, “Looking at the Monster: Frankenstein and Film,” Critical Inquiry 24, no. 1 (Autumn 1997): 136. 3. Russell Jacoby, The Last Intellectuals: American Culture in the Age of Academe (New York: Basic Books, 1987). 4. Richard Hofstadter, Anti-Intellectualism and American Life (New York: Knopf, 1963); Craig Howley, Aimee Howley, and Edwine D. Pendarvis, Out of Our Minds: Anti-Intellectualism and Talent 178 Notes Development in American Schooling (New York: Teachers Col- lege Press: 1995); Merle Curti, “Intellectuals and Other People,” American Historical Review 60 (1955): 259–282. -
Naturalism, the New Journalism, and the Tradition of the Modern American Fact-Based Homicide Novel
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. U·M·I University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml48106-1346 USA 3131761-4700 800!521-0600 Order Number 9406702 Naturalism, the new journalism, and the tradition of the modern American fact-based homicide novel Whited, Lana Ann, Ph.D. -
La Politique Des Auteurs in British Film Studies: Traditional Versus Structural Approaches
RADAR Research Archive and Digital Asset Repository Buckland, W La Politique des Auteurs in British Film Studies: Traditional versus Structural Approaches Buckland, W (2016) La Politique des Auteurs in British Film Studies: Traditional versus Structural Approaches. Mise au Point, 8 This version is available: https://radar.brookes.ac.uk/radar/items/13d7a3f4-8a93-4187-850b-9960f3817c04/1/ Available on RADAR: July 2016 Copyright © and Moral Rights are retained by the author(s) and/ or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This item cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder(s). The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. This document is the post print version of the journal article. Some differences between the published version and this version may remain and you are advised to consult the published version if you wish to cite from it. WWW.BROOKES.AC.UK/GO/RADAR La Politique des Auteurs in British Film Studies: Traditional versus Structural Approaches Warren Buckland Abstract: This essay charts the emergence of auteur structuralism in Britain from 1967-76 and the polemical debates that erupted between its adherents (Jim Kitses, Peter Wollen, Alan Lovell) on the one hand, and Robin Wood, a defender of traditional auteur theory, on the other. The essay considers the epistemological values behind the debate, and ends by outlining the incompatible types of knowledge and evidence each side in the debate held. -
Postmodernism, the Contemporary Horror Film and the "Problem" of the Femlwine
Natio~aiLibrary Bibliotheque nationale cf Canada du Canada Acquisiiions and Directicn des acquisiiions e! Bibiiographic Services Branch des services bibiiograpniques 395 Weiltngion Street Oflawa. Ontario KiAON4 NOTICE The qurljty of this microform is La squatit6 de cette microforme heavily dependent upon the depend grandement de la qualit6 quafity of the original thesis de la th&se sournise au srrbwritted for microfilming. microfilmage. Nous avow tout Every effort has been made to fait pour assurer une qualit4 ensure the highest quality of supbrieure de reproduction. reproduction possible. If pages are missing, contact the S'il manque des pages, veuillez university which granted the csmmuniquer avec I'universite degree. qui a confere le grade. Some pages may have indistinct La qualit6 d'impression de print especially if the original certaines pages peut laisser 5 pages were typed with a poor dbsirer, surtout si les pages typewriter ribbon or if the originales ont 6te university sent us an inferior dactylographiees a I'aide d'un photocopy. ruban us6 ou si I'universite nous a fait parvenir une photocopie de qualite infbrieure. Reproduction in full or in part of La reprodcction, m6me partielle, this microform is governed by de cetfe microforme est soumise the Canadian Copyright Act, a la Lsi canadienne sur le droit. R.S.C. 1970, c. un -A and d'aerteur, SRC 5970, c. 2-30, ei subsequent amendments. ses amendements subsequenta. THE LIMITS OF DISSATTSFACTION: POSTMODEm?SM, THE CONTEMPORARY HORROR FILM AND3 THE "PROBLEM" OF %HE FEMININE Liame McLarty MA., Carleton University, 1984 THESE SUBNLIrnB IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGFEE OF DOCTOR OF PHILOSOPflY in the Department of Communication @ Lianne McLarty 1993 SIMON FRASER UNIVERSITY October 1993 Ail rights reserved. -
Remaking Horror According to the Feminists Or How to Have Your Cake and Eat It, Too
Représentations dans le monde Anglophone – Janvier 2017 Remaking Horror According to the Feminists Or How to Have your Cake and Eat It, Too David Roche, Université Toulouse Jean Jaurès Key words: horror, remake, feminist film theory, post-feminism, politics. Mots-clés : horreur, remake, théorie féministe, post-féminisme, politiques identitaires. Remakes, as Linda Hutcheon has noted, “are invariably adaptations because of changes in context” (170), and this in spite of the fact that the medium remains the same. What Robert Stam has said of film adaptations is equally true of remakes: “they become a barometer of the ideological trends circulating during the moment of production” because they “engage the discursive energies of their time” (45). Context includes the general historical, cultural, social, national and ideological context, of course, as well as the modes of production and aesthetic trends in the film and television industry. Studying remakes is, then, a productive way to both identify current trends and reconsider those of the past, as well as to assess the significance of a previous work into which the remake offers a new point of entry (Serceau 9), and this regardless of whether or not we deem the remake to be a “successful” film in itself. In this respect, remakes are especially relevant to film and television history and, more generally, to cultural history: they can teach us a lot about the history of production strategies, the evolution of genres, narrative, characterization and style, and of various representations (of an event, a situation, a group or a figure). In a recent article entitled “Zip, zero, Zeitgeist” [sic] posted on his blog (Aug 24, 2014), David Bordwell warns against the tendency of some journalists to see “mass entertainment” as “somehow reflect[ing] its society”: In sum, reflectionist criticism throws out loose and intuitive connections between film and society without offering concrete explanations that can be argued explicitly.