Demon Seed… Unless You Choose to Be - and I Somehow Doubt That's a Course of Action You're Likely to Take." Ness Was Nodding in Agreement
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Introduction 1 the Good Mother
Notes Introduction 1. By ‘motherhood’ I am referring to the character of the mother and the practice of motherhood on screen. By the ‘maternal’ I am referring to the characteristics and symbolism which evoke motherhood. 2. This is not to suggest that the figure of the mother is entirely absent from pre-1960s cinema, rather that a range of socio-economic factors led to a development in the horror genre. For the purposes of clarity I wish to focus on post-Classical horror cinema. 3. This is not to suggest that no debates about motherhood existed prior to this, rather that discussions of the mother in film increased greatly after these years. 4. The woman’s film centres on a female protagonist, deals with specifically ‘female’ issues (such as motherhood or domesticity) and is aimed at a female audience. For Doane, the maternal melodrama is a sub-category of the woman’s film. While the maternal melodrama is more readily asso- ciated with films of the Classical Hollywood period, it remains a popular sub-genre of modern mainstream cinema. The maternal melodrama, as the name suggests, deals with the figure of the mother and the impact of motherhood on her life or that of the child. 5. This is not to suggest that discussion of the mother/maternal is limited to these genres, simply that they seem to have provoked the most interest. 6. For example, see Alien and the various studies by Creed, Bundtzen or Rosemary’s Baby as discussed by Fischer or Kuhn. 7. See Mulvey (2000); De Lauretis, Teresa, Alice Doesn’t: Feminism, Semiotics, Cinema, Bloomington: Indiana University Press, 1984. -
KOONTZ, Dean R(Ay)
KOONTZ, Dean R (ay) Geboren: Everett, Pennsylvania, USA, 9 juli 1945 Pseudoniemen: David Axton; Brian Coffey, Deanna Dwyer; K.R. Dwyer; John Hill; Leigh Nichols; Anthony North; Richard Paige; Owen West Opleiding: Shippensburg State College, Pennsylvania, B.A. engels, 1966 Carrière: werkte bij een federaal armoede-bestrijdings programma, 1966-1967; leraar engels op een high school, 1967-1969; full-time schrijver sedert 1969. Familie: getrouwd met Gerda Ann Cerra, 1966 Woont in Orange, Californië. (foto: Fantastic Fiction) Detective: Michael Tucker (o.ps. Brian Coffey) detective: Odd Thomas kan de doden zien en ziet in zijn dromen wat mensen te wachten staat. Odd Thomas: 1. Odd Thomas 2003 De gave 2004 Luitingh ook verschenen als filmeditie odt: Odd Tomas: De gave 2015 Luitingh 2. Forever Odd 2005 De vriendschap 2006 Luitingh 3. Brother Odd 2006 De broeder 2007 Luitingh 4. Odd Hours 2008 De ziener 2008 Luitingh 5. Odd Apocalypse 2012 De miljardair 2012 Luitingh 6. Deeply Odd 2013 De lifter 2013 Luitingh~Sijthoff 7. Saint Odd 2015 graphic novels: In Odd We Trust #12 2008 Odd Is on Our Side #13 2010 House of Odd #14 2012 novellas: 1. Odd Interlude Part One 2012 2. Odd Interlude Part Two 2012 3. Odd Interlude Part Three 2012 4. Odd Interlude 2012 Het motel 2013 Luitingh~Sijthoff omslag ondertitel: A Special Odd Thomas Adventure 5. You Are Destined to Be Together Forever 2014 omnibus: The Complete Thomas Odd Series 2016 bevat: Odd Thomas Forever Odd Brother Odd Odd Hours Odd Apocalypse Odd Interlude Deeply Odd Saint Odd andere crimetitels: -
Malice in Wonderland: the Perverse Pleasure of the Revolting Child
The Dissertation Committee for Andrew David Scahill certifies that this is the approved version of the following dissertation: Malice in Wonderland: The Perverse Pleasure of the Revolting Child Committee: ____________________________________ Janet Staiger, Supervisor ____________________________________ Mary Celeste Kearney ____________________________________ Jennifer Fuller ____________________________________ Julia Mickenberg ____________________________________ Harry Benshoff Malice in Wonderland: The Perverse Pleasure of the Revolting Child by Andrew David Scahill, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2010 Acknowledgements I extend my deepest thanks to all of the individuals who have provided me support during this phase of my life. Thank you to Dennis and François, who were present at different stages in this process, but who both patiently served as sources of positive reinforcement and never let me give in to self-doubt. Thank you to my excellent interns who worked with me through the Intellectual Entrepreneurship program. My deepest appreciation goes out to Charlotte, Chris, Jeffrey, Sarah, Aaron and Elizabeth, who performed many of the tedious tasks of finding films, cataloguing texts, and scouring message boards for anti-queer rhetoric. Also, thank you to the excellent scholars who were willing to read different versions of this dissertation and offer up their suggestions for revision and further reading, especially Linda Mizejewski and Kathryn Bond Stockton. Thank you as well to my dissertation committee—Julia Mickenberg, Jennifer Fuller, Harry Benshoff, Mary Celeste Kearney, and Janet Staiger. They each provided guidance and insight, and managed to make both my prospectus and my dissertation defenses feel like a conversation between scholars rather than a test of my academic meddle. -
Digital Dissonance: Horror Cultures in the Age of Convergent Technologies
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2017 Digital Dissonance: Horror Cultures in the Age of Convergent Technologies Daniel Powell University of Central Florida Part of the Other Film and Media Studies Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Doctoral Dissertation (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Powell, Daniel, "Digital Dissonance: Horror Cultures in the Age of Convergent Technologies" (2017). Electronic Theses and Dissertations, 2004-2019. 5482. https://stars.library.ucf.edu/etd/5482 DIGITAL DISSONANCE: HORROR CULTURES IN THE AGE OF CONVERGENT TECHNOLOGIES by DANIEL POWELL M.A. Portland State University, 2002 B.S. Linfield College, 1999 A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Texts & Technology in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2017 Major Professor: Rudy McDaniel © 2017 Daniel Powell ii ABSTRACT The first two decades of the new millennium have witnessed an abundance of change in the areas of textual production, digital communication, and our collective engagement with the Internet. This study explores these changes, which have yielded both positive and negative cultural and developmental outcomes, as products of digital dissonance. Dissonance is characterized by the disruptive consequences inherent in technology’s incursion into the print publication cultures of the twentieth century, the explosion in social-media interaction that is changing the complexion of human contact, and our expanding reliance on the World Wide Web for negotiating commerce, culture, and communication. -
The Aestheticization of Violence in Donald Cammell's White of the Eye Steven Jay Schneider, Harvard University / New York University, USA
Killing in Style: The Aestheticization of Violence in Donald Cammell's White of the Eye Steven Jay Schneider, Harvard University / New York University, USA "Everything in this world has two handles. Murder, for instance, may be laid hold of by its moral handle… and that, I confess, is its weak side; or it may also be treated aesthetically, as the Germans call it - that is, in relation to good taste." Thomas De Quincey (1890: 13) "If any human act evokes the aesthetic experience of the sublime, certainly it is the act of murder. And if murder can be experienced aesthetically, the murderer can in turn be regarded as a kind of artist - a performance artist or anti-artist whose specialty is not creation but destruction." Joel Black (1991: 14) "Donald looked upon violence as an artist might look on paint. What are its components? What's its nature? Its glamour?" James Fox (Matthews, 1996: 4) Introduction: Death Imitates Art APRIL 24, 1996. 9:45PM. LOS ANGELES, CALIFORNIA. Local police receive word that sixty-two year old British filmmaker Donald Cammell has shot himself in the head with a handgun. "Because the shot went through his forehead rather than through the roof of his mouth," reported Tom Dewe Matthews in The Guardian one week later, "he lived for another forty-five minutes" (1996: 4). According to Cammell's widow, China Kong, who was with him at the time of his death, the writer-director had been studying the art of suicide for some time, reading about where you should aim the bullet in order to obtain not just a painless death, but a pleasurable one (Macdonald, 1998: 9). -
A Carnivalesque Analysis of the Monster Child from Early Slapstick to the Nazified Children of Modern Horror
BEWARE! CHILDREN AT PLAY: A CARNIVALESQUE ANALYSIS OF THE MONSTER CHILD FROM EARLY SLAPSTICK TO THE NAZIFIED CHILDREN OF MODERN HORROR Submitted by Craig Alan Frederick Martin, BA (Hons), MA https://orcid.org/0000-0002-8596-6482 A thesis submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy March 2020 Faculty of Arts, School of Culture and Communication, Screen and Cultural Studies Program The University of Melbourne Abstract Monster child narratives often use a formula in which normative power relations between adults and children are temporarily inverted as the child outsmarts the adult, leading to a rupture in the social order. Where children are ordinarily subordinate to adults, this relationship is reversed as the monster child exerts dominance over their elders. Applying Mikhail Bakhtin’s carnival theory, this thesis argues that the monster child figure commonly thought of as a horror movie villain began its life on screen in early silent screen comedy. Through qualitative analysis of a range of case study films from the silent era through to the emergence of horror-themed monster child films produced in the mid- 1950s, close comparative analysis of these texts is used to support the claim that the monster children in early silent comedies and later modern horror films have a shared heritage. Such a claim warrants the question, why did the monster child migrate from comedy to horror? The contention put forward in this thesis is that during World War II dark representations of Hitler Youth in Hollywood wartime propaganda films played a significant role in the child monster trope moving from comedy to horror. -
The Revolting Child in Horror Cinema Youth Rebellion and Queer Spectatorship
Copyrighted Material - 9781137488503 The Revolting Child in Horror Cinema Youth Rebellion and Queer Spectatorship By Andrew Scahill Copyrighted Material - 9781137488503 Copyrighted Material - 9781137488503 the revolting child in horror cinema Copyright © Andrew Scahill, 2015. All rights reserved. First published in 2015 by PALGRAVE MACMILLAN® in the United States—a division of St. Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Where this book is distributed in the UK, Europe and the rest of the world, this is by Palgrave Macmillan, a division of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN: 978- 1- 137- 48850- 3 Library of Congress Cataloging-in- Publication Data Scahill, Andrew, 1977– The revolting child in horror cinema : youth rebellion and queer spectatorship / by Andrew Scahill. pages cm Includes bibliographical references and index. Includes filmography. ISBN 978- 1- 137- 48850- 3 (alk. paper) 1. Horror films—Histor y and criticism. 2. Children in motion pictures. I. Title. PN1995.9.H6S25 2015 791.43'6164— dc23 2015013957 A catalogue record of the book is available from the British Library. Design by Scribe Inc. First edition: October 2015 10 9 8 7 6 5 4 3 2 1 Copyrighted Material - 9781137488503 -
Silent Corner Discussion Questions by Dean Koontz
Silent Corner Discussion Questions by Dean Koontz Author Bio: (from Fantastic Fiction & Dean Koontz website) Dean Koontz is acknowledged as one of today's most celebrated and successful writers. His books are published in 38 languages and he has sold over 500 million copies to date. Dean Koontz lives in Southern California with his wife, Gerda, their golden retriever, Elsa, and the enduring spirit of their goldens, Trixie and Anna. Characters: Jane Hawk – Former FBI agent. Used to provide investigative support for the FBI Behavioral Science Unit. Widowed four months ago. Her husband, Nick, was a Marine. They have a son, Travis (5). Her mother is deceased. Her father is a famous musician. Mr. Drood – The alias of the man/group threatening Jane and Travis. Name taken from “A Clockwork Orange.” Kipp Garner – Radburn’s partner/henchman who enjoys violence. John Harrow – Special Agent in Charge of the LA FBI office. Nick Hawk – Former Marine. Unexpectedly and uncharacteristically kills himself with a knife. Married to Jane Hawk. Booth Hendrickson – Works in the Department of Justice. Becomes Silverman’s handler after his infection. Randolph Kohl – Director of Homeland Security. Gwyneth Lambert – Widow. Her husband, Gordon, was a former marine Lieutenant General who committed suicide. David James Michael – On the board of the Gernsback institute (What if Conference). Inherited a fortune. Venture capitalist who funds high tech startups – Shenneck’s technology and Far Horizons. William Sterling Overton – Lawyer. Friend/works for Senneck. Member of Aspasia. Jimmy Radburn – Hacker/cracker extraordinaire. Thinks of himself as a cyberspace pirate. His real name is Robert Branwick. -
Striking Fear in the Circuits: the Electric Feminine Body
STRIKING FEAR IN THE CIRCUITS: THE ELECTRIC FEMININE BODY IN CYBORG FILMS by Penny Montalvan A thesis submitted to the Graduate Council of Texas State University in partial fulfillment of the requirements for the degree of Master of Arts with a Major in Literature December 2017 Committee Members: Rebecca Bell-Metereau, chair Kathleen McClancy Audrey McKinney COPYRIGHT by Penny Montalvan 2017 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgement. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work I, Penny Montalvan, authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. ACKNOWLEDGEMENTS My deepest gratitude to my stellar committee (Rebecca Bell-Metereau, Kathleen McClancy, and Audrey McKinney) who were always encouraging me to push my ideas further. All of their insight, wit, knowledge, and book and film recommendations went into shaping this research. Also, I cannot thank them enough for all the valuable comments and suggested edits that went into writing this. Because of their brilliance, I continue to push against the grain. Additionally, I could not have done it without all the generosity and encouragement of my family, friends, colleagues, and especially my partner, Greg James, who had to endure long hours of watching science fiction movies with me. -
Cyberfeminism with a Difference Rosi Braidotti
Cyberfeminism with a difference Rosi Braidotti Table of Contents Introduction postmodernity Post-human bodies The politics of parody The power of irony Feminist visions on science fiction The cyber imaginary The need for new utopias Notes Introduction: Postmodernity 'In the city now there are loose components, accelerated particles, something has come loose, something is wriggling, lassoing, spinning towards the edge of its groove. Something must give and it isn't safe. You ought to be careful. Because safety has left our lives.' Martin Amis: Einstein's Monsters 1 In this article, I will first of all situate the question of cyber-bodies in the framework of postmodernity, stressing the paradoxes of embodiment. I will subsequently play a number of variations on the theme of cyber-feminism, highlighting the issue of sexual difference throughout. Contrary to jargon-ridden usages of the term, I take postmodernity to signify the specific historical situation of post-industrial societies after the decline of modernist hopes and tropes. Symptomatic of these changes is urban space, especially in the inner city, which has been cleaned up and refigured through postindustrial metal and plexiglass buildings, but it is only a veneer that covers up the putrefaction of the industrial space, marking the death of the modernist dream of urban civil society. This is primarily but not exclusively a Western world problem. The distinct feature of postmodernity is in fact the trans-national nature of its economy in the age of the decline of the nation state. It is about ethnic mixity through the flow of world migration: an infinite process of hybridization at a time of increasing racism and xenophobia in the West.2 Postmodernity is also about an enormous push towards the "third-worldification" of the "first" world, with continuing exploitation of the "third" world. -
Women, Theory and Horror Film
Gynaehorror: Women, theory and horror film A thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy in Cultural Studies in the University of Canterbury by Erin Harrington University of Canterbury March 2014 ii CONTENTS ACKNOWLEDGEMENTS ................................................................................................................... v ABSTRACT ........................................................................................................................................ vii LIST OF FIGURES ........................................................................................................................... viii INTRODUCTION................................................................................................................................ 1 (RE)CONCEPTIONS: THEORISING WOMEN IN HORROR ................................................... 16 Horror and psychoanalysis .................................................................................................................. 18 Women, horror and psychoanalysis ................................................................................................. 23 Challenges to psychoanalysis .............................................................................................................. 31 Alternatives to psychoanalysis: the social, the mythic, the taboo ........................................ 36 From theories of horror to theorising with horror ................................................................... -
Playing God the Theological Implications of Man Creating Sentient Life with an Emergent ‘Vital-Factor’ in Science Fiction
Playing God The Theological Implications of Man Creating Sentient Life with an Emergent ‘Vital-Factor’ in Science Fiction Sean Redahan A dissertation submitted to the University of Dublin, Trinity College, in partial fulfilment of the requirements for the degree of Master of Science in Interactive Digital Media. 2013 i ii Declaration I declare that the work described in this dissertation is, except where otherwise stated, entirely my own work, and has not been submitted as an exercise for a degree at this or any other university. Signed: ___________________ Sean Redahan 1st March 2013 Permission to lend and/or copy I agree that the Department of Computer Science, Trinity College may lend or copy this dissertation upon request. Signed: ___________________ Sean Redahan 1st March 2013 Acknowledgments I would like to extend my sincerest thanks and appreciation to my supervisor Vivienne O’Kelly for all of her advice and support which has been invaluable to me. I would also like to thank Gavin for sitting through countless hours of science fiction with me. vii viii Abstract This dissertation will discuss the theological and ethical ramifications of man creating new life, specifically in their own image, by scientific and technological means in science fiction. Advances in science and technology over recent decades, in areas concerned with the design and creation of ‘life’, have reinvigorated the public’s concern of scientists ‘playing God’; seeing science fiction attempt to address such issues. The story of a religious deity creating man in its own image is not restricted to one faith; but for the most part I will be referencing the Judeo-Christian God, and the Titan Prometheus, from Greek mythology.