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National Conference
NATIONAL CONFERENCE OF THE POPULAR CULTURE ASSOCIATION AMERICAN CULTURE ASSOCIATION In Memoriam We honor those members who passed away this last year: Mortimer W. Gamble V Mary Elizabeth “Mery-et” Lescher Martin J. Manning Douglas A. Noverr NATIONAL CONFERENCE OF THE POPULAR CULTURE ASSOCIATION AMERICAN CULTURE ASSOCIATION APRIL 15–18, 2020 Philadelphia Marriott Downtown Philadelphia, PA Lynn Bartholome Executive Director Gloria Pizaña Executive Assistant Robin Hershkowitz Graduate Assistant Bowling Green State University Sandhiya John Editor, Wiley © 2020 Popular Culture Association Additional information about the PCA available at pcaaca.org. Table of Contents President’s Welcome ........................................................................................ 8 Registration and Check-In ............................................................................11 Exhibitors ..........................................................................................................12 Special Meetings and Events .........................................................................13 Area Chairs ......................................................................................................23 Leadership.........................................................................................................36 PCA Endowment ............................................................................................39 Bartholome Award Honoree: Gary Hoppenstand...................................42 Ray and Pat Browne Award -
Narcocorridos As a Symptomatic Lens for Modern Mexico
UCLA Department of Musicology presents MUSE An Undergraduate Research Journal Vol. 1, No. 2 “Grave-Digging Crate Diggers: Retro “The Narcocorrido as an Ethnographic Fetishism and Fan Engagement with and Anthropological Lens to the War Horror Scores” on Drugs in Mexico” Spencer Slayton Samantha Cabral “Callowness of Youth: Finding Film’s “This Is Our Story: The Fight for Queer Extremity in Thomas Adès’s The Acceptance in Shrek the Musical” Exterminating Angel” Clarina Dimayuga Lori McMahan “Cats: Culturally Significant Cinema” Liv Slaby Spring 2020 Editor-in-Chief J.W. Clark Managing Editor Liv Slaby Review Editor Gabriel Deibel Technical Editors Torrey Bubien Alana Chester Matthew Gilbert Karen Thantrakul Graphic Designer Alexa Baruch Faculty Advisor Dr. Elisabeth Le Guin 1 UCLA Department of Musicology presents MUSE An Undergraduate Research Journal Volume 1, Number 2 Spring 2020 Contents Grave-Digging Crate Diggers: Retro Fetishism and Fan Engagement 2 with Horror Scores Spencer Slayton Callowness of Youth: Finding Film’s Extremity in Thomas Adès’s 10 The Exterminating Angel Lori McMahan The Narcocorrido as an Ethnographic and Anthropological Lens to 18 the War on Drugs in Mexico Samantha Cabral This Is Our Story: The Fight for Queer Acceptance in Shrek the 28 Musical Clarina Dimayuga Cats: Culturally Significant Cinema 38 Liv Slaby Contributors 50 Closing notes 51 2 Grave-Digging Crate Diggers: Retro Fetishism and Fan Engagement with Horror Scores Spencer Slayton he horror genre is in the midst of a renaissance. The slasher craze of the late 70s and early 80s, revitalized in the mid-90s, is once again a popular genre for Treinterpretation by today’s filmmakers and film composers. -
NZIFF19 Christchurch WEB.Pdf
CHRISTCHURCH 8 – 25 AUGUST 2019 TIMARU 15 – 25 AUGUST 2019 NZIFF.CO.NZ NZIFF0619_Christchurch-1.indd 1 3/07/19 1:40 PM NZIFF0619_Christchurch-1.indd 2 3/07/19 1:40 PM 43rd Christchurch International Film Festival Presented by New Zealand Film Festival Trust under the distinguished patronage of Her Excellency The Right Honourable Dame Patsy Reddy, Governor-General of New Zealand ISAAC THEATRE ROYAL LUMIÈRE CINEMAS MOVIE MAX DIGITAL PROUDLY SUPPORTED BY General Manager: Sharon Byrne Programmer: Sandra Reid Programme Manager: Michael McDonnell Assistant to the General Manager: Caroline Palmer Communications Manager: Melissa Booth Publicists (Christchurch): Jo Scott, Tanya Jephson Festival Host (Christchurch): Nick Paris Publicist: Sally Woodfield Animation NOW! Programmer: Malcolm Turner All Ages Programmer: Nic Marshall Incredibly Strange Programmer: Anthony Timpson Publications Manager: Tim Wong Programme Consultant: Chris Matthews Content Manager: Ina Kinski Content Assistant: Lauri Korpela Technical Adviser: Ian Freer Online Content Coordinator: Sanja Maric Audience Development Coordinator: Emma Carter Guest Coordinator: Lauren Day Social Media Coordinator: David Oxenbridge Communications Assistant: Lynnaire MacDonald Communications Assistant (Auckland): Camila Araos Elevancini Online Social Assistant: Bradley Pratt Festival Accounts: Alan Collins Festival Interns: Erin Rogatski (Auckland) Jessica Hof (Wellington) Publication Design: Ocean Design Group Publication Production: Greg Simpson Cover Design: Blair Mainwaring Cover Illustration: -
My Movies Collection
My Movies Collection The [REC] Collection [REC] Type: Movie Type: Movie Year: 1900 Rel. Date: - Year: 2007 Rel. Date: - Director: - Runtime: 5h 38min Director: Paco Plaza Runtime: 1h 18min Actors: - Actors: Paco Plaza, Manuela Velasco, Ferran Terraza. Audio: - Audio: Subtitles: - Subtitles: [REC] 2 [REC] 3: Genesis Type: Movie Type: Movie Year: 2009 Rel. Date: - Year: 2012 Rel. Date: - Director: Paco Plaza Runtime: 1h 25min Director: Paco Plaza Runtime: 1h 20min Actors: Paco Plaza, Jonathan D. Mellor, Óscar Zafra, Ariel Casas. Actors: Paco Plaza, Leticia Dolera, Diego Martín. Audio: Audio: Subtitles: Subtitles: [REC] 4: Apocalypse 10 Cloverfield Lane Type: Movie Type: Movie Year: 2014 Rel. Date: - Year: 2016 Rel. Date: - Director: Jaume Balagueró Runtime: 1h 35min Director: Dan Trachtenbe... Runtime: 1h 43min Actors: Jaume Balagueró, Manuela Velasco, Paco Manzanedo. Actors: Dan Trachtenberg, John Goodman. Audio: Audio: Subtitles: Subtitles: 12 Angry Men 28 Days Later Type: Movie Type: Movie Year: 1957 Rel. Date: - Year: 2002 Rel. Date: - Director: Sidney Lumet Runtime: 1h 36min Director: Danny Boyle Runtime: 1h 53min Actors: Sidney Lumet, Martin Balsam, John Savoca. Actors: Danny Boyle, Alex Palmer, Bindu De Stoppani. Audio: Audio: Subtitles: Subtitles: 28 Weeks Later 3 Silent Classics by Josef Von Sternberg Type: Movie Type: Movie Year: 2007 Rel. Date: - Year: 1900 Rel. Date: - Director: Juan Carlos Fres... Runtime: 1h 40min Director: - Runtime: 4h 04min Actors: Juan Carlos Fresnadillo, Robert Carlyle, Rose Byrne. Actors: - Audio: Audio: - Subtitles: Subtitles: - The 39 Steps Abrakadabra Type: Movie Type: Movie Year: 1935 Rel. Date: - Year: 2018 Rel. Date: - Director: Alfred Hitchcock Runtime: 1h 26min Director: Nicolás Onetti Runtime: - Actors: Alfred Hitchcock, Robert Donat, Madeleine Carroll. -
Negotiation of the Abject Through the Representation of the Monstrous-Feminine in Ari Aster’S Midsommar
PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI NEGOTIATION OF THE ABJECT THROUGH THE REPRESENTATION OF THE MONSTROUS-FEMININE IN ARI ASTER’S MIDSOMMAR AN UNDERGRADUATE THESIS Submitted as a Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters By KATARINA ANGGITA RACHMAPUTRI Student Number: 174214154 DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS UNIVERSITAS SANATA DHARMA YOGYAKARTA 2021 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI NEGOTIATION OF THE ABJECT THROUGH THE REPRESENTATION OF THE MONSTROUS-FEMININE IN ARI ASTER’S MIDSOMMAR AN UNDERGRADUATE THESIS Submitted as a Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters By KATARINA ANGGITA RACHMAPUTRI Student Number: 174214154 DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS UNIVERSITAS SANATA DHARMA YOGYAKARTA 2021 ii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI ACKNOWLEDGEMENTS I would like to express my deepest gratitude toward my thesis advisor, Paulus Sarwoto, S.S., M.A., Ph.D., for his patient guidance and understanding during the completion of this thesis, and my thesis co-advisor and examiner, Dr. Gabriel Fajar Sasmita Aji, S.S., M.Hum. and Sri Mulyani, Ph.D. respectively, for their thorough and insightful feedback. I am also indebted to the other lecturers of the English Letters Department, in particular Elisabeth Oseanita Pukan, S.S., M.A., for their constant care and support during my time in the university. Finally, this thesis would not have been possible without constant help and support from my family; my friends, in particular Anggi, Aul, Bella, Dea, Deva, Dimi, Fali, Fira, Galuh, Hestu, Hugo, Ilham, Kak Jo, Lauren, Lieie, Mikha, Nandha, Nathan, Nia, Ninja, Ocha, Ryan, Sasha, Mbak Shuluh, Mbak Uti, Vanesa, Vinsen, Vinska; and all the people who have made me feel held and at home. -
Following Is a Listing of Public Relations Firms Who Have Represented Films at Previous Sundance Film Festivals
Following is a listing of public relations firms who have represented films at previous Sundance Film Festivals. This is just a sample of the firms that can help promote your film and is a good guide to start your search for representation. 11th Street Lot 11th Street Lot Marketing & PR offers strategic marketing and publicity services to independent films at every stage of release, from festival premiere to digital distribution, including traditional publicity (film reviews, regional and trade coverage, interviews and features); digital marketing (social media, email marketing, etc); and creative, custom audience-building initiatives. Contact: Lisa Trifone P: 646.926-4012 E: [email protected] www.11thstreetlot.com 42West 42West is a US entertainment public relations and consulting firm. A full service bi-coastal agency, 42West handles film release campaigns, awards campaigns, online marketing and publicity, strategic communications, personal publicity, and integrated promotions and marketing. With a presence at Sundance, Cannes, Toronto, Venice, Tribeca, SXSW, New York and Los Angeles film festivals, 42West plays a key role in supporting the sales of acquisition titles as well as launching a film through a festival publicity campaign. Past Sundance Films the company has represented include Joanna Hogg’s THE SOUVENIR (winner of World Cinema Grand Jury Prize: Dramatic), Lee Cronin’s THE HOLE IN THE GROUND, Paul Dano’s WILDLIFE, Sara Colangelo’s THE KINDERGARTEN TEACHER (winner of Director in U.S. competition), Maggie Bett’s NOVITIATE -
PRESS Graphic Designer
© 2021 MARVEL CAST Natasha Romanoff /Black Widow . SCARLETT JOHANSSON Yelena Belova . .FLORENCE PUGH Melina . RACHEL WEISZ Alexei . .DAVID HARBOUR Dreykov . .RAY WINSTONE Young Natasha . .EVER ANDERSON MARVEL STUDIOS Young Yelena . .VIOLET MCGRAW presents Mason . O-T FAGBENLE Secretary Ross . .WILLIAM HURT Antonia/Taskmaster . OLGA KURYLENKO Young Antonia . RYAN KIERA ARMSTRONG Lerato . .LIANI SAMUEL Oksana . .MICHELLE LEE Scientist Morocco 1 . .LEWIS YOUNG Scientist Morocco 2 . CC SMIFF Ingrid . NANNA BLONDELL Widows . SIMONA ZIVKOVSKA ERIN JAMESON SHAINA WEST YOLANDA LYNES Directed by . .CATE SHORTLAND CLAUDIA HEINZ Screenplay by . ERIC PEARSON FATOU BAH Story by . JAC SCHAEFFER JADE MA and NED BENSON JADE XU Produced by . KEVIN FEIGE, p.g.a. LUCY JAYNE MURRAY Executive Producer . LOUIS D’ESPOSITO LUCY CORK Executive Producer . VICTORIA ALONSO ENIKO FULOP Executive Producer . BRAD WINDERBAUM LAUREN OKADIGBO Executive Producer . .NIGEL GOSTELOW AURELIA AGEL Executive Producer . SCARLETT JOHANSSON ZHANE SAMUELS Co-Producer . BRIAN CHAPEK SHAWARAH BATTLES Co-Producer . MITCH BELL TABBY BOND Based on the MADELEINE NICHOLLS MARVEL COMICS YASMIN RILEY Director of Photography . .GABRIEL BERISTAIN, ASC FIONA GRIFFITHS Production Designer . CHARLES WOOD GEORGIA CURTIS Edited by . LEIGH FOLSOM BOYD, ACE SVETLANA CONSTANTINE MATTHEW SCHMIDT IONE BUTLER Costume Designer . JANY TEMIME AUBREY CLELAND Visual Eff ects Supervisor . GEOFFREY BAUMANN Ross Lieutenant . KURT YUE Music by . LORNE BALFE Ohio Agent . DOUG ROBSON Music Supervisor . DAVE JORDAN Budapest Clerk . .ZOLTAN NAGY Casting by . SARAH HALLEY FINN, CSA Man In BMW . .MARCEL DORIAN Second Unit Director . DARRIN PRESCOTT Mechanic . .LIRAN NATHAN Unit Production Manager . SIOBHAN LYONS Mechanic’s Wife . JUDIT VARGA-SZATHMARY First Assistant Director/ Mechanic’s Child . .NOEL KRISZTIAN KOZAK Associate Producer . -
FILM/ TELEVISION REVIEW ESSAY Hereditary (Dir
The Irish Journal of Gothic and Horror Studies 17 (Autumn 2018) FILM/ TELEVISION REVIEW ESSAY Hereditary (dir. by Ari Aster, 2018) and Sharp Objects (HBO, 2018) In Madness in Civilisation: A Cultural History of Insanity, Andrew Scull observes of post- war psychoanalytic perceptions of the American nuclear family that Freud’s theories had discerned the roots of psychopathology in this setting, and his American followers laid a host of problems at the feet of the family. And especially, the analysts indicted America’s mothers, as the source, it would appear, of an ever- expanding array of illnesses and debility, and even a threat to the health of the nation.1 It wasn’t long, Scull notes, before a host of these ‘Pathological Mommies’ appeared in popular fiction and film. As evidenced by well-known films such as The Bad Seed (1956), Psycho (1960), Rosemary’s Baby (1968), and Carrie (1976), this preoccupation with ‘bad’ and/or conflicted motherhood represents one of the most significant tropes found in American horror cinema from the 1950s onwards. The traumatising potential of the ‘Pathological Mommy’ is elevated to particularly disturbing heights in two of 2018’s most high-profile gothic narratives: writer/director Ari Aster’s debut feature film Hereditary, and the HBO TV mini-series Sharp Objects. They proffer eerily overlapping visions of toxic mother-daughter relationships so bleak – and so extreme – that to observe that both teeter on the verge of hysteria by the time their respective denouements roll around is something of an understatement. There’s hardly a crumb of comfort or of hope to be found in either production, both of which focus on the trauma endured by the children of controlling matriarchs whose influence is as inescapable as it is corrosive. -
Classified by Genre: Rhetorical Genrefication in Cinema by © 2019 Carl Joseph Swanson M.A., Saint Louis University, 2013 B.L.S., University of Missouri-St
Classified by Genre: Rhetorical Genrefication in Cinema By © 2019 Carl Joseph Swanson M.A., Saint Louis University, 2013 B.L.S., University of Missouri-St. Louis, 2010 Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chair: Catherine Preston Co-Chair: Joshua Miner Michael Baskett Ron Wilson Amy Devitt Date Defended: 26 April 2019 ii The dissertation committee for Carl Joseph Swanson certifies that this is the approved version of the following dissertation: Classified by Genre: Rhetorical Genrefication in Cinema Chair: Catherine Preston Co-Chair: Joshua Miner Date Approved: 26 April 2019 iii Abstract This dissertation argues for a rethinking and expansion of film genre theory. As the variety of media exhibition platforms expands and as discourse about films permeates a greater number of communication media, the use of generic terms has never been more multiform or observable. Fundamental problems in the very conception of film genre have yet to be addressed adequately, and film genre study has carried on despite its untenable theoretical footing. Synthesizing pragmatic genre theory, constructivist film theory, Bourdieusian fan studies, and rhetorical genre studies, the dissertation aims to work through the radical implications of pragmatic genre theory and account for genres role in interpretation, evaluation, and rhetorical framing as part of broader, recurring social activities. This model rejects textualist and realist foundations for film genre; only pragmatic genre use can serve as a foundation for understanding film genres. From this perspective, the concept of genre is reconstructed according to its interpretive and rhetorical functions rather than a priori assumptions about the text or transtextual structures. -
'Curators' Choice
FOR IMMEDIATE RELEASE MUSEUM OF THE MOVING IMAGE ANNOUNCES ‘CURATORS’ CHOICE,’ SHOWCASING SOME OF THE BEST FILMS OF 2018 December 28, 2018–January 6, 2019 Astoria, New York, December 26, 2018—Museum of the Moving Image will present seventeen works in Curators’ Choice, an annual series showcasing some of the best films of the past year, from December 28 through January 6. The series also serves as a celebration of the vibrancy and elasticity of the cinematic arts. This year’s edition includes festival favorites like Western, Zama, Minding the Gap (with Bing Liu in person), and Hale County This Morning, This Evening (with RaMell Ross in person); the episodic television work America to Me (presented in two marathon sessions with Steve James and Bing Liu in person); The Other Side of the Wind (in a rare 35mm showing); theatrical hits like First Reformed, Burning, and Support the Girls; and fictional horror Hereditary (with Ari Aster in person) and real life shocker Shirkers. See full schedule below or online at movingimage.us/curatorschoice Organized by Curator of Film Eric Hynes and guest curator David Schwartz. Tickets are $15 with discounts for seniors and students. Tickets are free for Museum members at the Film Lover and MoMI Kids Premium levels. To find out about membership and to join, visit movingimage.us/membership. SCHEDULE FOR ‘CURATORS’ CHOICE,’ DECEMBER 28, 2018–JANUARY 6, 2019 All screenings take place in the Sumner M. Redstone Theater or the Celeste Armand Bartos Screening Room at Museum of the Moving Image, 36-01 35 Ave, Astoria, New York, 11106. -
Summer of Film July 2019 Film at Lincoln Center New Releases
Film at Lincoln Center Summer of Film July 2019 New Releases Rojo The Plagiarists Toni Morrison: The Pieces I Am Festivals & Events 50th Mixtape: Free Weekly Double Features New York Asian Film Festival Free Screenings & Talks Dance on Camera Festival This Is Cinema Now: 21st Century Debuts Members save $5 Tickets: filmlinc.org Elinor Bunin Munroe Film Center 144 West 65th Street, New York, NY Walter Reade Theater 165 West 65th Street, New York, NY SUMMER OF FILM AT LINCOLN CENTER Playing This Month Showtimes at filmlinc.org Members save $5 on all tickets! © Timothy-Greenfield-Sanders OPENS JULY 12 HELD OVER HELD OVER “Superbly sinister and stylish . “The Plagiarists upends indie tropes, and “Rousing . underscores the deeply A witheringly provocative examination of itself, in form-busting fashion.” humanistic soul responsible for broadening temporary moral eclipse becoming –Carson Lund, Slant the literary landscape.” permanent moral apocalypse.” –Nick Schager, Variety –Jessica Kiang, Variety The Plagiarists Peter Parlow, USA, 2019, 76m Toni Morrison: The Pieces I Am Rojo Co-written by experimental filmmakers James Timothy Greenfield-Sanders, USA, 2019, 119m Benjamín Naishtat, Argentina/Brazil/France/ N. Kienitz Wilkins and Robin Schavoir, The With the peerless style and rich perspective on Netherlands/Germany/Belgium/Switzerland, Plagiarists is a hilarious send-up of low-budget Black America she brought to such acclaimed 2018, 109m In mid-’70s Argentina, at the height of American indie filmmaking and a probing novels as Beloved, The Bluest Eye, and Song of that country’s infamous Dirty War, Claudio (Darío inquiry into race, relationships, and the social Solomon, Toni Morrison has earned a reputa- Grandinetti) is a well-heeled, cool-headed law- uncanny. -
SUPERNATURAL SCHOPENHAUER a CRITIQUE of PARANORMAL REASON Vincent Le
Cosmos and History: The Journal of Natural and Social Philosophy, vol. 17, no. 1, 2021 SUPERNATURAL SCHOPENHAUER A CRITIQUE OF PARANORMAL REASON Vincent Le ABSTRACT: Schopenhauer is known for developing a critical philosophy that sees space, time and causality as phenomenal appearances masking an eternally indivisible will at the telltale heart of all things. He is also known for granting art a privileged place in his philosophical system as the means of summoning the will lurking behind the world of representation. What is much more esoterically known is that Schopenhauer conferred an equal, if not even greater importance, on paranormal phenomena insofar as he believed them to betray something otherworldly haunting the outer edges of all possible experience. I thus propose to elucidate Schopenhauer’s transcendental deduction of the existence of the supernatural by aligning it with the will in itself as it breaks with our representational forms of space, time and causality. This will naturally seem absurd to modern, scientifically-minded readers, and we shall see that there are indeed inconsistencies in Schopenhauer’s supernatural beliefs that keep the paranormal phenomena he describes beholden to the very representational forms they purportedly defy. I nonetheless want to defend Schopenhauer’s account of the supernatural, albeit not for its metaphysical pretentions, but for inadvertently proffering a transcendental aesthetics that would use art, and particularly works of horror, as an esoteric means of conjuring that which is occulted from the world of appearances. In particular, I look at Ari Aster’s 2018 supernatural horror film Hereditary as a case study of how horror can paradoxically capture through our means of communication the very breakdown of all communication.