2014 Program
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"They're Us": Representations of Women in George Romero's 'Living
"They’re Us": Representations of Women in George Romero’s ‘Living Dead’ Series Stephen Harper In the opening scene of George Romero’s 1978 film Martin, a teenage sexual psychopath kills and drinks the blood of a young woman in her sleeper train compartment during a struggle that is protracted, messy and far from one-sided. Although women are often victims in Romero’s films, they are by no means passive ones. Indeed, Romero is seldom in danger of objectivising or pornographising his female characters; on the contrary, Romero’s women are typically resourceful and autonomous. This paper analyses some of Romero’s representations of women, with particular reference to the four ‘living dead’ films which Romero made over a period of more than thirty years. These are Night of the Living Dead (1968), Dawn of the Dead (1979), Day of the Dead (1985) and the 1990 remake of Night. [1] All of these films feature a group of human survivors in an America overrun by zombies. The survivors of Night hole up in a house; in Dawn the sanctuary is a shopping mall; while in Day, the darkest of the films, it is an underground military installation. Unsurprisingly, these savage and apocalyptic zombie films contain some of Romero’s most striking representations of active and even aggressive women. This in itself hints at a feminist approach. While Hollywood films typically eroticize and naturalise male violence and emphasise female passivity, Romero uses his zombies to undermine such assumptions. Romero’s female zombies are not only undead but virtually ungendered; for instance, they are responsible for as many acts of violence as their male counterparts. -
“No Reason to Be Seen”: Cinema, Exploitation, and the Political
“No Reason to Be Seen”: Cinema, Exploitation, and the Political by Gordon Sullivan B.A., University of Central Florida, 2004 M.A., North Carolina State University, 2007 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2017 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Gordon Sullivan It was defended on October 20, 2017 and approved by Marcia Landy, Distinguished Professor, Department of English Jennifer Waldron, Associate Professor, Department of English Daniel Morgan, Associate Professor, Department of Cinema and Media Studies, University of Chicago Dissertation Advisor: Adam Lowenstein, Professor, Department of English ii Copyright © by Gordon Sullivan 2017 iii “NO REASON TO BE SEEN”: CINEMA, EXPLOITATION, AND THE POLITICAL Gordon Sullivan, PhD University of Pittsburgh, 2017 This dissertation argues that we can best understand exploitation films as a mode of political cinema. Following the work of Peter Brooks on melodrama, the exploitation film is a mode concerned with spectacular violence and its relationship to the political, as defined by French philosopher Jacques Rancière. For Rancière, the political is an “intervention into the visible and sayable,” where members of a community who are otherwise uncounted come to be seen as part of the community through a “redistribution of the sensible.” This aesthetic rupture allows the demands of the formerly-invisible to be seen and considered. We can see this operation at work in the exploitation film, and by investigating a series of exploitation auteurs, we can augment our understanding of what Rancière means by the political. -
Programming Highlights: May 25 – June 7 **
-- ** PROGRAMMING HIGHLIGHTS: MAY 25 – JUNE 7 ** ON A NEW ‘PORTALS TO HELL,’ JACK OSBOURNE AND KATRINA WEIDMAN HEAD TO THE HAUNTED OHIO STATE REFORMATORY, AN ABANDONED PRISON KNOWN FOR ITS ROLE IN THE SHAWSHANK REDEMPTION Dakota Laden and the ‘Destination Fear’ Team Become the First to Investigate the Sheboygan County Asylum – With Chilling Results *For photos and assets, please visit Travel Channel’s Press Website *Screeners available thru Travel Channel’s Press Screening Room and upon request UPCOMING PREMIERES NEW EPISODES GHOST NATION Jason Hawes, Steve Gonsalves and Dave Tango are back for more adventures to the other side in a new season of “Ghost Nation.” This season’s locations have bigger mysteries, are more chilling and have never been investigated on television. And this time, they are calling in an old friend for some help – paranormal investigator Shari DeBenedetti. On all investigations, collecting evidence is just the beginning. With the help of their local contacts, they’re going to embed themselves in the community, conducting multi-day investigations in an effort to track down the true source of these hauntings and restore peace to the living. Under the United Paranormal Research Organization (UPRO) banner, local paranormal groups will join the team as they employ new devices and techniques for confronting and questioning spirits. They’ll do whatever it takes to entice the ghost into telling its story and stop at nothing to get to the bottom of the paranormal phenomena. [Hour-long episodes] “Spectre of the Surgeon” – Premieres Wednesday, May 27 at 9 p.m. ET/PT Jason Hawes, Steve Gonsalves, Dave Tango and Shari DeBenedetti travel to Louisburg, North Carolina, to investigate paranormal activity at an expectant couple's home. -
2000 Film Program Schedule
ACCOUNTANT, THE USA 2000 Betacam SP/16mm 106 mins. One Wheel Panther Productions East Coast Premiere [email protected] Director/Writer/Editor: Glenn Gers Producer: Spencer M. Clarke, Jr. Cinematography: Noah Prince Music: Bryan E. Miller Costumes: Loren Bevans Starring: David Valcin, Marlene Forte, John Randolph Jones The story of a gentleman who tries to protest the lack of civilized behavior in New York City and inadvertently brings about the end of civilization. A narrator-hero guides us through an Altmanesque/neo-Dickensian tale involving 18 principal characters in a tragicomedy of race, class, good intentions and bad luck. Shot for $62,000 in 88 locations with 120 actors, "The Accountant" is a no-budget magical-realist disaster movie. A.J.’S DOGUMENTARY USA 1999 Digital Video 53 mins. New England Premiere Director: A.J. Poulin The film offers a comic glimpse into the lives of obsessive dog owners, and shows the bizarre ways they pamper their pets. A.J.’s Dogumentary has been in four film festivals, winning the audience award for favorite film three times. ALZIRA: A MATRIARCH TELLS HER STORY USA 2000 Digital Video 63 mins. In English and Portuguese (with English subtitles) http://members.tripod.com/~christian-d/index.html Breaking Branches Pictures Official World Premiere [email protected] Director: Christian de Rezendes Music: Alberto Resendes Featuring: Alzira Rodrigues By 1929, Alzira de Jesus Soares had survived the conditions of her impoverished village in the north of Portugal, a place called Bouçoais - where her father and two younger siblings had died from influenza and starvation. Only months earlier, she had been granted the most unique of opportunities for those in her native homeland: a better life in America. -
"Those Things" and "You People" : Issues Of
d “THOSE THINGS” AND “YOU PEOPLE” Issues of Racism in Zombie Cinema Kyle Allkins Judith Halberstam claims that “it would be very difficult in a horror film to show and punish racism simultaneously,” but this essay contends that zombie films show racism through their representation of African American characters and the ways zombies function as racial “others” who exemplify the nonnormative and inhuman (Skin Shows 4). Zombie films also link the colonized racial “other” to the colonized white female in interesting ways. The extermination of zombies in cinema represents racism, racial profiling, racial violence, and racial selfhatred and links racism with sexism. At times, zombie cin ema may also punish the culturally normative “we or us” for seeking violence against the racialized or feminized “them.” Cinematic zombies evoke fear in part because zombies can be anyone. Spouse, sibling, coworker, friend, priest, cop, Mayor, President, girl next door—anyone in a zombie film can be altered and “turned” in no time at all. Those that haven’t been turned are slowly being outnumbered, becoming the mi nority, becoming nonnormative themselves. Audiences have eagerly consumed films about zombies since their first appear ance in White Zombie, a 1932 horror film starring Bela Legosi. 112 Subsequent zombie films such as Jacques Tourneur’s 1943 I Walked with A Zombie, George A. Romero’s 1968 cult classic Night of the Living Dead, and even Wes Craven’s 1988 The Serpent and the Rainbow, continued to shape the genre by adding unique elements. The website http://en.wikipedia.org/wiki/ List_of_zombie_films lists the dozens of zombie films made in America and abroad over the last eight decades and attests to the genre’s continuing popularity. -
LEASK-DISSERTATION-2020.Pdf (1.565Mb)
WRAITHS AND WHITE MEN: THE IMPACT OF PRIVILEGE ON PARANORMAL REALITY TELEVISION by ANTARES RUSSELL LEASK DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at The University of Texas at Arlington August, 2020 Arlington, Texas Supervising Committee: Timothy Morris, Supervising Professor Neill Matheson Timothy Richardson Copyright by Antares Russell Leask 2020 Leask iii ACKNOWLEDGEMENTS • I thank my Supervising Committee for being patient on this journey which took much more time than expected. • I thank Dr. Tim Morris, my Supervising Professor, for always answering my emails, no matter how many years apart, with kindness and understanding. I would also like to thank his demon kitten for providing the proper haunted atmosphere at my defense. • I thank Dr. Neill Matheson for the ghostly inspiration of his Gothic Literature class and for helping me return to the program. • I thank Dr. Tim Richardson for using his class to teach us how to write a conference proposal and deliver a conference paper – knowledge I have put to good use! • I thank my high school senior English teacher, Dr. Nancy Myers. It’s probably an urban legend of my own creating that you told us “when you have a Ph.D. in English you can talk to me,” but it has been a lifetime motivating force. • I thank Dr. Susan Hekman, who told me my talent was being able to use pop culture to explain philosophy. It continues to be my superpower. • I thank Rebecca Stone Gordon for the many motivating and inspiring conversations and collaborations. • I thank Tiffany A. -
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. -
Romero Rétrospective 13 – 30 Décembre
GEORGE A. ROMERO RÉTROSPECTIVE 13 – 30 DÉCEMBRE Zombie - Dawn of the dead 28 TERREURS EXPÉRIMENTALES Révélé en 1968 par un film d’horreur à petit budget, La Nuit des morts-vivants, qui bouleversa les règles du genre, George A. Romero est l’auteur d’une œuvre très personnelle, essentielle dans l’histoire du cinéma américain moderne. Avec ses figures de zombies, déclinées dans plusieurs titres tout au long de sa carrière et devenues des silhouettes familières de la pop culture contem- poraine, il a énoncé une critique politique radicale de la société américaine, de son goût pour la violence et de son aliénation. GEORGE A. ROMERO Il a, on ne le sait désormais que trop, inventé l’une des grandes figures cinéma- tographiques de la terreur contemporaine, une figure qui aura depuis quarante ans innervé et contaminé la culture industrielle dans ses diverses manifestations (séries télévisées, jeux vidéo, romans populaires, etc.). Le zombie du cinéma de George A. Romero représente la négation de toute une vision romantique de l’inhumain et de la monstruosité qui a longtemps marqué le cinéma d’épou- vante. On le sait, tout a commencé en 1968 lorsqu’une poignée d’étudiants de Pittsburgh décide de s’attacher à la réalisation d’un petit film d’horreur en noir et blanc. La Nuit des morts-vivants jouira longtemps d’un statut ambigu. Le film bouscule, en tout cas, les conventions avec son postulat : pour une raison mystérieuse, les morts se remettent à marcher et deviennent des créatures PROGRAMMATION anthropophages quasi invulnérables, propageant la maladie qui les a ressuscités. -
Haunted Middletown, Usa: an Analysis of Supernatural Beliefs of Protestants in Muncie, Indiana
HAUNTED MIDDLETOWN, USA: AN ANALYSIS OF SUPERNATURAL BELIEFS OF PROTESTANTS IN MUNCIE, INDIANA A THESIS SUMBITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF ARTS BY LAUREN HOLDITCH DR. CAILÍN MURRAY DR. PAUL WOHLT DR. JENNIFER ERICKSON BALL STATE UNIVERSITY MUNCIE, IN MAY 2013 1 Table of Contents Title Page 1 Table of Contents 2 Acknowledgements 4 Abstract 6 Chapter I: Introduction Ghosts in Contemporary America 8 Supernatural Scholarship and 12 Religious Context Purpose of this Study 16 Terminology 18 Chapter II: Literature Review Early English Ghost Beliefs 22 Migration of Ghost Beliefs 25 from England to America Spiritualism and Skepticism 28 Social Scientific Theories 32 Middletown, USA: Background 37 Research on Muncie, Indiana Chapter III: Methodology Utilization of Qualitative 41 Methods 2 Data Collection 43 Interviews 45 Chapter IV: Results Ghostly Experiences 48 Alternative Theories and 52 Demonic Forces The Holy Spirit as an 58 Anti-Viral System Paranormal Reality-based 63 Television Shows Chapter V: Discussion Lack of Discussion in Church 66 Church Transitions 69 David Hufford’s Experiential 71 Source Theory Role of the Media 72 Chapter VI: Conclusions 77 References 81 Appendix A – Interview Questions 87 Appendix B – Consent Form 88 Appendix C – Ghost Media Examples 90 3 Acknowledgements I would like to show my deepest appreciation to my committee members. First, my thanks to Dr. Jennifer Erickson, who was willing to join my committee, even though it was late in the process and I was already on the other side of the country. Despite all this, she provided me with wonderful perspective that helped shape the style of this thesis. -
Ebook Download Terror Firma Ebook Free Download
TERROR FIRMA PDF, EPUB, EBOOK Joseph Lidster,Gary Russell,Terry Molloy,Conrad Westmaas,India Fisher,Paul McGann | none | 31 Jul 2005 | Big Finish Productions Ltd | 9781844351374 | English | Maidenhead, United Kingdom Terror Firma PDF Book Running time. Vespers give these poor souls a new chance of life but at a cost, they become vampires or Vetostryx as they call themselves. Peri , Erimem. Casey Kaufman. Alternate Versions. Director: Lloyd Kaufman. Gemma then spread Davros's virus, giving him enough Dalek creatures to create an army of Daleks. Davros shows him what Charley and C'rizz are doing and tells Gemma to give C'rizz a gun and ask him to shoot her. Toddster : Right upstairs. Welcome to Terror Firma, an urban fantasy world with elements of horror and science fiction. All other stories are represented in other navigation boxes. At the climax, the entire film crew bands together both physically and sexually against the mortal threat in their midst. October Streaming Picks. Audrey Benjamin Gary Hrbek External Sites. In Remembrance. This darkness counters light but is not powerful enough to consume it, at least not yet. Gary Russell Jason Haigh-Ellery. Now let's go make some art! Dalek Attack. They would take food, urine, feces, vomit and semen and create shocking works of art. The Companion Chronicles. Samson now has his memory back, and Harriet reveals that her party guests are in fact the British resistance and that the parties are just a cover story. Add links. The first five minutes of the film contain a leg decapitation, an abortion, death by corn flakes and a suicidal shot in the head. -
Elizabeth Holzhauser Phd Thesis
<.=.9;=8.7 ?;@=6>8 69 2169/@=45 >?;=A?277694! .<<=;<=6.?694 45;>? 0@7?@=2 .91 <=2>29?694 .9 @90.99A 52=6?.42 2LJYBCFSI 5OLYIBTRFQ . ?IFRJR >TCMJSSFE GOQ SIF 1FHQFF OG <I1 BS SIF @NJUFQRJSX OG >S .NEQFVR '%&) 3TLL MFSBEBSB GOQ SIJR JSFM JR BUBJLBCLF JN =FRFBQDI->S.NEQFVR,3TLL?FWS BS, ISSP,$$QFRFBQDI"QFPORJSOQX#RS"BNEQFVR#BD#TK$ <LFBRF TRF SIJR JEFNSJGJFQ SO DJSF OQ LJNK SO SIJR JSFM, ISSP,$$IEL#IBNELF#NFS$&%%'($*+'' ?IJR JSFM JR PQOSFDSFE CX OQJHJNBL DOPXQJHIS Paranormal Tourism in Edinburgh Storytelling, Appropriating Ghost Culture and Presenting an Uncanny Heritage Elizabeth Holzhauser This thesis is submitted in partial fulfilment for the degree of PhD at the University of St Andrews Date of Submission 3 February 2015 DECLARATIONS 1. Candidate’s declarations: I, Elizabeth Holzhauser, hereby certify that this thesis, which is approximately 78,000 words in length, has been written by me, and that it is the record of work carried out by me, or principally by myself in collaboration with others as acknowledged, and that it has not been submitted in any previous application for a higher degree. I was admitted as a research student in September 2009 and as a candidate for the degree of PhD in September 2009; the higher study for which this is a record was carried out in the University of St Andrews between 2009 and 2014. Date ___________ Signature of Candidate ______________________________________ 2. Supervisor’s declaration: I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of PhD in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. -
Land of the Dead
Journal of Religion & Film Volume 9 Issue 2 October 2005 Article 10 October 2005 Land of the Dead Mario DeGiglio-Bellemare University of Toronto, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation DeGiglio-Bellemare, Mario (2005) "Land of the Dead," Journal of Religion & Film: Vol. 9 : Iss. 2 , Article 10. Available at: https://digitalcommons.unomaha.edu/jrf/vol9/iss2/10 This Film Review is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Land of the Dead Abstract This is a review of Land of the Dead (2005). This film er view is available in Journal of Religion & Film: https://digitalcommons.unomaha.edu/jrf/vol9/iss2/10 DeGiglio-Bellemare: Land of the Dead George A. Romero is well known to horror genre enthusiasts as the man who invented the contemporary cinematic zombie myth (divorced from its Haitian roots). The cannibalistic urge of the zombie, its slow-moving pace, and the methods of dispensing with one of them by putting a bullet through its head, or by removing its head altogether, were all invented by Romero when he made the genre-bending cult favorite Night of the Living Dead. However, Romero is also known for his very astute and critical appraisals of the political landscape of the U.S.A. In Romero's world, the zombie is much more than a living dead creature seeking warm intestines to snack on; the zombie is a force for social transformation.