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Just How Nasty Were the Video Nasties? Identifying Contributors of the Video Nasty Moral Panic
Stephen Gerard Doheny Just how nasty were the video nasties? Identifying contributors of the video nasty moral panic in the 1980s DIPLOMA THESIS submitted in fulfilment of the requirements for the degree of Magister der Philosophie Programme: Teacher Training Programme Subject: English Subject: Geography and Economics Alpen-Adria-Universität Klagenfurt Evaluator Univ.-Prof. Dr. Jörg Helbig, M.A. Alpen-Adria-Universität Klagenfurt Institut für Anglistik und Amerikanistik Klagenfurt, May 2019 i Affidavit I hereby declare in lieu of an oath that - the submitted academic paper is entirely my own work and that no auxiliary materials have been used other than those indicated, - I have fully disclosed all assistance received from third parties during the process of writing the thesis, including any significant advice from supervisors, - any contents taken from the works of third parties or my own works that have been included either literally or in spirit have been appropriately marked and the respective source of the information has been clearly identified with precise bibliographical references (e.g. in footnotes), - to date, I have not submitted this paper to an examining authority either in Austria or abroad and that - when passing on copies of the academic thesis (e.g. in bound, printed or digital form), I will ensure that each copy is fully consistent with the submitted digital version. I understand that the digital version of the academic thesis submitted will be used for the purpose of conducting a plagiarism assessment. I am aware that a declaration contrary to the facts will have legal consequences. Stephen G. Doheny “m.p.” Köttmannsdorf: 1st May 2019 Dedication I I would like to dedicate this work to my wife and children, for their support and understanding over the last six years. -
Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs
Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs The thesis is submitted in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy of the University of Portsmouth. September 2014 Declaration Whilst registered as a candidate for the above degree, I have not been registered for any other research award. The results and conclusions embodied in this thesis are the work of the named candidate and have not been submitted for any other academic award. Word count: 85,810 Abstract Extreme art cinema, has, in recent film scholarship, become an important area of study. Many of the existing practices are motivated by a Franco-centric lens, which ultimately defines transgressive art cinema as a new phenomenon. The thesis argues that a study of extreme art cinema needs to consider filmic production both within and beyond France. It also argues that it requires an historical analysis, and I contest the notion that extreme art cinema is a recent mode of Film production. The study considers extreme art cinema as inhabiting a space between ‘high’ and ‘low’ art forms, noting the slippage between the two often polarised industries. The study has a focus on the paratext, with an analysis of DVD extras including ‘making ofs’ and documentary featurettes, interviews with directors, and cover sleeves. This will be used to examine audience engagement with the artefacts, and the films’ position within the film market. Through a detailed assessment of the visual symbols used throughout the films’ narrative images, the thesis observes the manner in which they engage with the taste structures and pictorial templates of art and exploitation cinema. -
Complicated Views: Mainstream Cinema's Representation of Non
University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. Data: Author (Year) Title. URI [dataset] University of Southampton Faculty of Arts and Humanities Film Studies Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. DOI: by Eliot W. Blades Thesis for the degree of Doctor of Philosophy May 2020 University of Southampton Abstract Faculty of Arts and Humanities Department of Film Studies Thesis for the degree of Doctor of Philosophy Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. by Eliot W. Blades This thesis examines a number of mainstream fiction feature films which incorporate imagery from non-cinematic moving image technologies. The period examined ranges from the era of the widespread success of television (i.e. -
1. Long Time Dead
1. LONG TIME DEAD In 2002, the filmmaker Richard Stanley sounded the death knell of ‘the great British horror movie’. His ‘obituary’, which appeared in Steve Chibnall and Julian Petley’s edited volume British Horror Cinema, lamented the general absence of any real directorial talent at the turn of the millennium, noting that the horror film directors ‘who really knew what they were doing escaped to Hollywood a long time ago’ (Stanley 2002: 194). Stanley cited the direct-to- video occult horror The 13th Sign (Jonty Acton and Adam Mason, 2000) as offering a glimmer of hope, but concluded that it was ‘still a long way below the minimum standard of even the most vilified 1980s product’ (2002: 193). Stanley’s pessimism was not unfounded (even if his assessment of The 13th Sign was perhaps a bit unfair). Hammer Films – the once-prolific film studio responsible for the first full-colour horror film, The Curse of Frankenstein (Terence Fisher), in 1957, and a host of other classic British horrors over the next two decades – buckled under market pressure and ceased making feature films in 1979. The 1980s, therefore, saw the production of only a handful of British horror films, which, at any rate, were mostly thought of as American productions that had peripheral British involvement, such as Stanley Kubrick’s blockbuster The Shining (1980) and Clive Barker’s franchise- initiating Hellraiser (1987). Others from the decade were artsy one-offs, such as the Gothic fairy tale The Company of Wolves (Neil Jordan, 1984), or (as was most often the case) amateurish flops, such as the cheap and clumsy monster movie Rawhead Rex (George Pavlou, 1986). -
VIDEO NASTY? by Ben from Video Distribution Warehouses
WHAT THE HECK IS A VIDEO NASTY? by Ben The term “video nasty” goes all the way back to the dawn of home video in the UK, from video distribution warehouses. Newspapers and the media when a bunch of conservative politicians thought a bunch of cheap horror movies helped fan the flames, with more conservative outlets going so were too much for the youth of the Isles to handle. far as to publish stories with erroneous quotes and manipulated data. One such article quoted a survey that claimed four out of Having defeated Betamax in the first-ever format war, VHS became a sensation in ten children over the age of six had seen a video nasty, at a time the UK in the early 1980’s, and video stores popped up everywhere. With the major when even adults had difficulty finding one on a video store studios ignoring the trend of home video for fear of piracy and lesser box office shelf. receipts, small independent labels took the reins and flooded the market with cheap exploitation films, low budget bush and gore sleaze, licensed from and produced As for the legacy of the “video nasty”, while the term itself was primarily in the US and Italy. And while the UK had a history of censoring theatrical designed to frighten the public, in the end, it was nothing short fare, home video was new, and there was no such oversight yet, so the sky was the of intriguing. Now fans had a definitive list of must-see films, limit for sex and violence. -
Censorship and Subversion in German No-Budget Horror Film Kai-Uwe Werbeck
The State vs. Buttgereit and Ittenbach: Censorship and Subversion in German No-Budget Horror Film Kai-Uwe Werbeck IN THE LATE 1980S AND EARLY 1990S, WEST GERMAN INDIE DIRECTORS released a comparatively high number of hyper-violent horror films, domestic no-budget productions often shot with camcorders. Screened at genre festivals and disseminated as grainy VHS or Betamax bootlegs, these films constitute anomalies in the history of German postwar cinema where horror films in general and splatter movies in particular have been rare, at least up until the 2000s.1 This article focuses on two of the most prominent exponents of these cheap German genre flicks: Jörg Buttgereit’s controversial and highly self- reflexive NekRomantik 2 (1991) and Olaf Ittenbach’s infamous gore-fest The Burning Moon (1992), both part of a huge but largely obscure underground culture of homebrew horror. I argue that both NekRomantik 2 and The Burning Moon—amateurish and raw as they may appear—successfully reflect the state of non-normative filmmaking in a country where, according to Germany’s Basic Law, “There shall be no censorship.”2 Yet, the nation’s strict media laws—tied, in particular, to the Jugendschutz (protection of minors)—have clearly limited the horror genre in terms of production, distribution, and reception. In this light, NekRomantik 2 and The Burning Moon become note- worthy case-studies that in various ways query Germany’s complex relation to the practice of media control after 1945. Not only do both films have an inter- esting history with regard to the idiosyncratic form of censorship practiced in postwar (West) Germany, they also openly engage with the topic by reacting to the challenges of transgressive art in an adverse cultural climate. -
The Contemporary American Horror Film Remake, 2003-2013
RE-ANIMATED: THE CONTEMPORARY AMERICAN HORROR FILM REMAKE, 2003-2013 Thesis submitted by Laura Mee In partial fulfilment of the requirements for the award of Doctor of Philosophy De Montfort University, March 2014 Abstract This doctoral thesis is a study of American horror remakes produced in the years 2003-2013, and it represents a significant academic intervention into an understanding of the horror remaking trend. It addresses the remaking process as one of adaptation, examines the remakes as texts in their own right, and situates them within key cultural, industry and reception contexts. It also shows how remakes have contributed to the horror genre’s evolution over the last decade, despite their frequent denigration by critics and scholars. Chapter One introduces the topic, and sets out the context, scope and approach of the work. Chapter Two reviews the key literature which informs this study, considering studies in adaptation, remaking, horror remakes specifically, and the genre more broadly. Chapter Three explores broad theoretical questions surrounding the remake’s position in a wider culture of cinematic recycling and repetition, and issues of fidelity and taxonomy. Chapter Four examines the ‘reboots’ of one key production company, exploring how changes are made across versions even as promotion relies on nostalgic connections with the originals. Chapter Five discusses a diverse range of slasher film remakes to show how they represent variety and contribute to genre development. Chapter Six considers socio-political themes in 1970s horror films and their contemporary post-9/11 remakes, and Chapter Seven focuses on gender representation and recent genre trends in the rape-revenge remake. -
Walker Tosubmit
Citation: Walker, Johnny (2016) Traces of snuff: black markets, fan subcultures and underground horror in the 1990s. In: Snuff: Real Death and Screen Media. Bloomsbury, London, pp. 137-152. ISBN 9781628921137 Published by: Bloomsbury URL: This version was downloaded from Northumbria Research Link: http://nrl.northumbria.ac.uk/27964/ Northumbria University has developed Northumbria Research Link (NRL) to enable users to access the University’s research output. Copyright © and moral rights for items on NRL are retained by the individual author(s) and/or other copyright owners. Single copies of full items can be reproduced, displayed or performed, and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided the authors, title and full bibliographic details are given, as well as a hyperlink and/or URL to the original metadata page. The content must not be changed in any way. Full items must not be sold commercially in any format or medium without formal permission of the copyright holder. The full policy is available online: http://nrl.northumbria.ac.uk/policies.html This document may differ from the final, published version of the research and has been made available online in accordance with publisher policies. To read and/or cite from the published version of the research, please visit the publisher’s website (a subscription may be required.) Chapter 7 Traces of snuff: black markets, fan subcultures and underground horror in the 90s Johnny Walker This chapter seeks to explore the centrality, and significance, of underground horror films to fan cultures in the 1990s, demonstrating how a swelling interest in gory paracinema1 coincided with the emergence of an array of contemporary, direct-to-video “death films” which collated sequences of genuine human tragedy and atrocity for the purposes of entertainment. -
Introduction: 42Nd Street, and Beyond
Northumbria Research Link Citation: Walker, Johnny and Fisher, Austin (2016) Introduction: 42nd Street, and Beyond. In: Grindhouse: Cultural Exchange on 42nd Street, and Beyond. Bloomsbury, London, pp. 1-11. ISBN 9781628927450 Published by: Bloomsbury URL: This version was downloaded from Northumbria Research Link: http://nrl.northumbria.ac.uk/id/eprint/27967/ Northumbria University has developed Northumbria Research Link (NRL) to enable users to access the University’s research output. Copyright © and moral rights for items on NRL are retained by the individual author(s) and/or other copyright owners. Single copies of full items can be reproduced, displayed or performed, and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided the authors, title and full bibliographic details are given, as well as a hyperlink and/or URL to the original metadata page. The content must not be changed in any way. Full items must not be sold commercially in any format or medium without formal permission of the copyright holder. The full policy is available online: http://nrl.northumbria.ac.uk/policies.html This document may differ from the final, published version of the research and has been made available online in accordance with publisher policies. To read and/or cite from the published version of the research, please visit the publisher’s website (a subscription may be required.) Introduction: 42nd Street, and Beyond Austin Fisher and Johnny Walker In the heart of little old New York, You'll find a thoroughfare. It's the part of little old New York That runs into Times Square. -
The Children's Horror Film
A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/90706 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications The Children’s Horror Film: Beneficial fear and subversive pleasure in an (im)possible Hollywood subgenre Catherine Lester A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in Film and Television Studies Department of Film and Television Studies University of Warwick October 2016 Table of Contents Acknowledgements .................................................................................................................. 4 Declaration of Inclusion of Published Work ............................................................................ 5 Abstract .................................................................................................................................... 6 List of Illustrations .................................................................................................................... 7 Introduction – Thinking of the Children ......................................................................... 11 Structure and Aims ........................................................................................................... -
“Where Nothing Is Off Limits”: Genre, Commercial Revitalization, and the Teen Slasher Film Posters of 1982-1984
“WHERE NOTHING IS OFF LIMITS”: GENRE, COMMERCIAL REVITALIZATION, AND THE TEEN SLASHER FILM POSTERS OF 1982-1984 RICHARD NOWELL The poster with which Artists Releasing by resourceful distributors. Catalyzing this Corporation promoted its 1983 teen slasher situation, and the prominent role distribu- film promised American youths that The tors played in it, was the fact that the teen House on Sorority Row (Rosman 1983) would slashers released across these three years be the type of place “[w]here nothing is off had either been made before the 1981 teen limits”. Sitting beneath an imposing image slashers were released or soon after – a of a scantily-clad young woman, which period of time that witnessed no clear dem- bore little relation to the film’s content, this onstrations of a textually innovative teen tagline might as well have been an industry slasher securing a large enough audience in-joke concerning the lengths to which US to encourage filmmakers to replicate its distributors were going in their attempts distinctive content. to reinvigorate the commercial potential In spite of cases like the teen slasher of films about groups of young people be- films of 1982-84, scholars, like popular writ- ing menaced by shadowy maniacs. After ers and industry-insiders, tend to spotlight having proven highly profitable on the the conduct and contributions of production back of the relative commercial success personnel rather than that of distributors. In of Halloween (1978), Silent Scream (Harris doing so, they are inclined to underestimate 1980), Friday the 13th (Cunningham 1980), or downplay the extent to which marketing and Prom Night (Lynch 1980), teen slashers practices drive efforts to reinvigorate the had, by 1981, come to be considered box box office prowess of once-lucrative types office poison following a series of flops that of film. -
The Critical-Industrial Practices of Contemporary Horror Cinema
Off-Screen Scares: The Critical-Industrial Practices of Contemporary Horror Cinema A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Joseph F Tompkins IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Richard Leppert, Adviser January 2013 © Joseph F Tompkins, 2013 Acknowledgements I would like to extend my thanks to the many friends, colleagues, teachers, and family members who provided the necessary support and advice to usher me through both the dissertation writing process and my time as a graduate student. I am grateful to the members of my dissertation committee: Mary Vavrus, Gil Rodman, John Mowitt and Gary Thomas, for their lasting guidance, scholarly advice, and critical feedback. In particular, this project was hatched in Mary Vavrus’s Political Economy of Media seminar, and for that, I’m especially indebted. Also, to Gary Thomas, who taught me, among other things, the power of good, clean prose as well as the radical possibilities of making the classroom into a vitalizing, “heterotopian” space—a rampart against the “mechanical encrustation on the living.” I would also like to convey my sincerest appreciation to my mentor, Richard Leppert, who, since my earliest days as an undergraduate, has been a source of both professional guidance and companionship. Richard is my model—as an educator and a friend. I would also like to thank Jochen Schulte-Sasse, Robin Brown, Cesare Casarino, Liz Kotz, Keya Ganguly, Timothy Brennan, Siobhan Craig, and Laurie Ouellette for their sage advice during my graduate studies. Many friends and colleagues provided me intellectual and emotional support throughout the years: Mathew Stoddard, Tony Nadler, Alice Leppert, Manny Wessels, Mark Martinez, Doyle “Mickey” Greene, Kathie Smith, and Eleanor McGough.