Killer Copy in a Crisis
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Considering Blackness in George A. Romero's Night of the Living
CONSIDERING BLACKNESS IN GEORGE A. ROMERO’S NIGHT OF THE LIVING DEAD: AN HISTORICAL EXPLORATION A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in the partial fulfillment of the requirements for the degree of Master of Arts In The Department of English by Jennifer Whitney Dotson B.A., Middle Tennessee State University, 2004 August 2006 Table of Contents Abstract……………………………………………………………………...……iii Chapter 1 Introduction………………………………………………..…………..1 2 An Overview of the Twentieth Century Zombie in the West….….....12 3 Night of the Living Dead…………………………………………….39 4 Conclusion…………………………………………………...………66 Bibliography………….………………………………………………………….69 Filmography………………………….……………….……………….…………72 Vita.……………………………………………………………………..………..76 ii Abstract When George A. Romero’s Night of the Living Dead was released in 1968, the independent black and white zombie film stunned American moviegoers. Having assaulted the audience with a new level of violence-laden gore, Night of the Living Dead received much attention from both popular and critical audiences, with the former rushing to theaters to see the film over and over and the latter almost universally panning the film for its poor taste and gratuitous violence. Since its release, however, Night of the Living Dead has become one of the most written about horror films in American history, with critics praising the film for its ingenuity and reviving the zombie genre and also for its treatment of American sociopolitical issues, including the most critically noted issue— the Vietnam War. Although I agree with those critics who assert that controversy over Vietnam War is raised in Night of the Living Dead (as well as are many other sociopolitical issues which are well worth exploring), the Vietnam imagery of the film has been almost exclusively analyzed at the expense of exploring what I believe is another important aspect of Night of the Living Dead— its re-inscription of blackness in the zombie film. -
Rivista Digitale Di Cultura Cinematografica RC Numero18
numero18. ottobre 2009 Rapporto ConFidenziale rivista digitale di cultura cinematografica RC numero18. ottobre 2009 IN QUESTO NUMERO: Silly Symphonies, Colpo di Stato, Luciano Salce, Baarìa, Lake Tahoe, Pulgasari, Augusto Tretti, Bikesploitation, “Theme de Yo-Yo”, Madden 12x a Second. Rapporto Confidenziale. rivista digitale di cultura cinematografica. www.rapportoconfidenziale.org 1 numero18. ottobre 2009 numero18. ottobre 2009 Rapporto ConFidenziale rivista digitale di cultura cinematografica numero*DICIOTTO*OTTOBRE*2009 www.rapportoconfidenziale.org [email protected] da un’esigenza di Alessio Galbiati e Roberto Rippa. DIRETTORI EDITORIALI Alessio Galbiati [email protected] Rapporto Confidenziale - rivista digitale di cultura cinematografica non è un prodotto editoriale ai sensi della legge n. 62 del 7 marzo Roberto Rippa [email protected] 2001 e non persegue alcuna finalità di lucro. La rivista vuole essere una voce libera ed indipendente di critica cinematografica: libera da ogni condizionamento ed indipendente nell’espressione del proprio senso critico. Le immagini utilizzate provengono dalla rete e sono pertanto da considerarsi di dominio pubblico. Per ogni possibile controversia ci rendiamo disponibili ai dovuti chiarimenti. GRAFICA E IMPAGINAZIONE ilcanediPavlov! [email protected] Licenza: la rivista è rilasciata con licenza Creative Commons - Attribuzione - Non commerciale - Non opere derivate 2.5 Italia. Ogni volta che usi o distribuisci quest’opera, devi farlo secondo i termini di questa licenza, che va comunicata con chiarezza. In ogni caso, puoi concordare EDITING col titolare dei diritti utilizzi di quest’opera non consentiti da questa licenza. Questa licenza lascia impregiudicati i diritti morali. Alessio Galbiati, Roberto Rippa http://creativecommons.org/licenses/by-nc-nd/2.5/it Distribuzione: “Rapporto Confidenziale” è distribuito in formato PDF. -
Horror, Sexo E Explora~Ao No Cinema I Lucio De Franciscis Dos Reis Piedade
UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE ARTES Mestrado em Multimeios A CULTURA DO LIXO HORROR, SEXO E EXPLORA<;AO NO CINEMA LUCIO DE FRANCISCIS DOS REIS PIEDADE exemplar e a reda<;ao da dissertayao defendida pelo Sr/Lucio De Franciscis ~os Reis PiecJade . ' '~ova<\_a pela Disserta9ao apresentada ao Curso de Mestrado Com1ss.ral(i.·'!. <;~o·· .. file · /ll'/2002. em Multimeios do lnstituto de Artes da UN ICAMP i \! . i l: "\b'\ i \\ ' -------------t----\\Tf\- '!-1:; -*:.--------------- como requisito parcial para a obten9ao do grau 1 ,_ \~~ de Mestre em Multimeios sob a orienta9ao do ~~~~~.,;\~\ ~~~~~~----' Prof. Dr. Marcius Cesar Soares Freire. CAMPINAS- 2002 V EX ..,.,"'n"n"" TOMBO SCI 5 3:I16 PROC.c] A;;;_, l.f /0o[ll C PAE!;O $'"" -1,-'!P DATAs/nY roa: N'CPD_ 1. CM001821 i ~ .. FICHA CAT ALOGRAFICA ELABORADA PELA BffiLIOTECA DO IA. - UNICAMP Piedade, Lucio De F ranciscis dos Reis. P595c A cultura do lixo: horror, sexo e explora~ao no cinema I Lucio De Franciscis dos Reis Piedade. - Campinas,SP: [s.n.], 2002. Orientador: Marcius Cesar Soares Freire. Disserta~ao ( mestrado) - Universidade Estadi.Jal de Campinas, Institute de Artes. I . Cinema- hist6ria. 2. Sexo no cinema. 3. Filmes de horror. L Freire, Marcius Cesar Soares. II. Universidade Estadual de Campinas.Instituto de Artes. Ill. Titulo. Para Lucia, minha mulher, pelo apoio e pela paciencia. 3 Agradeqo a CAPES pelo apoio, atraves de balsa concedida entre os meses de novembro de 2001 e outubro de 2002. 4 Resumo: 0 presente trabalho e uma investigayao das relayoes entre o cinema de horror eo que se convencionou chamarfilmes exploitation- filao vasto e prolffico que se desenvolveu a mar gem da industria principaL Atraves de uma retrospectiva hist6rica, pretendemos estabelecer os pontes em que se cruzam essas tendencias, na explora9ao do horror explfcito - o assim chamado "sangue-e tripas" -, do sexo e da violencia. -
A History of Violence the Evolution of Violence in American Film Remakes
A History of Violence The Evolution of Violence in American Film Remakes Nikola Pantchev Master’s Thesis English Philology Faculty of Humanities University of Oulu 2016 Table of Contents 1. Introduction ............................................................................................................................................................1 2. The History of American Film Violence ..................................................................................................................3 2.1 The Silent Era ....................................................................................................................................................3 2.2 Censorship, Self-Regulation, and the Studio Era ..............................................................................................6 2.3 The New Hollywood Cinema ......................................................................................................................... 10 2.4 Contemporary Film Violence ......................................................................................................................... 12 3. Methodology and Data ........................................................................................................................................ 15 4. The Evolution of Film Violence in Film Remakes ................................................................................................. 19 4.1 Psycho (1960) and Psycho (1998) ................................................................................................................. -
The Beast of Yucca Flats
Apocalypse Later Books by Hal C F Astell Cinematic Hell Huh? An A-Z of Why Classic American Bad Movies Were Made Filmography Series Velvet Glove Cast in Iron: The Films of Tura Satana Festival Series The International Horror & Sci-Fi Film Festival 2012 Apocalypse Later Cinematic Hell Huh? An A-Z of Why Classic American Bad Movies Were Made Apocalypse Later Press Phoenix, AZ Apocalypse Later Cinematic Hell Series Huh? An A-Z of Why Classic American Bad Movies Were Made ISBN-10: 0989461300 ISBN-13: 978-0-9894613-0-6 Apocalypse Later Press catalogue number: ALP001 Reviews by Hal C F Astell These reviews originally appeared, albeit in evolutionary form, at Apocalypse Later http://www.apocalypselaterfilm.com They evolved out of a series of reviews I wrote for Cinema Head Cheese http://cinemaheadcheese.blogspot.com Front cover art by Eric Schock http://www.evilrobo.com All posters and videocassette covers reproduced here are believed to be owned by the studios, producers or distributors of their associated films, or the graphic artists or photographers who originally created them. They are used here in reduced, black and white form in accordance with fair use or dealing laws. Published through CreateSpace https://www.createspace.com Typeset in Gentium http://scripts.sil.org/FontDownloadsGentium Licensed through Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported (CC BY-NC-SA 3.0) http://creativecommons.org/licenses/by-nc-sa/3.0/ Dedication This book is dedicated to three ladies and three gentlemen, all of whom had a hand in its evolution, however inadvertently. Pam Astell, you’ve put up with me longer than anyone else and, in doing so, taught me to read, to write and to think. -
Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room. -
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. -
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. -
Transatlantica, 2 | 2015 Exploiting Exploitation Cinema: an Introduction 2
Transatlantica Revue d’études américaines. American Studies Journal 2 | 2015 The Poetics and Politics of Antiquity in the Long Nineteenth-Century / Exploiting Exploitation Cinema Exploiting Exploitation Cinema: an Introduction David Roche Electronic version URL: http://journals.openedition.org/transatlantica/7846 DOI: 10.4000/transatlantica.7846 ISSN: 1765-2766 Publisher AFEA Electronic reference David Roche, “Exploiting Exploitation Cinema: an Introduction”, Transatlantica [Online], 2 | 2015, Online since 14 July 2016, connection on 29 April 2021. URL: http://journals.openedition.org/transatlantica/ 7846 ; DOI: https://doi.org/10.4000/transatlantica.7846 This text was automatically generated on 29 April 2021. Transatlantica – Revue d'études américaines est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Exploiting Exploitation Cinema: an Introduction 1 Exploiting Exploitation Cinema: an Introduction David Roche 1 What is exploitation cinema? Exploitation cinema is not a genre; it is an industry with a specific mode of production. Exploitation films are made cheap for easy profit. “Easy” because they are almost always genre films relying on time-tried formulas (horror, thillers, biker movies, surfer movies, women-in-prison films, martial arts, subgenres like gore, rape-revenge, slashers, nazisploitation, etc.). “Easy” because they offer audiences what they can’t get elsewhere: sex, violence and taboo topics. “Easy” because they have long targetted what has since become the largest demographic group of moviegoers: the 15-25 age group (Thompson and Bordwell, 310, 666). The exploitation film is not a genre, and yet it is often described as such.1 This is, no doubt, because these movies do, as a group, share common semantic, syntactic and pragmatic elements that, for Rick Altman, make up the “complex situation” that is a film genre (Altman, 84). -
Humanist Narratology and the Suburban Ensemble Dramedy
Humanist Narratology and the Suburban Ensemble Dramedy Wyatt Moss-Wellington A thesis submitted in fulfilment of the requirements for the degree of: Doctor of Philosophy Faculty of Arts and Social Sciences University of Sydney 2017 DECLARATION OF ORIGINALITY This is to certify that to the best of my knowledge, the content of this thesis is my own work. This thesis has not been submitted for any degree or other purposes. I certify that the intellectual content of this thesis is the product of my own work and that all the assistance received in preparing this thesis and sources have been acknowledged. Wyatt Moss-Wellington 2 ABSTRACT What is a “humanistic drama”? Although we might describe narrative works as humanist, and references to the humanistic drama abound across a breadth of critical media, including film and literary theory, the parameters of these terms remain elliptical. My work attempts to clarify the narrative conditions of humanism. In particular, humanists ask how we use narrative texts to complicate our understanding of others, and question the ethics and efficacy of attempts to represent human social complexity in fiction. After historicising narrative humanism and situating it among related philosophies, I develop humanist hermeneutics as a method for reading fictive texts, and provide examples of such readings. I integrate literary Darwinism, anthropology, cognitive science and social psychology into a social narratology, which catalogues the social functions of narrative. This expansive study asks how we can unite the descriptive capabilities of social science with the more prescriptive ethical inquiry of traditional humanism, and aims to demonstrate their productive compatibility. -
ETD Template
THE HOLLYWOOD YOUTH NARRATIVE AND THE FAMILY VALUES CAMPAIGN, 1980-1992 by Clare Connors Bachelor of Arts, Macalester College, 1982 Masters of Arts, University of Louisville, 1987 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2005 UNIVERSITY OF PITTSBURGH FACULTY OF ARTS AND SCIENCES This dissertation was presented by Clare Connors It was defended on April 15, 2005 and approved by Dr. Marcia Landy Dr. Troy Boone Dr. Carol Stabile Dr. Lucy Fischer Dissertation Director ii THE HOLLYWOOD YOUTH NARRATIVE AND THE FAMILY VALUES CAMPAIGN, 1980-1992 Clare Connors, PhD University of Pittsburgh, 2005 The dissertation seeks to identify and analyze the cultural work performed by the Hollywood youth narrative during the 1980s and early nineties, a period that James Davison Hunter has characterized as a domestic “culture war.” This era of intense ideological confrontation between philosophical agendas loosely defined as “liberal” and “conservative,” increasing social change, and social polarization and gender/sexual orientation backlash began with Ronald Reagan’s landslide victory in 1980 and continued for twelve years through the presidency of George Bush, Sr. The dissertation examines the Hollywood youth narrative in the context of the family values debate and explicates its role in negotiating and resolving social conflict in a period of intense social change and ideological confrontation. The dissertation theorizes the historic and cultural function of the Hollywood youth narrative in “translating” complex social problems into generational and familial conflicts that can be easily, if superficially, resolved through conventional Hollywood genre narrative structures. -
Arrow Video Channel Is Getting Powered Up!
FOR IMMEDIATE RELEASE London UK, 28 September 2020 ARROW VIDEO CHANNEL IS GETTING POWERED UP! DEBUTING THIS OCTOBER: THE DEEPER YOU DIG, THE HATRED, CRUMBS, COLD LIGHT OF DAY, VIDEOMAN, THE HERSCHELL GORDON LEWIS FEAST Plus - THE TEXAS CHAINSAW MASSACRE launches new US service ARROW ARROW VIDEO CHANNEL is the passion-driven film platform giving film fans the opportunity to watch a curated selection of movies that the Arrow Video brand is famous for. This October, the Arrow Video Channel is showing the creepy and intense horror mystery The Deeper You Dig, as well as an unmissable selection of brand new additions to the channel. The service will also be expanding its availability across multiple devices in the US & Canada and launching simply as ARROW. (ARROW will be heading to the UK in early 2021) WATCH & SHARE THE NEW TRAILER HERE Gripping, innovative and haunting, The Deeper You Dig sees a fake spiritualist attempting to discover the truth about her daughter’s disappearance - which might lie buried deep in the woods - and might be better left unearthed! Directed by and starring hotly-tipped filmmaking family the Adams Family, described by Dread Central as ‘a force to be reckoned with’, The Deeper You Dig is a dark, unsettling meditation on grief, survival and the brittle barrier that separates the living from the dead You can see it on the Arrow Video Channel - the home for weird and wild cult classics, newly-restored gems, and genre favourites, available on Apple TV and Amazon Prime Video (from 5th Oct). Watch the trailer HERE Also debuting on the Arrow Video Channel this October are: The Hatred (UK/US) Key Talent: The Adams Family (Filmmakers, The Deeper You Dig) A macabre and atmospheric horror western set in the late 19th century, about a young girl who brings a soldier back from the dead.