Guillermo Del Toro

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COLT 212 – Comparative World Cinema CRN: 31655 Instructor: Steven Brown Term: Spring 2021 TEACHING METHOD: REMOTE Guillermo del Toro The success of The Shape of Water (2017), which received four Academy Awards (including Best Director and Best Picture), propelled horror maestro Guillermo del Toro into the spotlight with his unorthodox cinematic love letter to monsters of all stripes (transgressive monsters, sympathetic monsters, victimized monsters). The director of such films as Pan’s Labyrinth, Hellboy, Devil’s Backbone, and Crimson Peak, del Toro has asserted that horror is inherently political: “Much like fairy tales, there are two facets of horror,” claims del Toro, “One is pro-institution, which is the most reprehensible type of fairy tale. Don’t wander into the woods, and always obey your parents. The other type of fairy tale is completely anarchic and antiestablishment.” Del Toro's horror-inflected fairy tales situate monsters as "living, breathing metaphors" for larger social issues. This seminar looks at del Toro's entire body of work and the unique contributions he has made to world horror cinema and “cínema fantastique.” Special attention will be given to the formal aspects of his filmmaking, its genre hybridity, and its intermedial connections with other works of art and literature. Works discussed include: Crimson Peak (2015), Cronos (1993), The Devil's Backbone (2001), Hellboy (2004), Hellboy II: The Golden Army (2008), Mimic (1997), Pacific Rim (2013), Pan's Labyrinth (2006), The Shape of Water (2017), and The Strain (2014-2017). Satisfies Core Education Requirements: • Group Satisfying: Arts & Letters (A&L) • Areas of Inquiry: Arts & Letters (A&L) • Multicultural: International Cultures (IC) • Cultural Literacy: Global Perspectives (GP) .

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Guillermo Del Toro’S Bleak House
GuillermoAt Home With Monstersdel Toro By James Balestrieri Guillermo del Toro’s Bleak House. Photo ©Josh White/ JWPictures.com. LOS ANGELES, CALIF. — The essence of “Guillermo del Toro: At Home With Monsters,” the strange and wonderful exhibition at the Los Angeles County Museum of Art (LACMA) through November 27, is this: Guillermo del Toro, born in 1964, is a major writer and director whose films include Cronos (1993), The Devil’s Backbone (2001), Hellboy (2004), Pan’s Labyrinth (2006), Pacific Rim (2013) and Crimson Peak (2015). He is a master who creates worlds that embrace horror, science fiction, fantasy and fairy tales. He insists that, as fantastic as they are, these worlds are located and grounded beside, beneath and in the real world, our world — a world, he might argue, that we merely imagine as real. The membrane separating these worlds is thin, porous and portal-ridden. The worlds are distorted reflections of one another. This distortion becomes the occasion for his ideas and art. Page from Notebook 2 by Guillermo del Toro. Leather-bound notebook, ink on paper, 8 by 10 by 1½ inches. Collection of Guillermo del Toro. ©Guillermo del Toro. Photo courtesy Insight Editions. Jointly organized by LACMA with the Minneapolis Institute of Art and the Art Gallery of Ontario, this first retrospective of the filmmaker’s work arrays sculpture, paintings, prints, photography, costumes, ancient artifacts, books, maquettes and film to create a complex portrait of a creative genius. Roughly 60 of the 500 objects on view are from LACMA’s collection. More belong to the artist.
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This October, See What's Playing on HBO,® STARZ,® SHOWTIME® And
This October, see what’s playing on ® ® ® ® HBO, STARZ, SHOWTIME and CINEMAX Channels 501–511, Channels 525–542, Channels 545–557, Channels 515–523, 1501 1525, 1535 1545 1515 Here’s just a sample of what you can watch in October. (All programming times ET) SUN MON TUE WED THU FRI SAT Ray Donovan PREMIERES: American Sniper Past episodes 1 McFarland, USA 2 PREMIERE 3 available on @ 9pm on @ 8pm on HBO, ch. 501 STARZ, ch. 525 You can binge watch every episode ch. 1545 NEW EPISODES: of every season of Homeland,® The SXSW Comedy Night Blunt Talk @ 9pm Affair® and Ray Donovan.® Plus, you Meet the Fockers Two with W. Kamau & Survivor’s Remorse @ 9pm on have access to a huge selection of hit Bell @ 11pm on @ 9:30pm on STARZ, ch. 525 SHOWTIME, ch. 545 movies, sports and more. STARZ, ch. 525 Unbroken @ 8:30pm NEW EPISODES: Splatterday Saturday: on HBO, ch. 501 Real Time with Night of the Living Start watching today! Tune in That Awkward Bill Maher @ 10pm on Dead (1968) to SHOWTIME® On Demand Moment HBO, ch. 501 @ 10:35pm on @ 8:20pm on Strike Back® @ 10pm THE MOVIE on STARZ® The Knick on CINEMAX® on Ch. 1545. CINEMAX, ch. 515 on CINEMAX, ch. 515 CHANNEL, ch. 553 SEASON Crimson Peak Remember The Fight Game Penny Dreadful PREMIERES: Focus PREMIERES: 4 HBO FIRST LOOK 5 the Titans 6 with Jim Lampley 7 Now playing on 8 Just Before I Go 9 PREMIERE 10 The Leftovers @ 10:30pm on @ 9:30pm on NEW EPISODE @ 9pm on ch.
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The Eddie Awards Issue
THE MAGAZINE FOR FILM & TELEVISION EDITORS, ASSISTANTS & POST- PRODUCTION PROFESSIONALS THE EDDIE AWARDS ISSUE IN THIS ISSUE Golden Eddie Honoree GUILLERMO DEL TORO Career Achievement Honorees JERROLD L. LUDWIG, ACE and CRAIG MCKAY, ACE PLUS ALL THE WINNERS... FEATURING DUMBO HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD AND MUCH MORE! US $8.95 / Canada $8.95 QTR 1 / 2019 / VOL 69 Veteran editor Lisa Zeno Churgin switched to Adobe Premiere Pro CC to cut Why this pro chose to switch e Old Man & the Gun. See how Adobe tools were crucial to her work ow and to Premiere Pro. how integration with other Adobe apps like A er E ects CC helped post-production go o without a hitch. adobe.com/go/stories © 2019 Adobe. All rights reserved. Adobe, the Adobe logo, Adobe Premiere, and A er E ects are either registered trademarks or trademarks of Adobe in the United States and/or other countries. All other trademarks are the property of their respective owners. Veteran editor Lisa Zeno Churgin switched to Adobe Premiere Pro CC to cut Why this pro chose to switch e Old Man & the Gun. See how Adobe tools were crucial to her work ow and to Premiere Pro. how integration with other Adobe apps like A er E ects CC helped post-production go o without a hitch. adobe.com/go/stories © 2019 Adobe. All rights reserved. Adobe, the Adobe logo, Adobe Premiere, and A er E ects are either registered trademarks or trademarks of Adobe in the United States and/or other countries.
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Crimson Peak
1 Crimson Peak Reviewed by Garry Victor Hill Directed by Guillermo Del Toro. Produced by Guillermo Del Toro, Thomas Tull, Callum Greene and Jon Tashi. Executive Producers: Jillian Share & Maguy R. Cohen. Production Design by Thomas E. Saunders. Screenplay by Guillermo Del Toro & Mathew Robbins. Photography by Dan Laustsen. Editing by Bernat Vilplana. Music by Fernando Velázquez. A Universal Pictures Production. Original Release: October 2015. MA rating. Length: 119 minutes. Rating 85% All pictures are taken from the public domain or Wikimedia 2 Cast Edith Cushing: Mia Wasikowska Lucille Sharpe: Jessica Chastain Thomas Sharpe: Tom Huddleston Doctor Alan McMichael: Charlie Hunnam Carter Cushing: Jim Beaver Ogilvie: Jonathan Hyde Mrs McMichael: Leslie Hope Ferguson: Bruce Clay Eunice: Emily Coutts Young Edith: Sofia Wells Finlay: Alec Stockwell Coroner: Bill Lake Reverend: Sean Hewitt Review Crimson Peak is a superior horror film; more of a chiller than a thriller - until the last thirty minutes, then it unleashes thrills and horrors galore. Those last thirty minutes are made all the more effective by the suspenseful build-up. Until then the narrative segments the chilling suspense with brief moments of horror. These not only warn; they tantalise about the mystery on the way to the revealing climax. 3 Almost any viewer will either work out what that mystery, or at the least, aspects of it, long before the naïve heroine Edith Cushing does. Originality is not the film’s strength. Naïve, isolated, inexperienced, young women have been going to dark sinister, isolated, aristocratic houses (and staying there!) since at least 1847, when Jane Eyre was published.
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Reading for Fictional Worlds in Literature and Film
Reading for Fictional Worlds in Literature and Film Danielle Simard Doctor of Philosophy University of York English and Related Literature March, 2020 2 Abstract The aim of this thesis is to establish a critical methodology which reads for fictional worlds in literature and film. Close readings of literary and cinematic texts are presented in support of the proposition that the fictional world is, and arguably should be, central to the critical process. These readings demonstrate how fictional world-centric readings challenge the conclusions generated by approaches which prioritise the author, the reader and the viewer. I establish a definition of independent fictional worlds, and show how characters rather than narrative are the means by which readers access the fictional world in order to analyse it. This interdisciplinary project engages predominantly with theoretical and critical work on literature and film to consider four distinct groups of contemporary novels and films. These texts demand readings that pose potential problems for my approach, and therefore test the scope and viability of my thesis. I evaluate character and narrative through Fight Club (novel, Chuck Palahniuk [1996] film, David Fincher [1999]); genre, context, and intertextuality in Solaris (novel, Stanisław Lem [1961] film, Andrei Tarkovsky [1974] film, Steven Soderbergh [2002]); mythic thinking and character’s authority with American Gods (novel, Neil Gaiman [2001]) and Anansi Boys (novel, Neil Gaiman [2005]); and temporality and nationality in Cronos (film, Guillermo
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The Ghost Is Just a Metaphor: Guillermo Del Toro's Crimson Peak
EUROPEAN JOURNAL OF MEDIA STUDIES www.necsus-ejms.org The ghost is just a metaphor: Guillermo del Toro’s Crimson Peak, nineteenth-century female gothic, and the slasher Evangelia Kindinger NECSUS 6 (2), Autumn 2017: 55–71 URL: https://necsus-ejms.org/the-ghost-is-just-a-metaphor- guillermo-del-toros-crimson-peak-nineteenth-century-female- gothic-and-the-slasher/ Keywords: final girl, Guillermo del Toro, horror-ghost film, nine- teenth-century gothic A brief overview of American film and television since the 1990s affirms Ma- ría del Pilar Blanco and Esther Peeren’s conclusion: ‘It seems that ghosts are everywhere these days.’[1] With the release of Crimson Peak in 2015, Mexican filmmaker Guillermo del Toro did not only add another horror movie to his oeuvre,[2] but as a horror-ghost film[3] Crimson Peak joins a long list of cine- matic representations of ghosts. It also displays del Toro’s unique style, his vision of movies as ‘durchkonzipierte und bis ins letzte Detail kontrollierte Gesamtkunstwerke [conceptualised and detailed, total works of art]’.[4] Set in Buffalo, New York, around 1900, the film introduces Edith Cushing, the young, white, upper-class daughter of industrial mogul Carter Cushing, who spends her time writing ghost stories and trying to get them pub- lished.[5] When English baronet Thomas Sharpe and his sister Lucille arrive in Buffalo to find investors for Thomas’ clay mining invention, Edith falls in love with him. Her father is very suspicious of the siblings and after black- mailing them to leave Buffalo following the revelation that Thomas is already married, he is killed by an unknown figure in black who is later revealed as Lucille.
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The National Bank of Indianapolis Summer Nights Film Series Returns to Newfields 6/4 Tickets Go on Sale May 21 for Members, May 28 for Public
FOR IMMEDIATE RELEASE Images available upon request. The National Bank of Indianapolis Summer Nights Film Series returns to Newfields 6/4 Tickets go on sale May 21 for members, May 28 for public INDIANAPOLIS, May 17, 2021–The beloved summer tradition, The National Bank of Indianapolis Summer Nights Film Series returns to Newfields on Fridays and select Saturdays this June, July and August. Over the summer, 14 films will be shown —everything from classic black-and-white films to modern blockbusters. “Supporting the Summer Nights Film Series is a way for us to give back to our city, and to support our community in an engaging and meaningful way,” said Ann Merkel, senior vice president and chief market development officer at The National Bank of Indianapolis. “We dedicate our resources to activities that create a stronger community and enhance the quality of life for all who live here. We are pleased to be celebrating 10 years as the title sponsor of this beloved program.” New this year and to maintain a safe social distance and reduced capacity in The Amphitheater, Summer Nights tickets will be sold as boxed seating that can accommodate one to four individuals. Each box will be seven feet by eight feet and be spaced six feet apart from others. For everyone’s health and safety, the boxes will be sold at a fixed price with a maximum of four tickets. Tickets go on sale for members on May 21 at 11 a.m. and for the public on May 28 at 11 a.m. Ticket boxes of four are $36 for members and $48 for public.
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PDF Download Guillermo Del Toro Cabinet of Curiosities
GUILLERMO DEL TORO CABINET OF CURIOSITIES: MY NOTEBOOKS, COLLECTIONS, AND OTHER OBSESSIONS PDF, EPUB, EBOOK Guillermo del Toro,Marc Zicree | 263 pages | 16 May 2014 | HarperCollins Publishers Inc | 9780062082848 | English | New York, United States Guillermo del Toro Cabinet of Curiosities: My Notebooks, Collections, and Other Obsessions PDF Book Everything there has a story, some of which are detailed here in the book, but I want more , dammit. Enlarge cover. Like you do. To see what your friends thought of this book, please sign up. Return to the wizarding world and discover how director David Yates and producer David Heyman brought J. Return to the wizarding world and discover how director David Yates and producer David Heyman Indeed, well over two- thirds of my notes were from his comments. This collection is basically a "Guillermo del Toro's brain" collage, discussing his films, the elaborate, gorgeous notebooks he has kept throughout his career, and his mansion of a wunderkammer, or dream house, or memory room, or cabinet of curiosities. Alas, it has never happened. More Details An awesome insight into the workings of one of the most creative minds in the business. For fans of Jason Reynolds and Kwame Alexander, a poignant and timely novel about race, class, and second chances. No trivia or quizzes yet. He is one of my favourite directors across all genres and this book is amazing. For a book about del Toro it certainly isn't a load of bull. Ratings and Reviews Write a review. But my point is, this is a very specific book for a very specific sort of reader and movie-fan.
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The Grammar of English Grammars, 2 Chapter Iv
1 CHAPTER I. CHAPTER II. CHAPTER III. CHAPTER X. CHAPTER XI. CHAPTER I. CHAPTER II. CHAPTER III. CHAPTER IV. CHAPTER V. CHAPTER VI. CHAPTER I. CHAPTER II. CHAPTER III. CHAPTER IV. CHAPTER V. CHAPTER VIII. CHAPTER I CHAPTER II CHAPTER III. CHAPTER IV. CHAPTER V. CHAPTER VI. CHAPTER I. CHAPTER II. CHAPTER III. CHAPTER IV. CHAPTER I. CHAPTER II. CHAPTER III. THE GRAMMAR OF ENGLISH GRAMMARS, 2 CHAPTER IV. CHAPTER V. CHAPTER VI. CHAPTER VII. CHAPTER VIII. CHAPTER IX. CHAPTER X. CHAPTER XI. CHAPTER I. CHAPTER II. CHAPTER III. CHAPTER IV. CHAPTER V. CHAPTER VI. THE GRAMMAR OF ENGLISH GRAMMARS, WITH AN INTRODUCTION HISTORICAL AND CRITICAL; THE WHOLE METHODICALLY ARRANGED AND AMPLY ILLUSTRATED; WITH FORMS OF CORRECTING AND OF PARSING, IMPROPRIETIES FOR CORRECTION, EXAMPLES FOR PARSING, QUESTIONS FOR EXAMINATION, EXERCISES FOR WRITING, OBSERVATIONS FOR THE ADVANCED STUDENT, DECISIONS AND PROOFS FOR THE SETTLEMENT OF DISPUTED POINTS, OCCASIONAL STRICTURES AND DEFENCES, AN EXHIBITION OF THE SEVERAL METHODS OF ANALYSIS, AND A KEY TO THE ORAL EXERCISES: TO WHICH ARE ADDED FOUR APPENDIXES, PERTAINING SEPARATELY TO THE FOUR PARTS OF GRAMMAR. BY GOOLD BROWN, THE GRAMMAR OF ENGLISH GRAMMARS, 3 AUTHOR OF THE INSTITUTES OF ENGLISH GRAMMAR, THE FIRST LINES OF ENGLISH GRAMMAR, ETC. "So let great authors have their due, that Time, who is the author of authors, be not deprived of his due, which is, farther and farther to discover truth."--LORD BACON. SIXTH EDITION--REVISED AND IMPROVED. ENLARGED BY THE ADDITION OF A COPIOUS INDEX OF MATTERS. BY SAMUEL U. BERRIAN,
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Green Horror: the Use of Environmental Themes in Modern American Horror Cinema
Green Horror: The Use of Environmental Themes in Modern American Horror Cinema by Dana (Devorah) Gordin August 2019 Master’s Thesis School for Environment and Sustainability, University of Michigan Thesis Committee: Associate Professor Rebecca Hardin, Chair Associate Professor Julia Wondolleck Abstract This study began with the question of what environmental themes may be present in contemporary American horror media and what any trends in these narratives or works may suggest about American understanding of, beliefs towards and fears about the potential environmental future. With guidance from current and former staff at the Askwith Media Library at the University of Michigan, I conducted a review of films that elicit much of their audience engagement through horror while having clear environmental themes or narratives, then selected twelve cinema-released films for critical analysis. Each shared a central premise in which nature shows a widespread response to collective human abuse of the natural world. My criteria excluded numerous examples of works with similar themes, but which did not have as direct a message. I also privileged films that were critically acclaimed and more widely discussed. Finally, I honed for comparative analysis of tropes and themes on storylines with an overall sense that the environment itself is not as much of a threat as other humans when it comes to survival. My results and discussion raise concerns with some of the messaging in recent environmentally progressive discourse that uses a similar framing of threat to bolster environmental support. While there has been an understanding that specific discussions of human threat in relationship to the environment compels people emotionally, it is not the result of greater environmental care or understanding, but often heavily influenced by other fears, including anxiety about increasing human mobility, demographic pressures, and cultural differences.
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Film Reviews
Irish Journal of Gothic and Horror Studies 15 (Autumn 2016) FILM REVIEWS (Please note that reviews may contain spoilers) He Never Died (Dir. by Jason Krawczyk) USA/Canada 2015 Alternate Ending Studios And the Lord said, ‘What have you done? The voice of your brother’s blood is crying to me from the ground. And now you are cursed from the ground, which has opened its mouth to receive your brother’s blood from your hand. When you till the ground, it shall no longer yield to you its strength; you shall be a fugitive and a wanderer on the earth.’ –Genesis 4. 10-12 When it comes to entertainment, the only thing more commercial then sex is violence. And in the thousands of years since the Bible documented its first slaying, this seemingly insatiable desire to watch or read about homicide seems to remain unquenched. From Midsommer Murders (1997-present) to Memento (2000), and from Silence of the Lambs (1991) to Silent Witness (1996), there’s nothing more commercially profitable, it seems, then depicting a good murder. Tapping into primal and animalistic instincts, the representation of murder draws upon a sense that the human condition is to be fundamentally flawed, and suggests that such universal emotions as greed, jealousy, lust, and pride motivate a significant number of murders. The Old Testament figure of Cain, supposedly the first murderer (of his brother Abel), was forever cursed to ‘be a fugitive and a wanderer of the earth’ for all eternity.1 Cain’s story of fraternal betrayal and antagonism is one commonly represented in films such as Bloodline (2005), Before the Devil Knows You’re Dead (2007), We Own the Night (2007), and the Broadway musical Blood Brothers (1983-present).
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El Hollywood: Alejandro González Iñarritu
EL HOLLYWOOD : ALEJANDRO GONZ ÁLEZ I ÑARRITU, ALFONSO CUAR ÓN, AND GUILLERMO DEL TORO By ANA-MARIA LUNGU Bachelor of Arts in Film Edinburgh Napier University Edinburgh, United Kingdom 2016 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of MASTER OF ARTS July, 2018 EL HOLLYWOOD : ALEJANDRO GONZ ÁLEZ I ÑARRITU, ALFONSO CUAR ÓN, AND GUILLERMO DEL TORO Thesis Approved: Dr. Jeff Menne Thesis Adviser Dr. Stacy Takacs Dr. Graig Uhlin ii ACKNOWLEDGEMENTS I would like to express my gratitude to my committee, Dr. Jeff Menne, Dr. Stacy Takacs, and Dr. Graig Uhlin for their guidance throughout my time at Oklahoma State, especially during the thesis writing process. I would like to thank my colleagues Dillon Hawkins, Jared Ashburn, Skyler Osburn and my husband Jacob for their continuous support and their dedication to reading my work and providing helpful comments. iii Acknowledgements reflect the views of the author and are not endorsed by committee members or Oklahoma State University. Name: ANA-MARIA LUNGU Date of Degree: AUGUST, 2018 Title of Study: THESIS Major Field: ENGLISH Abstract: The three Mexican filmmakers, Alfonso Cuarón, Alejandro González Iñárritu, and Guillermo del Toro, dubbed The Three Amigos by scholar Deborah Shaw, have received a lot of critical attention in recent years. While the term Three Amigos and the scholarship that analyzes their early works from a transnational perspective seeks to other them and distinguish them from Hollywood, I argue that the three filmmakers did not depart from a place of difference, and that they embraced Hollywood filmmaking all along, from the beginning of their careers, to the most recent Academy Award recognitions.
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