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ç”µå½± ä¸²è¡Œ (å¤§å…¨) The Incredible Invasion https://zh.listvote.com/lists/film/movies/the-incredible-invasion-1325059/actors Foxy Brown https://zh.listvote.com/lists/film/movies/foxy-brown-1440249/actors Isle of the Snake People https://zh.listvote.com/lists/film/movies/isle-of-the-snake-people-16997356/actors The Big Doll House https://zh.listvote.com/lists/film/movies/the-big-doll-house-1983098/actors The Wasp Woman https://zh.listvote.com/lists/film/movies/the-wasp-woman-2076723/actors Blood Bath https://zh.listvote.com/lists/film/movies/blood-bath-2906936/actors The Big Bird Cage https://zh.listvote.com/lists/film/movies/the-big-bird-cage-3519979/actors House of Evil https://zh.listvote.com/lists/film/movies/house-of-evil-5914911/actors Mondo Keyhole https://zh.listvote.com/lists/film/movies/mondo-keyhole-6898760/actors Pit Stop https://zh.listvote.com/lists/film/movies/pit-stop-7198566/actors Sorceress https://zh.listvote.com/lists/film/movies/sorceress-7563361/actors The Bellboy and the https://zh.listvote.com/lists/film/movies/the-bellboy-and-the-playgirls-7716410/actors Playgirls Fear Chamber https://zh.listvote.com/lists/film/movies/fear-chamber-7733577/actors The Swinging https://zh.listvote.com/lists/film/movies/the-swinging-cheerleaders-7767696/actors Cheerleaders https://zh.listvote.com/lists/film/movies/%E5%88%80%E6%A7%8D%E5%A7%8A%E5%A6%B9- åˆ€æ§å §Šå¦¹ 1211739/actors https://zh.listvote.com/lists/film/movies/%E6%81%90%E6%80%96%E5%8F%A4%E5%A0%A1- ææ €–å¤ å ¡ 1968139/actors https://zh.listvote.com/lists/film/movies/%E8%9C%98%E8%9B%9B%E5%AC%B0%E5%85%92- èœ˜è››å¬°å…’ 2309756/actors å¯ è² https://zh.listvote.com/lists/film/movies/%E5%8F%AF%E8%8F%B2-2702180/actors.

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Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South
Antoni Górny Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South Abstract: The so-called blaxploitation genre – a brand of 1970s film-making designed to engage young Black urban viewers – has become synonymous with channeling the political energy of Black Power into larger-than-life Black characters beating “the [White] Man” in real-life urban settings. In spite of their urban focus, however, blaxploitation films repeatedly referenced an idea of the South whose origins lie in antebellum abolitionist propaganda. Developed across the history of American film, this idea became entangled in the post-war era with the Civil Rights struggle by way of the “race problem” film, which identified the South as “racist country,” the privileged site of “racial” injustice as social pathology.1 Recently revived in the widely acclaimed works of Quentin Tarantino (Django Unchained) and Steve McQueen (12 Years a Slave), the two modes of depicting the South put forth in blaxploitation and the “race problem” film continue to hold sway to this day. Yet, while the latter remains indelibly linked, even in this revised perspective, to the abolitionist vision of emancipation as the result of a struggle between idealized, plaintive Blacks and pathological, racist Whites, blaxploitation’s troping of the South as the fulfillment of grotesque White “racial” fantasies offers a more powerful and transformative means of addressing America’s “race problem.” Keywords: blaxploitation, American film, race and racism, slavery, abolitionism The year 2013 was a momentous one for “racial” imagery in Hollywood films. Around the turn of the year, Quentin Tarantino released Django Unchained, a sardonic action- film fantasy about an African slave winning back freedom – and his wife – from the hands of White slave-owners in the antebellum Deep South.
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Blaxploitation and the Cinematic Image of the South
Antoni Górny Appalling! Terrifying! Wonderful! Blaxploitation and the Cinematic Image of the South Abstract: The so-called blaxploitation genre – a brand of 1970s film-making designed to engage young Black urban viewers – has become synonymous with channeling the political energy of Black Power into larger-than-life Black characters beating “the [White] Man” in real-life urban settings. In spite of their urban focus, however, blaxploitation films repeatedly referenced an idea of the South whose origins lie in antebellum abolitionist propaganda. Developed across the history of American film, this idea became entangled in the post-war era with the Civil Rights struggle by way of the “race problem” film, which identified the South as “racist country,” the privileged site of “racial” injustice as social pathology.1 Recently revived in the widely acclaimed works of Quentin Tarantino (Django Unchained) and Steve McQueen (12 Years a Slave), the two modes of depicting the South put forth in blaxploitation and the “race problem” film continue to hold sway to this day. Yet, while the latter remains indelibly linked, even in this revised perspective, to the abolitionist vision of emancipation as the result of a struggle between idealized, plaintive Blacks and pathological, racist Whites, blaxploitation’s troping of the South as the fulfillment of grotesque White “racial” fantasies offers a more powerful and transformative means of addressing America’s “race problem.” Keywords: blaxploitation, American film, race and racism, slavery, abolitionism The year 2013 was a momentous one for “racial” imagery in Hollywood films. Around the turn of the year, Quentin Tarantino released Django Unchained, a sardonic action- film fantasy about an African slave winning back freedom – and his wife – from the hands of White slave-owners in the antebellum Deep South.
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Female Authorship in the Slumber Party Massacre Trilogy
FEMALE AUTHORSHIP IN THE SLUMBER PARTY MASSACRE TRILOGY By LYNDSEY BROYLES Bachelor of Arts in English University of New Mexico Albuquerque, NM 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 May, 2019 FEMALE AUTHORSHIP IN THE SLUMBER PARTY MASSACRE TRILOGY Thesis Approved: Jeff Menne Thesis Adviser Graig Uhlin Lynn Lewis ii Name: LYNDSEY BROYLES Date of Degree: MAY, 2019 Title of Study: FEMALE AUTHORSHIP IN THE SLUMBER PARTY MASSACRE TRILOGY Major Field: ENGLISH Abstract: The Slumber Party Massacre series is the only horror franchise exclusively written and directed by women. In a genre so closely associated with gender representation, especially misogynistic sexual violence against women, this franchise serves as a case study in an alternative female gaze applied to a notoriously problematic form of media. The series arose as a satire of the genre from an explicitly feminist lesbian source only to be mediated through the exploitation horror production model, which emphasized female nudity and violence. The resulting films both implicitly and explicitly address feminist themes such as lesbianism, trauma, sexuality, and abuse while adhering to misogynistic genre requirements. Each film offers a unique perspective on horror from a distinctly female viewpoint, alternately upholding and subverting the complex gender politics of women in horror films. iii TABLE OF CONTENTS Chapter Page I. INTRODUCTION ......................................................................................................1
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Redalyc.O Design De Produção Em Jackie Brown, De Quentin Tarantino
Revista Design em Foco ISSN: 1807-3778 [email protected] Universidade do Estado da Bahia Brasil Baptista, Mauro O Design de Produção em Jackie Brown, de Quentin Tarantino Revista Design em Foco, vol. III, núm. 2, julio-diciembre, 2006, pp. 9-19 Universidade do Estado da Bahia Bahia, Brasil Disponível em: http://www.redalyc.org/articulo.oa?id=66111515002 Como citar este artigo Número completo Sistema de Informação Científica Mais artigos Rede de Revistas Científicas da América Latina, Caribe , Espanha e Portugal Home da revista no Redalyc Projeto acadêmico sem fins lucrativos desenvolvido no âmbito da iniciativa Acesso Aberto 9 Para citar este artigo (ABNT) / Brazilian referencing format for this article: BAPTISTA, M. O design de produção em Jackie Brown, de Quentin Tarantino. In: Revista z 2006 z 2006 z 2006 z 2006 z 2006 Design em Foco, v. III n.2, jul/dez 2006. Salvador: EDUNEB, 2006, p. 9-19. O Design de Produção em Jackie Brown, de .III nº2 • Jul/De .III nº2 • Jul/De .III nº2 • Jul/De .III nº2 • Jul/De .III nº2 • Jul/De Quentin Tarantino o • v o • v o • v o • v o • v oc oc oc oc oc The Production Design in Quentin Tarantino’s film, Jackie Brown vista Design em F vista Design em F vista Design em F vista Design em F vista Design em F e e e e e R R R R R Resumo Sobre o autor Este artigo discute caminhos de pesquisa na área de Design e a sua Mauro Baptista relação com o cinema. Introduz a linha de pesquisa que estuda o Cineasta, Doutor em Artes design de produção: o estudo da escolha de locações, a disposição de pela ECA/USP, pesquisador cenários, móveis e objetos.
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30 MENTAL FLOSS • HOW ROGER CORMAN REVOLUTIONIZED Cl EMA by IAN LENDLER
30 MENTAL_FLOSS • HOW ROGER CORMAN REVOLUTIONIZED Cl EMA BY IAN LENDLER MENTALFLOSS.COM 31 the Golden Age of Hollywood, big-budget movies were classy affairs, full of artful scripts and classically trained actors. And boy, were they dull. Then came Roger Corman, the King of the B-Movies. With Corman behind the camera, motorcycle gangs and mutant sea creatures .filled the silver screen. And just like that, movies became a lot more fun. .,_ Escape from Detroit For someone who devoted his entire life to creating lurid films, you'd expect Roger Corman's biography to be the stuff of tab loid legend. But in reality, he was a straight-laced workaholic. Having produced more than 300 films and directed more than 50, Corman's mantra was simple: Make it fast and make it cheap. And certainly, his dizzying pace and eye for the bottom line paid off. Today, Corman is hailed as one of the world's most prolific and successful filmmakers. But Roger Corman didn't always want to be a director. Growing up in Detroit in the 1920s, he aspired to become an engineer like his father. Then, at age 14, his ambitions took a turn when his family moved to Los Angeles. Corman began attending Beverly Hills High, where Hollywood gossip was a natural part of the lunchroom chatter. Although the film world piqued his interest Corman stuck to his plan. He dutifully went to Stanford and earned a degree in engineering, which he didn't particularly want. Then he dutifully entered the Navy for three years, which he didn't particularly enjoy.
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American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE
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VIDEO VIDEO ARROW VIDEO ARROW VIDEO VIDEO ARROW VIDEO VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW ARROW VIDEO ARROW ARROW VIDEO 1 ARROW VIDEO ARROW ARROW VIDEO VIDEO ARROW VIDEO ARROW VIDEO VIDEO ARROW VIDEO VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW ARROW VIDEO ARROW ARROW VIDEO 2 ARROW VIDEO CONTENTS 4 7 Cast and Crew ARROW Pom Poms and Politics (2016) 20 by Cullen Gallagher About the Restoration ARROW 3 VIDEO VIDEO ARROW VIDEO ARROW VIDEO VIDEO ARROW VIDEO VIDEO ARROW VIDEO CAST AND CREW ARROW VIDEO ARROW VIDEO Ron HajekRainbeaux • Ric SmithCarrott • •Colleen Jason SommersCamp • Rosanne • Ian Sander Katon StarringA Jack Jo Johnston Hill Film ARROW ARROWalso starring VIDEO Jack Denton • John Quade • Bob Minor VIDEO with Mae Mercer And George Wallace director of photography ARROW Alfred Taylor, ARROW VIDEO edited by Mort Tubor William Castleman & Willam Loose A.R.P.S. music by Robinsonproduction Boyce designed& B.B. Neel by Jane Witherspoon & Betty Conkey ARROW VIDEOwritten by ARROW produced by John Prizer directed by Jack Hill ARROW VIDEO 4 ARROW VIDEO ARROW ARROW 5 VIDEO VIDEO ARROW VIDEO ARROW POM POMS AND POLITICS VIDEO by Cullen Gallagher Romancing – and romanticising – the modern girl has been a preoccupation with American cinema from its inception. The first two decades of cinema saw numerous butterfly and serpentine dancers wiggling across the screen (and often these short films were hand- coloured to accentuate their alluring, scintillating, and fantastic qualities). The 1910s saw ARROW hordes of bathing beauties invading the screen (thank you, Mack Sennett); the 1920s had VIDEO their flappersVIDEO and vamps, while the 1930s had chorus girls and gold diggers; Betty Grable and other pin-ups inspired troops during the 1940s; beat girls, bombshells and femme fatales were the ‘it’ girls of the 1950s; and the 1960s began with beach babes and ended with The Stewardesses (1969).
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She's a Whole Lotta Woman. Pam Grier
Lataya Lattany 6th Period April 24, 2017 She’s A Whole Lotta Woman. Pam Grier “I do a movie once every four years and they call it a comeback.” Synopsis Pamela Suzette Grier is an American actress. She was born on May 26, 1949 and she is currently 67 years old. She is known for being in movies such as The Big Bird Cage, Coffy, Foxy Brown, and Sheba Baby. Early Life Pam was born in Winston-Salem, North Carolina. Her mom was a nurse and her dad was an Air Force mechanic. She also had three siblings. Due to her father being in the military, she moved around a lot. She eventually settled in Denver and went to East High School. She participated in stage productions and she entered beauty contests to earn money for college. After she graduated from high school, she went to Metropolitan State College. Movies In 1970, Pam was a character in Beyond the Valley of the Dolls after moving to Los Angeles to go to film school and being discovered by Jack Hill. This marked the start of her acting career. Over time, Pam starred in movies such as Jackie Brown, The Big Doll House, and Above the Law. She also was in movies such as Ghost in Mars and Bones in the early 2000s. Because of her roles in movies, she was nominated for and won many awards. She was mainly in blaxploitation movies which geared towards black audiences and showcased their stereotypes. Pam’s Global Impact Millions of people have watched Pam Grier movies.
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Soft in the Middle Andrews Fm 3Rd.Qxd 7/24/2006 12:20 PM Page Ii Andrews Fm 3Rd.Qxd 7/24/2006 12:20 PM Page Iii
Andrews_fm_3rd.qxd 7/24/2006 12:20 PM Page i Soft in the Middle Andrews_fm_3rd.qxd 7/24/2006 12:20 PM Page ii Andrews_fm_3rd.qxd 7/24/2006 12:20 PM Page iii Soft in the Middle The Contemporary Softcore Feature in Its Contexts DAVID ANDREWS The Ohio State University Press Columbus Andrews_fm_3rd.qxd 7/24/2006 12:20 PM Page iv Copyright © 2006 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Andrews, David, 1970– Soft in the middle: the contemporary softcore feature in its contexts / David Andrews. p. cm. Includes bibliographic references and index. ISBN 0-8142-1022-8 (cloth: alk. paper)—ISBN 0-8142-9106 (cd-rom) 1. Erotic films— United States—History and criticism. I. Title. PN1995.9.S45A53 2006 791.43’65380973—dc22 2006011785 The third section of chapter 2 appeared in a modified form as an independent essay, “The Distinction ‘In’ Soft Focus,” in Hunger 12 (Fall 2004): 71–77. Chapter 5 appeared in a modified form as an independent article, “Class, Gender, and Genre in Zalman King’s ‘Real High Erotica’: The Conflicting Mandates of Female Fantasy,” in Post Script 25.1 (Fall 2005): 49–73. Chapter 6 is reprinted in a modified form from “Sex Is Dangerous, So Satisfy Your Wife: The Softcore Thriller in Its Contexts,” by David Andrews, in Cinema Journal 45.3 (Spring 2006), pp. 59–89. Copyright © 2006 by the University of Texas Press. All rights reserved. Cover design by Dan O’Dair. Text design and typesetting by Jennifer Shoffey Forsythe.
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The Problem of Female Antagonisms in Blaxploitation Cinema Melissa
1 Who’s Got the “Reel” Power? The Problem of Female Antagonisms in Blaxploitation Cinema Melissa DeAnn Seifert, University of Wisconsin-Milwaukee Abstract: Between 1973 and 1975, films starring Pam Grier and Tamara Dobson such as Cleopatra Jones (Jack Starrett, 1973), Coffy (Jack Hill, 1973) and Foxy Brown (Hill, 1974) introduced leading black women into the predominantly male blaxploitation scene as aggressive action heroines. Within the cinematic spaces of blaxploitation films which featured women as active agents, a racial and sexual divide exists. These films positioned women either inside or outside of gender tolerability by utilising binary constructions of identity based on race, sex and elementary constructions of good and evil, black and white, straight and gay, and feminine and butch. Popular representations of lesbianism and sisterhood within blaxploitation cinema reflect a dominant social view of American lesbianism as white while straight women are consistently represented as black. However, these spaces also constricted black and white female identities by limiting sexuality and morality to racial boundaries. This article seeks to question the unique solitude of these female heroines and interrogate a patriarchal cinematic world where sisterhood is often prohibited and lesbianism demonised. I don’t believe in [women’s lib] for black people … we’re trying to free our black men … I like being a woman. I have been discriminated against, but not because I’m a woman. It’s because I am black … before [people] see me as being female, they see me as being black. The stigma that’s been placed on you because you’re black gives you enough kill to get you through the woman thing … it’s much tougher being black than being a woman.
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Pertaining to Justin Chin's "Undetectable"
Pertaining to Justin Chin's "Undetectable" PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Wed, 26 Aug 2009 16:14:57 UTC Contents Articles Viral load 1 Fantastic Voyage 3 B movie 10 Blight 39 References Article Sources and Contributors 40 Image Sources, Licenses and Contributors 41 Article Licenses License 42 Viral load 1 Viral load Viral load is a measure of the severity of a viral infection, and can be calculated by estimating the amount of virus in an involved body fluid. For example, it can be given in RNA copies per milliliter of blood plasma. Determination of viral load is part of the therapy monitoring during chronic viral infections, and in immunocompromised patients such as those recovering from bone marrow or solid organ transplantation. Currently, routine testing is available for HIV-1, cytomegalovirus, hepatitis B virus, and hepatitis C virus. HIV viral load test Several different HIV viral load tests have been developed, and three are currently approved for use in the US: • Amplicor HIV-1 Monitor test (Hoffman-La Roche), better known as the PCR test • NucliSens HIV-1 QT, or NASBA (bioMerieux) • Versant/Quantiplex HIV-1 RNA, or bDNA (Chiron/Bayer) These tests have been approved by the Food and Drug Administration in the United States for use in monitoring the health of people with HIV, in conjunction with other markers. Higher numbers in the viral load tests indicate an increased risk of getting sick from opportunistic diseases. These tests are also approved for monitoring the effects of anti-HIV therapy, to track viral suppression and detect treatment failure.
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The South According to Quentin Tarantino
University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 2015 The South According To Quentin Tarantino Michael Henley University of Mississippi Follow this and additional works at: https://egrove.olemiss.edu/etd Part of the American Studies Commons Recommended Citation Henley, Michael, "The South According To Quentin Tarantino" (2015). Electronic Theses and Dissertations. 887. https://egrove.olemiss.edu/etd/887 This Thesis is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. THE SOUTH ACCORDING TO QUENTIN TARANTINO A Thesis presented in partial fulfillment of requirements for the degree of Master of Arts in the Department of the Center for the Study of Southern Culture The University of Mississippi by MICHAEL LEE HENLEY August 2015 Copyright Michael Lee Henley 2015 ALL RIGHTS RESERVED ABSTRACT This thesis explores the filmmaker Quentin Tarantino’s portrayal of the South and southerners in his films Pulp Fiction (1994), Death Proof (2007), and Django Unchained (2012). In order to do so, it explores and explains Tarantino’s mixture of genres, influences, and filmmaking styles in which he places the South and its inhabitants into current trends in southern studies which aim to examine the South as a place that is defined by cultural reproductions, lacking authenticity, and cultural distinctiveness. Like Godard before him, Tarantino’s movies are commentaries on film history itself. In short, Tarantino’s films actively reimagine the South and southerners in a way that is not nostalgic for a “southern way of life,” nor meant to exploit lower class whites.
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