Complete 2013 Program Guide Available Here

Total Page:16

File Type:pdf, Size:1020Kb

Complete 2013 Program Guide Available Here cinedelphia lm festival PhilaMOCA SAT April 27, 2013 CLOSING DAY / ERIC’S BIRTHDAY CELEBRATION by Eric Bresler 7:30 PM WE HATE MOVIES present LADY IN THE WATER (2006) and friends The We Hate Movies gang rolls back into Philadelphia for this special presentation of M. Night Shymalan’s notorious Lady in the Water, the local lmmaker’s infamously wrong-headed fantasy about the relation- LOCATIONS: ship between a handyman (Paul Giamatti) and the sensitive creature he Freeman’s PhilaMOCA nds in an apartment complex’s pool. Competently composed by 1808 Chestnut Street 531 N. 12th Street Director of Photography Chris Doyle, Lady in the Water has nevertheless Philadelphia, PA 19103 Philadelphia, PA 19123 garnered a reputation as one of the most deliriously stupid lms released in the ‘00s, and We Hate Movies will be on hand to provide live Independence Seaport Museum Stoogeum commentary on one of Shymalan’s greatest disasters. 211 S. Christopher Columbus Blvd. 904 Sheble Lane Philadelphia, PA 19106 Ambler, PA 19002 Come on out for a night of big, wildly profane laughs as the gang goes toe-to-toe with one of the worst lms ever shot in the Philadelphia International House Viva Video! area. 3701 Chestnut Street 16 W. Lancaster Avenue Philadelphia, PA 19104 Ardmore, PA 19003 I couldn’t be more excited to present the Philadelphia Premiere 10:00 PM SPONSORS: of the sequel to one of the greatest American independent lms since 2003’s The Room, and with the director, producer, and star in attendance! 2010’s Birdemic: Shock and Terror was an environmentally conscious Hitchcockian thriller that wowed audiences worldwide and became a midnight movie sensation. And now director James Nguyen is back alongside members of the original PHILADELPHIA PREMIERE! lm’s cast and a bevy of completely THANK YOU: unpredictable threats, both new BIRDEMIC 2: THE RESURRECTION Bernadette Frawley, Intern and old. Director James Nguyen, Producer Je Gross, Dan Buskirk, Josh Carter (joshcartersuperartist.com), Samm Deighan, Miguel Gomez/Viva Sequels can be tricky, but I guaran- Video!, Austin Jeerson, Marc Walkow, RJ White (fakecriterions.tumblr.com), and star Alan Bagh in attendance. tee you that Birdemic 2 is every bit and the PhilaMOCA and Shooting Wall gangs. as enjoyable, unpredictable, and sincere as its predecessor. 02 Cinedelphia Film Festival Cinedelphia Film Festival 39 PhilaMOCA SAT April 27, 2013 Message from CFF organizer Eric Bresler: The rst time I attended a lm festival in Philadelphia was as a volunteer for the short-lived Reject Film Festival back in 1997. I remember thinking that the two guys who ran it (one of which is now a big-time lmmaker) must CLOSING DAY / ERIC’S BIRTHDAY CELEBRATION have had great power and inuence in order to operate their own lm festival, albeit one that showcased work that other festivals had denied (still a noble concept). It was during this experience that I learned that lm I think we’ve mined the most valuable corners of the Philadelphia lm community through the preceding 23 screenings didn’t need to be restricted to the connes of traditional movie theaters. Old City art galleries served days worth of programs, so let’s celebrate my birthday with a full day’s worth of crazy lm happenings that as the screening venues, each outtted with equipment and seating, and the whole thing was conducted with illustrate the kind of programming we showcase here at PhilaMOCA year-round. the utmost professionalism. These were eye-opening concepts for an 18-year-old movie-loving me who had just recently relocated from upstate New York. I volunteered again the following year and I remember thinking, while serving drinks to John Waters and a room full of weirdos, that someday I wanted to have my own lm festival. I 1:30 PM ROLLERCOASTER (1977) just had to come up with a good gimmick… Welcome to the Cinedelphia Film Festival! Take a look at this schedule! Local nonprots, distributors, lmmakers, organizations, all coming together under one masthead to celebrate Philly lm’s rich past and present. A great IN SENSURROUND! diversity of both aesthetics and practice exists in the Philadelphia lm community, as is true for the city itself, and Sure, replicating the 1970s theatrical gimmick is near impossible I think that this program guide sums it all up beautifully. without massive resources, but that’s not stopping us! Local audio experts recently descended upon PhilaMOCA with subwoofers, amps, Philly lm is an exciting, stimulating, and often strange world, and I invite you into the center of it. Again, welcome to the Cinedelphia Film Festival. and audio meters to replicate the Sensurround eect as accurately as possible, and it kinda worked! So prepare to feel the rumbles, crashes, and explosions of one of the four lms that utilized the bass-heavy format. WARNING: the decibal levels may cause nausea and discomfort. TICKETING Advance tickets are available online for all CFF programs, visit cinedelphialmfestival.com. No A psychopathic bomber (Timothy Bottoms) rages war on the roller- exchanges/refunds on advance tickets. Door admission for PhilaMOCA, Freeman’s, Stoogeum, coaster tracks of California’s amusement parks and it’s up to ride and Viva Video! programs is cash-only. inspector Harry Calder (George Segal) to stop him. Rollercoaster features the only lm appearance of Sparks, Eric’s favorite band, so that Admission for all CFF programs is $10 except: explains that. 4/4 ($9), 4/5 ($9), 4/8 ($8), 4/12 ($9), 4/15 ($8), 4/20 ($12), 4/22 ($8) LIQUID SKY (1982) 4:00 PM PhilaMOCA’s April Tuesday Tune-Out WITH A LIVE SCORE BY Guest curator: Cinedelphia Film Festival Tuesday, April 2 : SWEATHEART plus a surprise screening of an ‘80s teen lm CHEAP DINOSAURS Tuesday, April 9 : DIVINE HAND ENSEMBLE plus World Premiere of a documentary on them Highly fashionable new wave youths ght aliens, drug habits, and social pariahs throughout Manhattan’s avante garde underground of the Tuesday, April 16 : FARQUAR MUCKENFUSS play The Monkees plus HEAD (1968) early 1980s. Sure, Russian director Slava Tsukerman’s much-loved cult favorite is a tough lm to describe, adjectives such as “insane”, Tuesday, April 23 : LOUD! FAST! PHILLY! video history of Philadelphia hardcore punk “disturbing”, and “weird” immediately spring to mind, but it’s must-see stu for the cinematic adventurous and it will be presented with a live Tuesday, April 30 : PATTERN IS MOVEMENT new album listening/screening event score from Philly’s own electronic-heavy psychedelic prog rock outt Cheap Dinosaurs. It’s gonna be loud, strange, and memorable. Tuesday Tune-Out is PhilaMOCA’s weekly music/movie series. A dierent guest curator selects the bands, the bands select a lm to screen post-live set. Upcoming guest curators: May - yvynyl, June - Guild Shows 38 Cinedelphia Film Festival Cinedelphia Film Festival 03 37 Cinedelphia Film Festival Festival Film Cinedelphia EMPLOYEES. FREE EVENT! TLA VIDEO FOREVER FROM EX-TLA VIDEO STORE EX-TLA FROM REFLECTIVE REMINISCENCES So join us as we lament the fall of the video rental the fall of the video rental lament So join us as we industry customers, of problem stories and share and the typical that craziness co-workers, strange are customers Former after hours. in-store occurred the participate to tales from with their own invited other side of the counter. - - PhilaMOCA FRI April 26, 2013 at 10:00 PM PhilaMOCA 26, 2013 at FRI April Join us for a casual gathering of ex-TLA Video store store Video a casual gathering of ex-TLA Join us for and heartwarming humorous clerks who will share the Philadel working of their time spent stories for panel will be The institution. rental phia movie of a lm that a surprise by screening followed “TLA aesthetic”. embodies the were stores Video TLA the decades, nearly three For art for house, resource most valuable Philadelphia’s rst location The lms. and hard-to-nd foreign, the to 1985) opened as a response (South Street, impact on repertory screen theater VHS format’s (Bryn and the nal location ings, closed in Mawr) delivery of movie of the evolution 2012 as a result But for etc). OnDemand, methods (streaming, a were TLA stores the those intervening decades, lm students, obsessives, movie home for second TLA employees adventurous. and the cinematic to pass a lm trivia in order exam to required were quick to always and they were gain employment, help customers their knowledge to utilize in order the clerks Sure, guy in it”. with that “that movie nd rude downright even maybe be intimidating, could just part really was but that of the fun. times, at CINEDELPHIA FILM FESTIVAL APRIL 2013 SUN MON TUE WED THU FRI SAT 1 2 3 4 5 6 OPENING NIGHT STOOGEUM (p. 7) INTERNATIONAL SECRET CINEMA (p. 6) SCOTT AND GARY (p. 8) HOUSE (p. 5) VIDEO PIRATES (p. 9) 7 8 9 10 11 12 13 GIRLS SCHOOL DIVINE HAND THE CRUMBLES (p. 13) SCREAMERS / BLADES FILMADELPHIA (p. 11) EXHUMED FILMS (p. 15) DAVID GOODIS (p. 16) VIDEO VIOLENCE (p. 17) ENSEMBLE (p. 12) (p. 10) MASSACRE GUN (p. 14) 14 15 16 17 18 19 20 ARMY OF WOLVES (p. 18) VANISHING WAVES (p. 24) TERMITE TV (p. 26) TLA ENTERTAINMENT THE MONKEES (p. 21) HIGH SCHOOL (p. 22) POINT BREAK (p. 23) VIVISECTIONS (p. 19) (p. 20) DANGER AFTER DARK URBAN ARCHIVES (p. 27) (p. 25) BURLESQUE (p. 28) 21 22 23 24 25 26 27 PHILADELPHIA THE WAY TO KEVIN SLAUGHTER TALES (p. 34) THE LOST MAN (p. 36) CLOSING DAY EXPERIMENT (p. 29) REELBLACK (p. 31) PHILLY PUNK (p.
Recommended publications
  • GLAAD Media Institute Began to Track LGBTQ Characters Who Have a Disability
    Studio Responsibility IndexDeadline 2021 STUDIO RESPONSIBILITY INDEX 2021 From the desk of the President & CEO, Sarah Kate Ellis In 2013, GLAAD created the Studio Responsibility Index theatrical release windows and studios are testing different (SRI) to track lesbian, gay, bisexual, transgender, and release models and patterns. queer (LGBTQ) inclusion in major studio films and to drive We know for sure the immense power of the theatrical acceptance and meaningful LGBTQ inclusion. To date, experience. Data proves that audiences crave the return we’ve seen and felt the great impact our TV research has to theaters for that communal experience after more than had and its continued impact, driving creators and industry a year of isolation. Nielsen reports that 63 percent of executives to do more and better. After several years of Americans say they are “very or somewhat” eager to go issuing this study, progress presented itself with the release to a movie theater as soon as possible within three months of outstanding movies like Love, Simon, Blockers, and of COVID restrictions being lifted. May polling from movie Rocketman hitting big screens in recent years, and we remain ticket company Fandango found that 96% of 4,000 users hopeful with the announcements of upcoming queer-inclusive surveyed plan to see “multiple movies” in theaters this movies originally set for theatrical distribution in 2020 and summer with 87% listing “going to the movies” as the top beyond. But no one could have predicted the impact of the slot in their summer plans. And, an April poll from Morning COVID-19 global pandemic, and the ways it would uniquely Consult/The Hollywood Reporter found that over 50 percent disrupt and halt the theatrical distribution business these past of respondents would likely purchase a film ticket within a sixteen months.
    [Show full text]
  • Download Download
    “Can We Get a Cleanup On Aisle 2?” Previous: The Antisocial Fantasies of Jude the Obscure by Matthew Risling “Can We Get a Cleanup On Aisle 2?”: How Film Critics Mopped Up the Transgressions of Jenny McCarthy’s Dirty Love Sara Swain Pivot is published through Open Journal Systems (OJS) at York University 2 Introduction Dirty Love (John Asher, 2005) is the consequence of Jenny McCarthy’s fearless foray into the risky territory of the gross-out comedy. The film endured a long and laborious gestation period under the threat of financial ruin. The project began as a sitcom pilot that McCarthy had initially penned for Fox Television. Fox passed, deeming the project “too edgy and too controversial for TV” “Can We Get a Cleanup On (qtd. in Kevin Aisle 2?”: Williamson). But McCarthy and her How Film Critics Mopped Up the production team could Transgressions of Jenny McCarthy’s not be dissuaded. They Dirty Love bought the rights back Sara Swain from Fox and McCarthy went to work transforming the script into a feature film (Kates). She insists that she never wanted to be a writer but because of the dearth of onscreen comedic roles for women, she was forced to take matters into her own hands (qtd. in Sobczynski). Dirty Love eventually debuted at the Sundance Film Festival in late January 2005, where it was warmly received. John Cooper, the Festival’s Programming Director, lauded the filmmakers in the program notes for so brazenly travelling “across a comic minefield where few dare to tread.” Soon after the film was picked up for distribution.
    [Show full text]
  • Razorcake Issue #82 As A
    RIP THIS PAGE OUT WHO WE ARE... Razorcake exists because of you. Whether you contributed If you wish to donate through the mail, any content that was printed in this issue, placed an ad, or are a reader: without your involvement, this magazine would not exist. We are a please rip this page out and send it to: community that defi es geographical boundaries or easy answers. Much Razorcake/Gorsky Press, Inc. of what you will fi nd here is open to interpretation, and that’s how we PO Box 42129 like it. Los Angeles, CA 90042 In mainstream culture the bottom line is profi t. In DIY punk the NAME: bottom line is a personal decision. We operate in an economy of favors amongst ethical, life-long enthusiasts. And we’re fucking serious about it. Profi tless and proud. ADDRESS: Th ere’s nothing more laughable than the general public’s perception of punk. Endlessly misrepresented and misunderstood. Exploited and patronized. Let the squares worry about “fi tting in.” We know who we are. Within these pages you’ll fi nd unwavering beliefs rooted in a EMAIL: culture that values growth and exploration over tired predictability. Th ere is a rumbling dissonance reverberating within the inner DONATION walls of our collective skull. Th ank you for contributing to it. AMOUNT: Razorcake/Gorsky Press, Inc., a California not-for-profit corporation, is registered as a charitable organization with the State of California’s COMPUTER STUFF: Secretary of State, and has been granted official tax exempt status (section 501(c)(3) of the Internal Revenue Code) from the United razorcake.org/donate States IRS.
    [Show full text]
  • “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.
    [Show full text]
  • Autoethnographic Research Through Storytelling in Animation and Video Games
    Autoethnographic Research through Storytelling in Animation and Video Games Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Fine Arts in the Graduate School of The Ohio State University By Renee Chia-Lei Chen B.S. Graduate Program in Design The Ohio State University 2016 Master’s Examination Committee: Susan Melsop, Advisor Linda Mizejewski Alan Price Copyright by Renee Chia-Lei Chen 2016 Abstract This thesis serves as a deep exploration of myself through my storytelling work in animation and video games. In this thesis study, I seek to build a philosophy that explains my value about what storytelling can do. The objective is threefold. I aim to use storytelling to reveal a deep sense of myself, unpack social and cultural biases to express my values within my design work, and affect the viewers by fostering empathy. By adapting my attitude and my values to visual components, I seek to find ways to use storytelling as a voice for social-justice purposes. The reflective process of this thesis provides me a way to see a holistic picture of the relationship between society and me, and how my pessimistic worldview may have been formed. Storytelling, in my philosophy, can serve as an acceptable reprisal to seek social justice. For this reason, I choose to use storytelling as a social experiment. I see the viewers’ responses as an acknowledgement of my emotional pain, and as an attack to the offenders in society. I use storytelling as a cathartic method to tell society that it has wronged me. I see this process as a coping mechanism for artists who are as hopeless about changing society as I am.
    [Show full text]
  • Sydney Film Festival 6-17 June 2012 Program Launch
    MEDIA RELEASE Wednesday 9 May, 2012 Sydney Film Festival 6-17 June 2012 Program Launch The 59th Sydney Film Festival program was officially launched today by The Hon Barry O’Farrell, MP, Premier of NSW. “It is with great pleasure that I welcome the new Sydney Film Festival Director, Nashen Moodley, to present the 2012 Sydney Film Festival program,” said NSW Premier Barry O’Farrell. “The Sydney Film Festival is a much-loved part of the arts calendar providing film-makers with a wonderful opportunity to showcase their work, as well as providing an injection into the State economy.” SFF Festival Director Nashen Moodley said, “I’m excited to present my first Sydney Film Festival program, opening with the world premiere of the uplifting Australian comedy Not Suitable for Children, a quintessentially Sydney film. The joy of a film festival is the breadth and diversity of program, and this year’s will span music documentaries, horror flicks and Bertolucci classics; and the Official Competition films made by exciting new talents and masters of the form, will continue to provoke, court controversy and broaden our understanding of the world.” “The NSW Government, through Destination NSW, is proud to support the Sydney Film Festival, one of Australia’s oldest films festivals and one of the most internationally recognised as well as a key event on the NSW Events Calendar,” said NSW Minister for Tourism, Major Events and the Arts, George Souris. “The NSW Government is committed to supporting creative industries, and the Sydney Film Festival firmly positions Sydney as Australia’s creative capital and global city for film.” This year SFF is proud to announce Blackfella Films as a new programming partner to jointly curate and present the best and newest Indigenous work from Australia and around the world.
    [Show full text]
  • The Ways of Whiskeyby Janelle
    A Wicked woman • ty joseph, artist • Ames on missionaries and music ® JANUARY 4-10, 2019 / VOL. 41 / NO. 7 / LAWEEKLY.COM W ity he ar th ul er op fr p om of S ge co sur tlan up d, an Japa ying n or t s enjo he USA, the brown spirit i BY JANELLE THE WAYS OF WHISKEYBENNET L January 4-10, 2019 // Vol. 41 // No. 7 // laweekly.com ContentsDouble Barrel Room, Beverly Hills COURTESY DOUBLE B ARREL ROOM, BEVERLY7 HILLS GO LA...4 FILM...13 Arthur Omura tickles the ivories, NATHANIEL BELL rounds up the best new Fred Armisen performs “stand-up for releases and art-house classics on local musicians,” the Year of the Boar starts and screens this week. more to do and see in L.A. this week. MUSIC...14 FEATURE...7 Singer-songwriter Ames was inspired by Whether from Scotland, Japan or the both Hanson and her time with Christian U.S., whiskey is enjoying an upsurge of missionaries in Honduras. BY BRETT popularity. BY JANELLE BENNET. CALLWOOD. Plus: listings for ROCK & POP, JAZZ, CLASSICAL and more. CULTURE...11 We talked to Jackie Burns, who’s starring as Elphaba in Wicked at the Pantages. BY LINA LECARO. ADVERTISING ARTS...12 CLASSIFIED...19 Ty Joseph willed himself into being an EDUCATION/EMPLOYMENT...19 artist, and landed a solo show. BY DUSTIN CLENDENEN. REAL ESTATE/RENTALS...19 BULLETIN BOARD...19 On the Cover: Photography by M. Unal Ozmen/Shutterstock L.A. WEEKLY (ISSN #0192-1940 & USPS 461-370) is published weekly by LA Weekly LP, 724 S.
    [Show full text]
  • Charleswood Legion 6003 Roblin Blvd
    psavED FEB211990 RED RIVER COMMUNITY COLLEGE MONDAY, FEBRUARY 19, 1990 PERIODICALS Allegations Of Racism , I- A liege Once Again: College and Province Investigate By Carol Fedick The college and the province There is an investigation multi-cultural backgrounds feel issues, Newman explained. that when I first raised these are investigating allegations of underway and until the results of about remarks made against them This is the second time this allegations in the house, I had all racism made against one of the that investigation are known, I through multi-cultural seminars. year that charges of racism have kinds of anonymous letters and administration's vice-presidents, have no comment," Newman said. "Inter-cultural awareness been levelled at the college's anonymous messages left at the college President Ray Newman Newman explained that the seminars are raising that issue," administrators. constituency office. People were says. college is a large institution with Newman said. Liberal education critic Iva Yeo saying there are big problems at The complaint against one of 28,000 students and 1,000 The college tries to have these said that the allegations have been the community college over and the college's four vice-presidents employees and that as a whole the seminars as often as possible and raised in the legislature and that over again," Yeo said. alleges that the individual referred college does not have a racism Newman says that he intends to she is concerned that racism may Newman said that he has to another staff member as problem. have all his managers go through not be the only problem the instructed his staff to direct all "ambitious and power hungrywan "This is a large place and the seminar before the end of the administrators are facing.
    [Show full text]
  • Jad Fair & Norman Blake
    JAD FAIR & NORMAN BLAKE YES release date : May 12, 2015 catalog # : JNR142.4 available formats : LP / CD / digital genre : Indie box lot quantity : 10 LP / 25 CD packaging : jacket / digipak vinyl non-returnable. LP UPC: 656605485614 CD UPC: 656605485621 track listing : overview : 1. Undeletable Two legends, together again. Teenage Fanclub’s Norman Blake and Half Japanese’s Jad Fair have teamed up to bring you their new magnum opus, 2. Two Hearts Together “Yes”. Encompassing all the songwriting eccentricities that have made 3. Your Smile these guys famous, this new collaborative album also features some of 4. Yes the most genteel, engagingly catchy, and downright adorable music in recent memory. 5. Now Is The Time 6. Thank You Norman Blake and Jad Fair originally collaborated over a decade ago on 7. Add Your Name the Teenage Fanclub and Jad Fair album “Words of Wisdom and Hope” (Domino/Alternative Tentacles). Unlike the simple, aggressive style of 8. This Is It Half Japanese, the 13 new tracks on “Yes” feature refined, 9. The Real Deal guitar-laden power-pop and saccharin-sweet melodies, accompanied by backup singers and layered horn arrangements. Fair’s 10. Our Motto characteristically-manic vocal style is still present, but when 11. Have You Heard The News coupled with the head-bopping, articulately-layered arrangements of 12. You Are The One Norman Blake, the result is a potently earnest album that is brimming with positivity. OXBLOOD COLORED VINYL RELATED TITLES: JNR151 Half Japanese “Overjoyed” joyful noise recordings 1043 Virginia Ave. Suite 206 Exclusively distributed by SC DISTRIBUTION // Phone: (812) 335-1572 / Fax: (888) 678-0167 Indianapolis, IN 46203 US domestic sales contact Shelly Westerhausen <[email protected]> joyfulnoiserecordings.com International sales contact Kraegan Graves <[email protected]> [email protected].
    [Show full text]
  • NEW BLOOD in CONTEMPORARY CINEMA W OMEN DIRECTORS and the POETICS of HORROR New Blood in Contemporary Cinema
    PATRICIA PISTERS NEW BLOOD IN CONTEMPORARY CINEMA W OMEN DIRECTORS AND THE POETICS OF HORROR New Blood in Contemporary Cinema New Blood in Contemporary Cinema Women Directors and the Poetics of Horror Patricia Pisters Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting- edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © Patricia Pisters, 2020 Edinburgh University Press Ltd The Tun – Holyrood Road, 12(2f) Jackson’s Entry, Edinburgh EH8 8PJ Typeset in Monotype Ehrhardt by Servis Filmsetting Ltd, Stockport, Cheshire, and printed and bound in Great Britain. A CIP record for this book is available from the British Library ISBN 978 1 4744 6695 0 (hardback) ISBN 978 1 4744 6697 4 (webready PDF) ISBN 978 1 4744 6698 1 (epub) The right of Patricia Pisters to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988, and the Copyright and Related Rights Regulations 2003 (SI No. 2498). Contents List of Figures vii Acknowledgements viii Introduction: Virginia’s Unruly Daughters and Carrie’s Crimson Sisters 1 Red Flags on the Red Carpet 1 The Bloody Difference: Virginia Woolf’s Unruly Daughters 5 Cinematic Poetics of Horror, Metaphors and Relations: A Note on Theory 11 Following a Trail of Blood: Carrie’s Crimson Sisters 16 Drop by Drop: Chapter Overview 18 1.
    [Show full text]
  • 2007-2008 Annual Report
    07_08 ANNUAL REPORT 07_08 ANNUAL REPORT LETTER FROM EXECUTIVE DIRECTOR Dear Friends: The 2007-08 season at YBCA has once again proven to be one of Not to be overlooked, the financial figures that are here will dem- significant accomplishment. onstrate the fiscal responsibility that is the hallmark of our work at As you will see by looking through this annual report, our artistic YBCA. We take very seriously the responsibility invested in us not endeavors continue unabated. While it is always difficult to select only by the San Francisco Redevelopment Agency but also by the only a few highlights from any given season, I would certainly be foundations, individuals and corporations who believe in the work remiss if I did not point to exhibitions such as The Missing Peace: that we do and make their contributions accordingly. I am particularly Artists Consider the Dalai Lama, Anna Halprin: At the Origin of proud to note a major gift from the Novellus Systems, Inc. to name Performance and Dark Matters: Artists See the Impossible, as true the theater at YBCA. This is an amazing gift that will come to us over achievements for YBCA. Bill T. Jones/Arnie Zane Dance Company, the next ten years and will be invested in programs at YBCA. Faustin Linyekula and Ilkhom Theatre brought us extraordinary I can say without hesitation that the staff of YBCA are dedicated, performance from around the world and Marc Bamuthi Joseph, a committed and enthusiastic about the work that we do. Without their Bay Area artist with whom we have a long-standing relationship, extraordinary effort, we would not be able to accomplish as much as opened his new piece, the break/s, here at YBCA and it has gone we do.
    [Show full text]
  • Index to Volume 29 January to December 2019 Compiled by Patricia Coward
    THE INTERNATIONAL FILM MAGAZINE Index to Volume 29 January to December 2019 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND SUBJECT INDEX Film review titles are also Akbari, Mania 6:18 Anchors Away 12:44, 46 Korean Film Archive, Seoul 3:8 archives of television material Spielberg’s campaign for four- included and are indicated by Akerman, Chantal 11:47, 92(b) Ancient Law, The 1/2:44, 45; 6:32 Stanley Kubrick 12:32 collected by 11:19 week theatrical release 5:5 (r) after the reference; Akhavan, Desiree 3:95; 6:15 Andersen, Thom 4:81 Library and Archives Richard Billingham 4:44 BAFTA 4:11, to Sue (b) after reference indicates Akin, Fatih 4:19 Anderson, Gillian 12:17 Canada, Ottawa 4:80 Jef Cornelis’s Bruce-Smith 3:5 a book review; Akin, Levan 7:29 Anderson, Laurie 4:13 Library of Congress, Washington documentaries 8:12-3 Awful Truth, The (1937) 9:42, 46 Akingbade, Ayo 8:31 Anderson, Lindsay 9:6 1/2:14; 4:80; 6:81 Josephine Deckers’s Madeline’s Axiom 7:11 A Akinnuoye-Agbaje, Adewale 8:42 Anderson, Paul Thomas Museum of Modern Art (MoMA), Madeline 6:8-9, 66(r) Ayeh, Jaygann 8:22 Abbas, Hiam 1/2:47; 12:35 Akinola, Segun 10:44 1/2:24, 38; 4:25; 11:31, 34 New York 1/2:45; 6:81 Flaherty Seminar 2019, Ayer, David 10:31 Abbasi, Ali Akrami, Jamsheed 11:83 Anderson, Wes 1/2:24, 36; 5:7; 11:6 National Library of Scotland Hamilton 10:14-5 Ayoade, Richard
    [Show full text]