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© Film Education TEACHERS' NOTES This Study Guide Is Aimed At
TEACHERS’ NOTES This study guide is aimed at students of GCSE Media Studies, A’Level Media Studies, ALevel Film Studies and GNVQ Media: Communication and Production (Intermediate and Advanced). The guide looks at Alfred Hitchcock as a director and producer; narrative structure; characterisation; the use of music, motits and irony; promotion of the film and problems of censorship. Psycho: Certificate 15. Running Time 109 minutes. MAJOR CREDITS FOR PSYCHO Psycho 1960 (Paramount) Producer: Alfred Hitchcock Director: Alfred Hitchcock Screenplay: Joseph Stefano L)irector of Photography: John L. Russell Editor: George Tomasini Music: Bernard Herrmann Art Directors: Joseph Hurley Robert Clatworthy Cast: Anthony Perkins Janet Leigh Vera Miles John Gavin Martin Balsam John Meintire Oscar Nominations 1960: Best Director Best Supporting Actress (Janet Leigh) Best B/W Cinematography Best B/W Art Direction © Film Education 1 INTRODUCTION BY DEREK MALCOLM Many filmmakers would say that there’s no such thing as a movie capable of shaking the world. But some still attempt to make them. Those who succeed are rare, and the strange thing is that even the lucky ones don’t appear to know they are doing it at the time. In fact, it sometimes takes years to realise what really is a great film or what may have looked wonderful at the time but was just a momentary flourish. Most of the films on this particular list didn’t so much shake the world as become memorable because, when you look back on them, they seem so much better than we may have thought at the time. But memories are short and the opportunity to see the full flowering of cinema history is denied to all but a few. -
^^>Edean (^Fz.Hool (SA) 2008 ./J Ot Fare Well, Ut Fare Forward
^^>edean (^fz.hool (SA) 2008 ./J ot fare well, ut fare forward, voyagers.' T.S. Eliot: Four Quartets ROEDEAN SCHOOL (SA) GUIDING PRINCIPLES Values Truth, Honour, Courtesy, Freedom Academic Excellence Achieve the highest academic standards Develop and sustain an excellen t work ethic Monastic School Provide the optimum, all-girl environment in which the potential to bec ome a successful, independent young woman is nurtured Christian School A school which is based on Christian principles and beliefs and which obs erves the Anglican faith Progressive Curriculum Develop an individual independence of thought that enables pupils to make sound judgements and face challenges Develop an ethos of community-service and partnership integrated into the curriculum Counsel, guide, and nurture each girl, caring for her emotion al well-being Provide abundant opportunities to express creative talejvt. across the curriculum, including art, drama, and music Successfully South African Develop pupils to become leading women in touch with the broader issues and community in both a South African and global context Sustain our div erse and integrated cultural community Link the traditions of Roedea n's past with the cha I lenges of the future Teachers Develop and sustain a complement of remarkable teachers Strive to creat e opportunities for the development of leadership, fostering a climate of empowerment and participation Sport Provide opportunities for full participation for all Eguip pupils with the sk ills to enhance their achievements Ensure that the guality of coaching and fa cilities is of the highest calibre Facilities Treasure the heritage of the school buildings, set in serene grounds and b eautiful gardens Continue to build world-class facilities linked to the pr ogressive curriculum School Community To foster a sense of community spirit, interdependence, and respect tha t serves as a model for and has impact upon the wider community PI IRLISHED BY HOT TOMATO COMMUNICATIONS: www.hottomato.co .za 1 If you have a garden and a library, you have everything you need. -
Audition Sheet Bring This Sheet with You to the Audition
THE STORY Based on the Stephen King’s first novel, Carrie is the story of a high school girl with telekinetic powers. Bullied by classmates and abused by her overbearing mother, Carrie finds herself on a path toward independence and acceptance by her peers- until everything comes to a brutal end on prom night. THE CAST • Carrie White • Margaret White- Carrie’s mother • Sue Snell- the first to befriend Carrie; the story is told from her memories • Tommy Ross- Sue’s boyfriend who takes Carrie to the prom • Chris Hargenson- Carrie’s biggest foe, determined to bring her down from her ascent • Billy Nolan- Chris’ boyfriend and cruel partner in crime • Reverend Bliss- church leader • Mr. Stephens- English teacher/guidance counselor • Ms. Gardner- PE teacher • Named Students- George, Freddy, Frieda, Stokes, Helen, Norma • Chorus- students and other smaller roles The cast will feature ~25 performers (principals and chorus). THE PRODUCTION Attendance at all rehearsals is mandatory for principals and for support cast as needed. A calendar will be distributed on a bi-weekly basis- I assume you can be at all rehearsals, Monday through Thursday (3:05-5:30) and Friday (2:30- 5:30) unless otherwise noted on this form. A missed rehearsal may require dismissal from the show. Masconomet's Drug and Alcohol Policy applies to all cast and crew members of school productions. There will be 3 performances of Carrie: October 27, 28, and 29 at 7:00pm. AUDITIONS Auditions for all male roles will take place on Monday, August 29, from 3:00-4:30pm. Auditions for all female roles will take place on Monday, August 29, from 6:00-8:30pm. -
Chapter 1 Chapter 2
Notes Chapter 1 1. Jeffrey Mirel, “The Traditional High School: Historical Debates over Its Nature and Function,” Education Next 6 (2006): 14–21. 2. US Census Bureau, “Education Summary––High School Gradu- ates, and College Enrollment and Degrees: 1900 to 2001,” His- torical Statistics Table HS-21, http://www.census.gov/statab/ hist/HS-21.pdf. 3. Andrew Monument, dir., Nightmares in Red, White, and Blue: The Evolution of American Horror Film (Lux Digital Pictures, 2009). 4. Monument, Nightmares in Red. Chapter 2 1. David J. Skal, Screams of Reason: Mad Science and Modern Cul- ture (New York: Norton, 1998), 18–19. For a discussion of this more complex image of the mad scientist within the context of postwar film science fiction comedies, see also Sevan Terzian and Andrew Grunzke, “Scrambled Eggheads: Ambivalent Represen- tations of Scientists in Six Hollywood Film Comedies from 1961 to 1965,” Public Understanding of Science 16 (October 2007): 407–419. 2. Esther Schor, “Frankenstein and Film,” in The Cambridge Com- panion to Mary Shelley (Cambridge: Cambridge University Press, 2003), 63; James A. W. Heffernan, “Looking at the Monster: Frankenstein and Film,” Critical Inquiry 24, no. 1 (Autumn 1997): 136. 3. Russell Jacoby, The Last Intellectuals: American Culture in the Age of Academe (New York: Basic Books, 1987). 4. Richard Hofstadter, Anti-Intellectualism and American Life (New York: Knopf, 1963); Craig Howley, Aimee Howley, and Edwine D. Pendarvis, Out of Our Minds: Anti-Intellectualism and Talent 178 Notes Development in American Schooling (New York: Teachers Col- lege Press: 1995); Merle Curti, “Intellectuals and Other People,” American Historical Review 60 (1955): 259–282. -
Activity Worksheets LEVEL 3 Teacher Support Programme
PENGUIN READERS Activity worksheets LEVEL 3 Teacher Support Programme Psycho Photocopiable While reading a ‘I’m sorry I wasn’t in the office.’ Chapters 1–3 ……………………………………………… 1 Answer these questions about Marion Crane. b ‘What an amusing young man.’ a How old is she? ……………………………………………… ……………………………………………… c ‘You can’t bring strange young girls up to this b What kind of work does she do? house.’ ……………………………………………… ……………………………………………… c Is she married? d ‘I made trouble for you. I’m sorry.’ ……………………………………………… ……………………………………………… d Is she a happy woman? Why? / Why not? e ‘A boy’s best friend is his mother.’ ……………………………………………… ……………………………………………… e Does she have any brothers or sisters? f ‘If you love someone, you don’t leave them.’ ……………………………………………… ……………………………………………… 2 Complete the sentences with the names from g ‘I made a bad mistake.’ the box. ……………………………………………… 5 Choose the right answer. Tommy Cassidy Marion Crane a Why does Marion stop at the motel? … Sam Loomis Mr Lowery the policeman 1 Because she doesn’t want to see the a ………………… wants to marry her policeman again. boyfriend. 2 Because she is tired and hungry. b ………………… needs $11,000 to pay his 3 Because she wants to call Sam. debts. b Why does Marion write the wrong name in c ………………… is late to work after lunch the visitor’s book? … but her boss is having lunch with a customer. 1 Because she and Sam meet secretly. d ………………… is an unpleasant man with 2 Because she always does. lots of money. 3 Because she doesn’t want the police to find e ………………… leaves work with $40,000. her. f ………………… sees Marion Crane in her c Where does Marion hide the money? … car at some traffic lights. -
The Horror Within the Genre
Alfred Hitchcock shocked the world with his film Psycho (Alfred Hitchcock, 1960), once he killed off Marion Crane (Janet Leigh) half way through the film. Her sister, Lila Crane (Vera Miles), would remain untouched even after Norman Bates (Anthony Perkins) attacked her and her sisters lover. Unlike her sister, Lila did not partake in premarital sex, and unlike her sister, she survived the film. Almost 20 years later audiences saw a very similar fate play out in Halloween (John Carpenter, 1978). Laurie Strode (Jamie Lee Curtis) managed to outlive her three friends on Halloween night. Once she slashed her way through Michael Myers (Nick Castle), Laurie would remain the lone survivor just as she was the lone virgin. Both Lila and Laurie have a common thread: they are both conventionally beautiful, smart virgins, that are capable of taking down their tormentors. Both of these women also survived a male murder and did so by fighting back. Not isolated to their specific films, these women transcend their characters to represent more than just Lila Crane or Laurie Strode—but the idea of a final girl, establishing a trope within the genre. More importantly, final girls like Crane and Strode identified key characteristics that contemporary audiences wanted out of women including appearance, morality, sexual prowess, and even femininity. While their films are dark and bloodstained, these women are good and pure, at least until the gruesome third act fight. The final girl is the constant within the slasher genre, since its beginning with films like Psycho and Peeping Tom (Michael Powell, 1960). -
The Overbearing in Coriolanus and Psycho
The Corinthian Volume 17 Article 2 2016 Mother Knows Best: The Overbearing in Coriolanus and Psycho Mikaela LaFave Georgia College and State University Follow this and additional works at: https://kb.gcsu.edu/thecorinthian Part of the English Language and Literature Commons Recommended Citation LaFave, Mikaela (2016) "Mother Knows Best: The Overbearing in Coriolanus and Psycho," The Corinthian: Vol. 17 , Article 2. Available at: https://kb.gcsu.edu/thecorinthian/vol17/iss1/2 This Article is brought to you for free and open access by the Undergraduate Research at Knowledge Box. It has been accepted for inclusion in The Corinthian by an authorized editor of Knowledge Box. The Corinthian: The Journal of Student Research at Georgia College Volume 17 • Spring 2016 Mother Knows Best: The Overbearing in Coriolanus and Psycho ercises enough influence over Martius to drive him toward self-de- Mikaela LaFave structive pride. The First Citizen establishes that Martius’ pride originates from his sense of obligation towards Volumnia: “Though Dr. Jenny Flaherty soft-conscienced men can be content to say it was for his country, Faculty Mentor [Martius] did it to please his mother and to be partly proud, which he is, even to the altitude of his virtue” (1.1.36-40). Shakespeare establishes that Martius’ pride possesses an indelible link to Volum- nia; rather than feeling pride for himself, or seeking out pride for Psychoanalytic critics have focused on the mother-son himself, he does so for his mother, framing their relationship as one relationship throughout its criticism, stemming from Freud’s rein- of fear and domination rather than love. -
Friday the 13Th: Resurrection Table of Contents TABLE of CONTENTS
Friday the 13th Resurrection V0.5 By Michael Tresca D20 System and D&D is a trademark of Wizards of the Coast, Inc.©. All original Friday the 13th images and logos are copyright of their respected companies: © 2000/2001 Crystal Lake Entertainment / New Line Cinema. All Rights Reserved. Trademarks and copyrights are cited in this document without permission. This usage is not meant in any way to challenge the rightful ownership of said trademarks/copyrights. All copyrights are acknowledged and remain the property of the owners. Epic Undead Jason Voorhees, Corpse template, and the Slasher class were created by DarkSoldier's D20 Modern Netbook of Famous Characters. This game is for entertainment only. This document utilizes the Friday the 13th and Ghosttown fonts. You can get the latest version of this document at Talien's Tower, under the Freebies section. WARNING: This document contains spoilers of the movies and games. There. You've been warned! 2 - Friday the 13th: Resurrection Table of Contents TABLE OF CONTENTS................................................................................................................................3 INTRODUCTION...........................................................................................................................................6 SUMMARY ....................................................................................................................................................6 CAMPAIGN IN BRIEF......................................................................................................................................6 -
What Does It Mean to Be a Woman in Horror?
What Does it Mean to be a Woman in Horror? Presentation by Maya Hendl CONTENT WARNING This presentation contains descriptions of violence, torture, kidnapping, and murder. There are no explicit images of these acts taking place, but these acts are mentioned and (briefly) described. Table of Contents 1 2 Final Girls Female Antagonists Exploring examples of female villains, why they are Exploring what they & so scary, and their ability to are, why they exist, justify their motivations in and the contexts in comparison to male which they exist antagonists 1 Final Girls Exploring what they are, why they exist, and the contexts in which they exist What Does it Mean to be a “Final Girl”? The term “final girl” was coined by Carol J. Clover in her 1993 book Men, Women and Chain Saws: Gender in the Modern Horror Film. The “final girl” is the last woman or girl left alive in a horror movie, most often within the slasher genre, that must confront the killer. Clover describes final girls as typically being sexually unavailable at the start of the film, as having sex in a horror movie is a common trope that will most likely get you killed (Alternative Press Magazine). Clover goes on to describe how, once the final girl survives, she “is ‘purged’...of undesirable characteristics, such as pursuit of pleasure in her own right. An interesting feature of the genre is the ‘punishment’ of beauty and sexual availability” (Horror Fandom Wiki). Why Do Final Girls Exist? In horror films, women are more often than not left to fight the big bad all on their own. -
FROM BATES to BUSH the NEW SLASHER FILM By
FROM BATES TO BUSH THE NEW SLASHER FILM By JAMES FENIMORE COOPER II Bachelor of Arts in Film Studies University of Oklahoma Norman, Oklahoma 2007 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of MASTER OFARTS July, 2011 FROM BATES TO BUSH THE NEW SLASHER FILM Thesis Approved: Dr. Stacy Takacs - Thesis Adviser Dr. Jeffrey Walker Dr. John Kinder Dr. Mark E. Payton - Dean of the Graduate College ACKNOWLEDGMENTS Firstly, I am forever in the debt of Drs. Stacy Takacs, John Kinder, and Jeffrey Walker for their willingness to read through multiple drafts of a project on murder and mayhem. I owe a special “Thank You” to Dr. Takacs for being such a helpful guide in what seemed the darkest of hours; her advice, understanding, and counsel proved much too invaluable when the burdens of coursework, teaching, research, and writing weighed on me the most and anxiety loomed the largest. This essay owes much to her stewardship and to our conversations on film and culture. Moreover, I’d like to sincerely thank the following people for their varying influence on this project: Dr. Brian Price, for introducing me to Richard Rorty, for being such a thoughtful and patient man, and for convincing me to study at OSU; Dr. Carol Mason, for guiding me through the wonderful world of Michel Foucault and for making me feel like I had the whole world ahead of me; Dr. Ron Brooks, for teaching me how to teach and for his passion for students; Dr. -
American Monsters: Tabloid Media and the Satanic Panic, 1970-2000
AMERICAN MONSTERS: TABLOID MEDIA AND THE SATANIC PANIC, 1970-2000 A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Sarah A. Hughes May 2015 Examining Committee Members: Kenneth L. Kusmer, Advisory Chair, History Carolyn Kitch, Journalism Susan E. Klepp, History Elaine Tyler May, External Member, University of Minnesota, American Studies © Copyright 2015 by Sarah A. Hughes All Rights Reserved iii ABSTRACT “American Monsters: Tabloid Media and the Satanic Panic, 1970-2000,” analyzes an episode of national hysteria that dominated the media throughout most of the 1980s. Its origins, however, go back much farther and its consequences for the media would extend into subsequent decades. Rooted in the decade’s increasingly influential conservative political ideology, the satanic panic involved hundreds of accusations that devil-worshipping pedophiles were operating America’s white middle-class suburban daycare centers. Communities around the country became embroiled in criminal trials against center owners, the most publicized of which was the McMartin Preschool trial in Manhattan Beach, California. The longest and most expensive trial in the nation’s history, the McMartin case is an important focal point of this project. In the 1990s, judges overturned the life sentences of defendants in most major cases, and several prominent journalists and lawyers condemned the phenomenon as a witch-hunt. They accurately understood it to be a powerful delusion, or what contemporary cultural theorist Jean Baudrillard termed a “hyperreality,” in which audiences confuse the media universe for real life. Presented mainly through tabloid television, or “infotainment,” and integral to its development, influence, and success, the panic was a manifestation of the hyperreal. -
Psycho by Charles Taylor “The a List: the National Society of Film Critics’ 100 Essential Films,” 2002
Psycho By Charles Taylor “The A List: The National Society of Film Critics’ 100 Essential Films,” 2002 Reprinted by permission of the author The impact of Alfred Hitchcock’s “Psycho” owes so much to its two big surprises that when the film opened in 1960 Hitchcock not only refused to allow press screenings but had theaters hire Pinkerton security guards to prevent latecomers from entering the theater once the picture had started. He wanted to keep the people who hadn’t bought tickets from finding out that Janet Leigh’s Marion Crane is stabbed to death in the shower only forty-five minutes into the movie, and that the murderer is Antho- ny Perkins’s Norma Bates, who has succumbed to the personality of the mother he murdered years before. In many ways, “Psycho” seems like a death knell for the studio system that would lumber on for a few more years before collapsing later in the decade under the weight of filmmakers and audiences sick of the old stultified formu- Alfred Hitchcock holding a clapper on the set of “Psycho.” las. It isn’t just that Hitchcock made the film fast and on Courtesy Library of Congress the cheap (it cost only $800,000), using the crew from his television anthology series “Alfred Hitchcock Presents.” We are as anxious for Norman not to be found out cover- And it’s not just the shock of the shower murder, its bril- ing up “mother’s” crime as we were for Marion not to get liant and savage elisions heralding and in many cases sur- caught stealing the $40,000 that started her on the jour- passing the screen violence to come.