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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. -
Creative Consultant Teller and Composer Sir John Tavener Help Make the Exorcist a Sensory Feast
CREATIVE CONSULTANT TELLER AND COMPOSER SIR JOHN TAVENER HELP MAKE THE EXORCIST A SENSORY FEAST Director John Doyle’s Creative Team Also Includes Tony Award Winning Scenic/Costume Designer Scott Pask, Lighting Designer Jane Cox and Sound Designer Dan Moses Schreier LOS ANGELES, May 29, 2012 — In addition to an accomplished cast, the Geffen Playhouse’s world premiere stage adaptation of The Exorcist showcases an award-winning design team – including world-renowned creative consultant Teller and internationally acclaimed spiritual composer Sir John Tavener – to bring playwright John Pielmeier’s script and Tony Award winning director John Doyle’s vision to life on stage. The team also includes Tony Award winning scenic/costume designer Scott Pask, lighting designer Jane Cox and sound designer Dan Moses Schreier. Working with Doyle, the design team will be tasked with creating a theatrical experience that engages the senses in a way that is unique to live performance. As the designers create ambiance and atmosphere, the actors taking center stage include Brooke Shields and Richard Chamberlain in the iconic roles of Chris MacNeil and Father Merrin, respectively, as well as Broadway actor David Wilson Barnes as the troubled young priest Father Damien Karras, Tony Award nominee Harry Groener takes on the role of Chris’ charismatic director Burke Dennings and UCLA School of Theater, Film and Television graduate Emily Yetter plays the young Regan MacNeil. The world premiere cast also includes Stephen Bogardus, Manoel Felciano, Tom Nelis and Roslyn Ruff. The Exorcist opens in the Gil Cates Theater at the Geffen Playhouse on July 11, 2012 and runs through August, 12, 2012. -
The Exorcist" - - Textual --Topical Scripture Reading'------Devotional
SATAN SUBJECT CLASSIFICATION: TEXT Deuteronomy 18:9-13 --EXPOSITORY --BIOGRAPHICAL _____________________"THE EXORCIST" - - TEXTUAL --TOPICAL SCRIPTURE READING'---------------- ---DEVOTIONAL DELIVERIES: Date Hour Place Results and Comments: F.B.C. 8-8-82 p.m. San Angelo, TX (XXX+++) F.B.C. p.m. San Angelo, TX (XXXX++++) 5L; lB; 1 Sp. Ser. BIBLIOGRAPHY------------ E.F. CLASSIFICATION: TEXT ---EXPOSITORY "THE EXORCIST" - - BIOGRAPHICAL --- TEXTUAL --TOPICAL SCRIPTURE READING·- ---------- ----- --DEVOTIONAL DELIVERIES: Date Hour Place Results and Comments: FBC 4-21-74 a.m. San Angelo, Texas XXX++++ FBC 8-8-82 p.m. San Angelo, Texas XXX+++ BIBLIOGRAPHY _ I Scripture: Deut.1 8:9-13 '17 · ntro: f the The Exorcist, continues at its present level of success it has every chance of becoming the most widely viewed movie in the world as well as the first billion dollar producer. During its week it grossed $2,000,000. Newsweek, average 9 a day faint ... The movie is based on William Peter Blatty' s book, The Exorcist, which relates a reported experience in 1949 of a demon-possessed 14 year old boy living in Mt. Ranier, Maryland, adjacent to Washington, D. C. Blatty was a student at Georgetown University at that time and attended a series of lectures by a Jesuit R.C . priest, Franci s Galiger, who centered his lectures on a case s tudy of this 14 year old boy. Phillip Hannon, now in Orleans, was in the Washington diocese when the exorcism of the boy was originally performed. The archbishop contends that Blatty has committed a real travisty with the historical facts of the case of the exorcism. -
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. -
The Exorcist Script
HorrorLair - The Exorcist Script THE EXORCIST EXTERIOR- IRAQ- EXCATVATION SITE- NINEVEH- DAY Pickaxes and shovels weld into the air as hundreds of excavators tear at the desert. The camera pans around the area where hundreds of Iraqi workmen dig for ancient finds. The caption Northern Iraq appears at the bottom of the screen as the digging continues. The camera then follows a young boy running bare foot over the rocky mounds. He comes to a stop and the camera is positioned in between the boys legs looking at and aging man also digging. YOUNG BOY (In Iraqi language) They've found something... small pieces. MERRIN (In Iraqi language) Where? YOUNG BOY (In Iraqi language) At the base of the mound. The boy runs off and the old man pulls himself to his feet to follow. The old man walks to the base of the mound where another man who looks in command is there to greet him. MAN (In Iraqi language) Some interesting finds. Lamps, arrow-heads, coins... The old man picks up an old pendant and holds it up. MERRIN (In Iraqi language) This is strange! The man dusts the pendant and takes a look. MAN (In Iraqi language) Not of the same period. The old man reaches into a hole in the rock, moving and re- arranging small rocks to see what he can find. He grabs a pickaxe and scrapes out a small sculpted piece of rock crushed into another. The man takes a dust brush from the man's pocket and http://www.horrorlair.com/scripts/exorcist.html (1 of 80)6/15/2009 9:54:52 PM HorrorLair - The Exorcist Script brushes some dust from the sculpted rock. -
Georgetown Retaining Wall/Exorcist Steps
NPS Form 10-900 OMB No. 1024-0018 United States Department of the Interior National Park Service National Register of Historic Places Registration Form This form is for use in nominating or requesting determinations for individual properties and districts. See instructions in National Register Bulletin, How to Complete the National Register of Historic Places Registration Form. If any item does not apply to the property being documented, enter "N/A" for "not applicable." For functions, architectural classification, materials, and areas of significance, enter only categories and subcategories from the instructions. 1. Name of Property Historic name: ____Georgetown Retaining Wall/Exorcist Steps_______________________ Other names/site number: ______________________________________ Name of related multiple property listing: ______N/A_____________________________________________________ (Enter "N/A" if property is not part of a multiple property listing ____________________________________________________________________________ 2. Location Street & number: __Square 1202, Lot 840; East of Reservation 392__________________ City or town: _Washington________ State: __DC__________ County: ____________ Not For Publication: Vicinity: ____________________________________________ ________________________________ 3. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act, as amended, I hereby certify that this nomination ___ request for determination of eligibility meets the documentation standards -
The Demon Pazuzu As Noise in the Exorcist Michael Brown
20 The Demon Pazuzu as Noise in The Exorcist Michael Brown The Demon Pazuzu as Noise in The Exorcist Against a blackened screen blood-red lettering announces the beginning of William Friedkin’s The Exorcist (1973). But it is not only what we see that unnerves us, it is what we hear. From the very first discordant strings’ sudden transition into the adhᾱn, the Muslim call to prayer, the film creates an atmosphere of uncertainty through its innovative sound design. While sound and horror share a long- established history in the production of cinematic dread, sound in The Exorcist does more than simply prompt an emotive response or mood in audiences. Rather, by listening closely to the sonic elements of the often critically unappreciated Iraq prologue, I will demonstrate that the central evil of the narrative, the demon Pazuzu, is in fact best understood as ‘noise’. By reflecting on media theory’s concept of noise as one with affective, ontological and philosophical concerns this essay will argue for a renewed critical approach to the film, one which recognises the demon’s aural association with wind, shrieking voices, garbled language and insect drone as intimately bound to its function as a disruptive and destabilising agency. Accordingly, the possessed body of the film’s adolescent protagonist Regan MacNeil’s (Linda Blair) is aurally and visually constructed as a medium, albeit one that is immersed in noise. I will argue that a sounds studies perspective is useful in identifying a more diffuse kind of horror in The Exorcist beyond its more obvious religious anxieties and visceral special effects, one that, like the presence of noise, disturbs our ability to make sense of the world as something essentially knowable and hence, meaningful. -
Legion: a Novel from the Author of the Exorcist by William Peter Blatty Book
Legion: A Novel from the Author of The Exorcist by William Peter Blatty book Ebook Legion: A Novel from the Author of The Exorcist currently available for review only, if you need complete ebook Legion: A Novel from the Author of The Exorcist please fill out registration form to access in our databases Download book here >> Paperback: 336 pages Publisher: Tor Books; First edition (February 1, 2011) Language: English ISBN-10: 9780765327130 ISBN-13: 978-0765327130 ASIN: 0765327139 Product Dimensions:5.5 x 0.9 x 8.2 inches ISBN10 9780765327130 ISBN13 978-0765327 Download here >> Description: From the author of The Exorcist -- Legion, a classic tale of horror, is back in print!A young boy is found horribly murdered in a mock crucifixion. Is the murderer the elderly woman who witnessed the crime? A neurologist who can no longer bear the pain life inflicts on its victims? A psychiatrist with a macabre sense of humor and a guilty secret? A mysterious mental patient, locked in silent isolation?Lieutenant Kinderman follows a bewildering trail that links all these people, confronting a new enigma at every turn even as more murders surface. Why does each victim suffer the same dreadful mutilations? Why are two of the victims priests? Is there a connection between these crimes and another series of murders that took place twelve years ago―and supposedly ended with the death of the killer?Legion is a novel of breathtaking energy and suspense. But more than this, it is an extraordinary journey into the uncharted depths of the human mind and the most agonizing questions of the human condition.The answers are revealed in a climax so stunning that it could only have been written by the author of The Exorcist―William Peter Blatty. -
The Exorcist Julia Baumgart Sacred Heart University, [email protected]
Sacred Heart University DigitalCommons@SHU Communication & Media Undergraduate Communication and Media Arts (SCMA) Publications 5-2013 The Exorcist Julia Baumgart Sacred Heart University, [email protected] Follow this and additional works at: http://digitalcommons.sacredheart.edu/media_sp Part of the American Film Studies Commons Recommended Citation Baumgart, Julia, "The Exorcist" (2013). Communication & Media Undergraduate Publications. Paper 1. http://digitalcommons.sacredheart.edu/media_sp/1 This Article is brought to you for free and open access by the Communication and Media Arts (SCMA) at DigitalCommons@SHU. It has been accepted for inclusion in Communication & Media Undergraduate Publications by an authorized administrator of DigitalCommons@SHU. For more information, please contact [email protected]. Baumgart 1 Julie Baumgart Senior Seminar CM 301B Professor Edwards May 2, 2013 The Exorcist The Exorcist is known as one of the scariest movies of all time. It is a Warner Brothers film that was released in 1973 and directed by William Friedkin. It was produced and written by William Peter Blatty. The Exorcist stars Ellen Burstyn as Chris MacNeil (an actress and single mother), Jason Miller as Father Karras and Linda Blair as Regan MacNeil (the possessed little girl). The voice of possessed Regan was played by Mercedes McCambridge, who acted frequently on the radio (The Exorcist 1973). The Exorcist was nominated for Best Cinematography, but won Best Picture, and Best Director. The movie also won Best Sound, Best Adapted Screenplay, Best Supporting Actress, and much more. This classic horror film is rated R because not only is it extremely scary, but it is filled with swearing, sexual talk, sexual images and actions, violence and much more (Movies: The Exorcist 1973). -
A Queer and Gendered Analysis of Blaxploitation Films
Marquette University e-Publications@Marquette Social and Cultural Sciences Faculty Research and Publications/Department of Social and Cultural Sciences This paper is NOT THE PUBLISHED VERSION; but the author’s final, peer-reviewed manuscript. The published version may be accessed by following the link in the citation below. Western Journal of Black Studies, Vol. 37, No. 1 (2013): 28-38. DOI. This article is © Washington State University and permission has been granted for this version to appear in e- Publications@Marquette. Washington State University does not grant permission for this article to be further copied/distributed or hosted elsewhere without the express permission from Washington State University. Contents Abstract ......................................................................................................................................................... 2 Introduction .................................................................................................................................................. 2 Literature Review .......................................................................................................................................... 3 Social Identity Theory ............................................................................................................................... 3 The Politics of Semiotics ........................................................................................................................... 4 Creating Racial Identity through Film and -
Introduction: Transnational Film Remakes
INTRODUCTION: TRANSNATIONAL FILM REMAKES Iain Robert Smith and Constantine Verevis On 14 April 2016, Paramount Pictures released the first image of actress Scarlett Johansson in the lead role of the science-fiction film Ghost in the Shell (2017). This promotional image generated a great deal of controversy online, with much of the attention focused upon the decision to cast a white actress in the central role of cyborg Major Motoko Kusanagi. This criticism was part of a wider critique of ‘whitewashing’ within Hollywood where white actors are cast in non-white roles – other notable examples include Mickey Rooney in Breakfast at Tiffany’s (1961) and Emma Stone in Aloha (2015) – yet this particular instance was especially controversial as Ghost in the Shell is a Hollywood remake of a 1995 Japanese anime (and manga) and therefore raised further issues surrounding planned changes to the source text. In fact, many of the initial reports on the controversy (Abad-Santos 2016; Child 2016; Loughrey 2016) cited a series of tweets by comic-book writer Jon Tsuei in which he expressed concern that the Hollywood remake would lose the cultural resonance that the source text’s themes have with Japan’s post-World War II history. Central to Tsuei’s argument was the notion that Ghost in the Shell is a text deeply rooted in a specific era of Japanese technological development, and that it should therefore be understood as ‘inherently a Japanese story, not a universal one’ (Tsuei 2016a). Consequently, Tsuei’s objection was not only to the casting of a white actress in the lead role but also to the very decision to produce a Hollywood remake, arguing that ‘You can “Westernize” the story if you want, but at that point it is no longer Ghost in The Shell because the story is simply not Western’ (Tsuei 2016b). -
Horror Soundtracks and the Unseen Demonic the Exorcist (1973)
RENDER | THE CARLETON GRADUATE JOURNAL OF ART AND CULTURE VOLUME ONE Horror Soundtracks and the Unseen Demonic The Exorcist (1973) By: Pamela Morrow, MA Music and Culture One of the key roles music plays in pitches directly affect the human body; the accompanying film is to enhance the emotional higher pitches resonate within the upper body of reactions of the audience. Each film genre uses the audio-viewer, whereas the lower pitches music in different ways depending on the mood result in the vibration of the stomach and lower that is presented by the dialogue and abdomen. Donnelly suggests that these musical corresponding images. Horror music rarely sounds are “tied to the intrinsic sounds of the follows the traditional symphonic leitmotif human body (such as) the high buzz of the structure of classical film scores.1 Essentially, the nervous system and the deep throb of the music that is used throughout horror films does 4 bloodstream and heart.” not generally consist of memorable melodies or Classic horror films of the 1960-80’s era, leitmotifs that are associated with specific such as Psycho (1968), The Exorcist (1973), A characters. The role of this music is primarily to Nightmare on Elm Street (1984), The Shining create psychological experiences for the viewers. (1980) and Halloween (1978) predominantly As a replacement for the leitmotifs and melodies, relied upon exaggerated pitches and stingers to a manipulation of the timbres and range ensure their audiences experienced unsettling associated with the instruments and sounds perceptual, emotional and physiological often creates unsettling sounds that cause responses during the films.