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Page 117 FILM REVIEWS Year of the Remake: The Omen 666 and The Wicker Man Jenny McDonnell The current trend for remakes of 1970s horror movies continued throughout 2006, with the release on 6 June of John Moore’s The Omen 666 (a sceneforscene reconstruction of Richard Donner’s 1976 The Omen) and the release on 1 September of Neil LaBute’s The Wicker Man (a reimagining of Robin Hardy’s 1973 film of the same name). In addition, audiences were treated to remakes of The Hills Have Eyes, Black Christmas (due Christmas 2006) and When a Stranger Calls (a film that had previously been ‘remade’ as the opening sequence of Scream). Finally, there was Pulse, a remake of the Japanese film Kairo, and another addition to the body of remakes of nonEnglish language horror films such as The Ring, The Grudge and Dark Water. Unsurprisingly, this slew of remakes has raised eyebrows and questions alike about Hollywood’s apparent inability to produce innovative material. As the remakes have mounted in recent years, from Planet of the Apes to King Kong, the cries have grown ever louder: Hollywood, it would appear, has run out of fresh ideas and has contributed to its evergrowing bank balance by quarrying the classics. Amid these accusations of Hollywood’s imaginative and moral bankruptcy to commercial ends in tampering with the films on which generations of cinephiles have been reared, it can prove difficult to keep a level head when viewing films like The Omen 666 and The Wicker Man. -
Mridula Sharma – Revisiting Bernard Rose's Frankenstein: Ugliness And
/ 95 Revisiting Bernard Rose’s Frankenstein: Ugliness and Exclusion MRIDULA SHARMA Abstract ary Shelley’s attempt to present what Ellen Moers labels as a ‘female gothic’ seems Mto endorse rigid notions of beauty: the transgression of socially approbated ideals of beauty leads to textual disposal in Frankenstein; or, The Modern Prometheus. Frankenstein’s desertion of the creation, for instance, testifies to the writer’s conscious effort to portray the beautiful and the ugly within the ambit of societal expectations of physical attractiveness. It is interesting to study the representation of the narrative in cinema because the transposition of Mary Shelley’s description into characters played by actors in reality is further influenced by the director’s perceptions of the textual reading as well as his presumptions of beauty. Bernard Rose’s film titled, Frankenstein (2015), appropriates the original text for public consumption: the monster’s initial corporeal beauty is transformed into supposed hideousness due to Frankenstein’s attempt to further augment his creation’s physical strength. The insertion of the monster’s Oedipal desire for Elizabeth supplements the investigation in the element of romance that is somewhat governed by the internalisation of conventional ideas of beauty. This paper endeavours to critique the contrast between the textual and cinematic portrayal of Frankenstein’s monster by examining the duality in the promotion of beauty in Rose’s film and contrasting it with the narrative space within Mary Shelley’s 1818 edition. Keywords: Mary Shelley, Frankenstein, Bernard Rose, Monster, Ugliness, Exclusion. Introduction The creations of Mary Shelley’s Frankenstein and Rose’s Frankenstein have been referred to as the ‘monster’ in the article. -
Screams on Screens: Paradigms of Horror
Screams on Screens: Paradigms of Horror Barry Keith Grant Brock University [email protected] Abstract This paper offers a broad historical overview of the ideology and cultural roots of horror films. The genre of horror has been an important part of film history from the beginning and has never fallen from public popularity. It has also been a staple category of multiple national cinemas, and benefits from a most extensive network of extra-cinematic institutions. Horror movies aim to rudely move us out of our complacency in the quotidian world, by way of negative emotions such as horror, fear, suspense, terror, and disgust. To do so, horror addresses fears that are both universally taboo and that also respond to historically and culturally specific anxieties. The ideology of horror has shifted historically according to contemporaneous cultural anxieties, including the fear of repressed animal desires, sexual difference, nuclear warfare and mass annihilation, lurking madness and violence hiding underneath the quotidian, and bodily decay. But whatever the particular fears exploited by particular horror films, they provide viewers with vicarious but controlled thrills, and thus offer a release, a catharsis, of our collective and individual fears. Author Keywords Genre; taboo; ideology; mythology. Introduction Insofar as both film and videogames are visual forms that unfold in time, there is no question that the latter take their primary inspiration from the former. In what follows, I will focus on horror films rather than games, with the aim of introducing video game scholars and gamers to the rich history of the genre in the cinema. I will touch on several issues central to horror and, I hope, will suggest some connections to videogames as well as hints for further reflection on some of their points of convergence. -
Market Bulletin 01/23/14
Groundhog Day February 2 VOL. 97, No. 2 www.LDAF.la.gov January 23, 2014 2014 graduates of the Louisiana Master Farmer Program were recognized recently. From left to right in the front row are Mary Marceaux; Ricky Klumpp; Pernell Livingston; Christine and Leland Vidrine; and Anthony Beaubouef. Middle row, left to right, are Ricky Womack; Thomas Michael Wall; Shane Milazzo; Michael Luquette; Robert Moss; Ross Morgan; and Nicholas Talley,. Officials on the back row are, left to right, Vendal Fairchild, of the Louisiana Cattlemen’s Association; Bill Richardson, LSU vice president for agriculture; Agriculture and Forestry Commissioner Mike Strain, who also was certified at the meeting as a Master Farmer; and Ernest Girouard, coordina- tor of the Louisiana Master Farmer Program with the LSU AgCenter. (Photo by Bruce Schultz) Ernest Girouard, coordinator of the Louisiana Master Farmer Program with the LSU AgCenter; Vendal Fairchild, of the Louisiana Cattlemen’s Association; Bill Richardson, LSU vice president for agriculture; Agriculture and Forestry 29 new La. Master Farmers recognized Commissioner Mike Strain and Kevin Norton, State By Bruce Schultz Conservationist for USDA-NRCS. (Photo by Veronica Mosgrove, LSU AgCenter LDAF) The 2014 graduates of the Louisiana Master Farmer “It’s nice to work in a state where everyone is working Program were recognized at the 68th Annual Meeting of on the same page.” the Louisiana Soil and Water Conservation Districts Jan. Mike Strain, LDAF commissioner, said Louisiana has 9 in Lafayette. led the nation by developing the Master Farmer A total of 29 newly certified Master Farmers received Program. “Louisiana is truly a pioneer in this respect.” Please deliver this Market Bulletin to: their certifications at the event. -
Louisiana Has Been a Favored Set for Movies and TV Shows Since the Beginning of Film
NEW ORLEANS From Bienville to Bourbon Street to bounce. 300 moments that make New Orleans unique. WHAT HAPPENED The Louisiana 1718 ~ 2018 Motion Picture Tax Incentive became effective 300 July 1, 2002. TRICENTENNIAL FILMED IN LOUISIANA: 2017: THE BEGUILED • LOGAN • MAIDS • SECONDS APART • SO UNDERCOVER • SUNDAY BEST: SEASON 2 GIRLS TRIP • 2016: CREATED EQUAL • DEEPWATER HORIZON • BAD • TEXAS KILLING FIELDS • THAT’S WHAT I AM (BIG RED) • THE CHAPERON • MOMS • HEART BABY • SUPERCON • GIRL TRIP • JUAREZ • QUEEN THE COLONY: SEASON 2 • THE COURIER • THE GREEN LANTERN • THE LUCKY SUGAR • BROTHERS BLOOD • SCREAM: SEASON 2 • PITBULLS ONE • THE POWER OF FEW • THE REAL WORLD: SEASON 24 “BACK TO NEW & PAROLEES SEASON 8 • CUT OFF • MUDBOUND • NCIS NEW ORLEANS” • TREME: SEASON 2 • WORST PROM EVER • YOUNG AND THE ORLEANS SEASON 3 • WHEN WE FIRST MET • 2015: ELVIS RESTLESS • 2009: BAD LIEUTENANT: PORT OF CALL NEW ORLEANS • & NIXON • GHOSTLY MATTERS • PITBULLS & PAROLEES BEAUT Y AND THE BRIEFCASE • DELTA BLUES • DYLAN DOG: DEAD OF NIGHT SEASON 7 • THE DEVIL AND THE DEEP BLUE SEA • FREE • FATHER OF INVENTION • IMAGINATION MOVERS: SEASON 2 • JONAH HEX • STATE OF JONES • WHEN THE BOUGH BREAKS • ZOO SEA- LEGENDARY (BROTHER’S KEEPER) • LIVE! WITH REGIS AND KELLY • LEONIE SON 1 • THE BIG SHORT • SCREAM QUEENS SEASON • KNUCKLEHEAD • MIDNIGHT BAYOU • NIGHT OF THE DEMONS • PREG- 1 • MISCONDUCT • NIGHTWATCH SEASON 2 • INTO THE NANCY PACT • SEEKING JUSTICE (HUNGRY RABBIT JUMPS) • SNATCHED • BADLANDS • KEANU • CARTER & JUNE • ROOTS • RODEO THE EXPENDABLES • THE -
The Writings of Leo Tolstoy
LT224/SL424 Leo Tolstoy (Fall 2015, MWF 9:55, Van Hise 374) Dr. David S. Danaher, Professor, Slavic Languages, 1444 Van Hise 262-9765 (office)/ 617-803-1052 (cell: texting is best); pes at mac.com / dsdanaher at wisc.edu Office hours: By email or appointment “When I was in prison, I was wrapped up in all those deep books. That Tolstoy crap – people shouldn't read that stuff.” – Mike Tyson, heavyweight boxer Course objectives. This course is an introduction to the writing of the great 19th-century Russian author Leo Tolstoy (Лев Николаевич Толстой). We will read and analyze selected fictional works (short stories and novellas) by Tolstoy from his early and late periods, and we will undertake a close reading of one of his “novels of length,” Anna Karenina. In addition, we will watch film adaptations based on two of his works and compare and contrast these with Tolstoy’s original texts. An important part of this course will be hands-on literary analysis: What is the relationship in Tolstoy’s works between form and meaning? What is the significance of story-telling and how might it model a quest for self-knowledge if not also truth? What is the value of reading and how can we read critically to realize that value fully? In what ways are we all, to one degree or another and whether we realize it or not, “literary” critics? Since the key questions that Tolstoy asked – Who am I? What am I? How should I live my life? – are also basic human questions, a focus of the course will be on Tolstoy’s relevance for how we live our own lives in early 21st-century America. -
2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS
2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS BEST FIRST SCREENPLAY 2012 NOMINEES (Winners in bold) *Will Reiser 50/50 BEST FEATURE (Award given to the producer(s)) Mike Cahill & Brit Marling Another Earth *The Artist Thomas Langmann J.C. Chandor Margin Call 50/50 Evan Goldberg, Ben Karlin, Seth Rogen Patrick DeWitt Terri Beginners Miranda de Pencier, Lars Knudsen, Phil Johnston Cedar Rapids Leslie Urdang, Dean Vanech, Jay Van Hoy Drive Michel Litvak, John Palermo, BEST FEMALE LEAD Marc Platt, Gigi Pritzker, Adam Siegel *Michelle Williams My Week with Marilyn Take Shelter Tyler Davidson, Sophia Lin Lauren Ambrose Think of Me The Descendants Jim Burke, Alexander Payne, Jim Taylor Rachael Harris Natural Selection Adepero Oduye Pariah BEST FIRST FEATURE (Award given to the director and producer) Elizabeth Olsen Martha Marcy May Marlene *Margin Call Director: J.C. Chandor Producers: Robert Ogden Barnum, BEST MALE LEAD Michael Benaroya, Neal Dodson, Joe Jenckes, Corey Moosa, Zachary Quinto *Jean Dujardin The Artist Another Earth Director: Mike Cahill Demián Bichir A Better Life Producers: Mike Cahill, Hunter Gray, Brit Marling, Ryan Gosling Drive Nicholas Shumaker Woody Harrelson Rampart In The Family Director: Patrick Wang Michael Shannon Take Shelter Producers: Robert Tonino, Andrew van den Houten, Patrick Wang BEST SUPPORTING FEMALE Martha Marcy May Marlene Director: Sean Durkin Producers: Antonio Campos, Patrick Cunningham, *Shailene Woodley The Descendants Chris Maybach, Josh Mond Jessica Chastain Take Shelter -
View the 2021 Seminar Topics and Seminar Leaders
2021 Virtual Conference - Seminar Topics Academia and Public Policy in the wake of COVID-19 Deborah Jaramillo, Boston University Jennifer Porst, University of North Texas Christine Becker, University of Notre Dame Open Session - Audience may join the discussion The consequences of the global pandemic have triggered upheaval in academia, exacerbating existing structural inequities and complicating teaching and research. The SCMS Public Policy Committee (PPC) wishes to turn this moment of crisis into an opportunity to make its charge more legible and useful to the general SCMS membership. The aim of this seminar is to open a direct line of communication with SCMS members in order to ascertain which policy issues are foremost on their minds as they teach, research, mentor, and organize in the COVID era. At the top of the committee’s current agenda are the following issues and lines of inquiry: Faculty Organizing: Faculty unions at schools like Florida Atlantic University have illustrated the power and efficacy of labor organizing in higher education, yet many schools and states prohibit or delimit unionization. Are there any public policy solutions to these obstacles or alternate modes of organizing that approach the effectiveness of unions? Fair Use: While the Fair Use exception creates the appearance that the licensing issue is settled, we know of universities that do not acknowledge the exception, an issue that has become even more fraught in the move to remote teaching during the pandemic. Should media scholars consider adjusting how we frame our use of media in the classroom? Do remote teaching circumstances require new additions and exceptions to Fair Use policies and principles? Academic Labor: We are also interested in working on the question of academic labor as it relates not only to contingent faculty but to tenure-track and tenured faculty, as well. -
Arrow Video Channel Is Ready for Its Close up Watch & Share the New Trailer Here
FOR IMMEDIATE RELEASE London UK, 20 August 2020 ARROW VIDEO CHANNEL IS READY FOR ITS CLOSE UP DEBUTING THIS SEPTEMBER: CRYSTAL EYES, IVANSXTC, GRAVEYARDS OF HONOR, THE HOLY MOUNTAIN, FANDO Y LIS, EL TOPO, RETURN OF THE KILLER TOMATOES ARROW VIDEO CHANNEL is the passion-driven film platform giving film fans the opportunity to watch a curated selection of movies that the Arrow Video brand is famous for. This September, the Arrow Video Channel is showing the superbly-stylish giallo-infused high fashion horror Crystal Eyes, as well as a fantastic selection of brand new additions to the channel. WATCH & SHARE THE NEW TRAILER HERE A camp, creepy and gloriously entertaining slasher, Crystal Eyes is set in the cutthroat world of fashion modelling, where people are being picked off one by one by a masked killer, on the eve of a photoshoot to commemorate a dead supermodel. A must-watch for fans of Dario Argento fans (Suspiria in particular), and Nicolas Winding Refn’s The Neon Demon, Crystal Eyes is wickedly scary neo-giallo, with an iconic doll-faced killer, superbly-staged set pieces, and a true affection for the stalk-and-slash genre it pays homage to, and featuring a fabulous performance from Argentinian screen veteran Silvia Montanari as a fearsome magazine editor. You can see it on the Arrow Video Channel - the home for weird and wild cult classics, newly-restored gems, and genre favourites, available on Apple TV and Amazon Prime Video (UK only). Also debuting on the Arrow Video Channel this September are: IVANSXTC Key Talent: Bernard Rose (Candyman), Danny Huston (Wolverine), Peter Weller (Robocop) Bernard Rose’s biting, drink-and-drug saturated satire on the behind-the-scenes of the Hollywood film industry, featuring a blistering lead performance from Danny Huston as an agent going spectacularly off the rails. -
Here Are a Few Films from Male Directors, Screening out of Competition)
Thursday 14 April 1:00 Industry event - Festival Secrets 7:30 Red Carpet Drinks 8:00 SHORTS PROGRAM + Opening Night Party Friday 15 April 5:00 Industry event - The Attic Lab Pitch + Networking Drinks 8.00 Feature film - THE INVITATION + short film THE THINGS WE TAKE 10.00 Feature film - THE LOVE WITCH + short film INNSMOUTH Saturday 16 April 11:00 Symposium - Bad Dog! (Dominic Leonard) 12:00 Symposium - Old Age and Treachery (Erin Harrington) 1:00 Symposium - Spilling Her Guts (Alison Mann) 2:30 Industry event - Tasmanian Gothic Script Readings and Awards 3.00 Industry event - Horror Now Panel 4:00 Feature film - GIRL ASLEEP 7.00 Feature film - EVOLUTION 10.00 Feature film - MIDNIGHT SHOW Sunday 17 April 11.30 Feature film - FRANKENSTEIN 2:30 Symposium - Deidre Hall is the Devil (Jodi McAlister) 3:30 Symposium - Shock And Awe (Emma Valente) 4.30 Feature film - THE FORSAKEN + short film THORN 7.00 Feature film - CRUSHED 9:00 Farewell Drinks in the Festival Club Stranger With My Face International Film Festival is supported by the Tasmanian Government through Screen Tasmania. #swmfiff Well, we’re back. After a hiatus in 2015, Stranger With My Face Horror Film Festival returns for its 4th edition—and is now known as Stranger With My Face International Film Festival. Why the name change? Don’t worry, we’re still into horror. Personally, I did get sick of about talking about the defi- nition of it all the time though, or worrying about what could or couldn’t logically be screened under that label. Genre is only a label in the end, and is useful mainly for marketing. -
Dear Parents, Guardians, Good Morning! Please See Some Important Information Below
Dear Parents, Guardians, Good Morning! Please see some important information below: CONGRATULATIONS!! Congratulations to the following visual arts students for their achievements at the Ocean County Teen Arts Festival! Six awards were received by High School North students! Michael Garcia had his artwork chosen for the visual arts touring exhibit, one of only four from Ocean County! Nasia Flowers and Caitlin Bonifacio had their artwork chosen for state exhibit. Diana Ferrulo, Cameron King, and Briane O’Brien had their artwork “Critiqued for Excellence”! Great Job! HELP SAVE OUR SCHOOL FUNDING! The communications campaign to restore our state funding continues! We are now looking for as many letters as possible to bring to the state budget hearing on April 10. Please go to this page for more information. A separate message will also be sent home soon. http://www.trschools.com/community/cant-make-it-to-trenton-here-is-how-you-can-stay- involved Match our students efforts! Write a letter by April 8th. We'll be collecting letters from students, parents, and other community members to deliver en masse (Miracle on 34th Street-style) at the feet of legislators the April 10 budget hearing. C:\Users\ekeller\Desktop\Copy of State Funding Appeal Letter Template 3.19.docx District Leaders Testify About Funding Crisis at State Conference: http://www.trschools.com/community/district-leaders-testify-about-funding-crisis-at-state- conference FREE EVENT! CHANGING THE SCRIPT – An important evening for athletes and their parents. Please attend this important forum designed to prevent opioid exposure among young athletes. C:\Users\ekeller\Desktop\IFPR Athletes Conference Flyer_m1.pdf ATTENTION SENIORS INTERESTED IN OCEAN COUNTY COLLEGE!!!! If you are planning to attend Ocean County College, we will be taking 60 seniors to OCC on Tuesday, May 28 for an Enrollment Day, the final step in the OCC College Pathways program. -
Introduction
Introduction 1 Clive Barker, ‘Cenobite’, 1986. cintro.indd 1 8/2/2017 10:35:01 AM cintro.indd 2 8/2/2017 10:35:02 AM ‘To darken the day and brighten the night’: Clive Barker, dark imaginer S o r c h a N í F h l a i n n In one of his more in-depth television interviews, while promoting his newly published novel Weaveworld in 1987, Clive Barker was introduced by host John Nicolson as having such a remarkable impact on the horror genre that, some believed, ‘it could only be the product of a diseased mind’. 1 Rather than directly insult Barker on television, the description actually amused the author, a gleeful grin spreading across his youthful, handsome face. Th e television show, BBC ’ s Open to Question , was far removed from the more typical book promotion television shows or talk show slots during which hosts gently prod and chat with the author to showcase their new novel. Th e thirty-minute interview quickly proceeded to take the form of a confrontational interrogation, with Barker positioned to off er a defence for the ‘indefensible’ horror genre. Topics were dominated by audience-led comments and queries which evidenced the cultural residue of moral panic, following on from the video nasty crisis that had gripped the UK in the early 1980s. Th ere was a particular emphasis on the potential for copycat killings inspired by his work, or the potential viral spread of violence which, at any moment, threatened to burst forth from the screen simply because of Barker ’ s appearance on the show.