Spartan Daily (October 5, 2011)
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This Installation Explores the Final Girl Trope. Final Girls Are Used in Horror Movies, Most Commonly Within the Slasher Subgenre
This installation explores the final girl trope. Final girls are used in horror movies, most commonly within the slasher subgenre. The final girl archetype refers to a single surviving female after a murderer kills off the other significant characters. In my research, I focused on the five most iconic final girls, Sally Hardesty from A Texas Chainsaw Massacre, Laurie Strode from Halloween, Ellen Ripley from Alien, Nancy Thompson from A Nightmare on Elm Street and Sidney Prescott from Scream. These characters are the epitome of the archetype and with each girl, the trope evolved further into a multilayered social commentary. While the four girls following Sally added to the power of the trope, the significant majority of subsequent reproductions featured surface level final girls which took value away from the archetype as a whole. As a commentary on this devolution, I altered the plates five times, distorting the image more and more, with the fifth print being almost unrecognizable, in the same way that final girls have become. Chloe S. New Jersey Blood, Tits, and Screams: The Final Girl And Gender In Slasher Films Chloe S. Many critics would credit Hitchcock’s 1960 film Psycho with creating the genre but the golden age of slasher films did not occur until the 70s and the 80s1. As slasher movies became ubiquitous within teen movie culture, film critics began questioning why audiences, specifically young ones, would seek out the high levels of violence that characterized the genre.2 The taboo nature of violence sparked a powerful debate amongst film critics3, but the most popular, and arguably the most interesting explanation was that slasher movies gave the audience something that no other genre was able to offer: the satisfaction of unconscious psychological forces that we must repress in order to “function ‘properly’ in society”. -
The Walking Dead,” Which Starts Its Final We Are Covid-19 Safe-Practice Compliant Season Sunday on AMC
Las Cruces Transportation August 20 - 26, 2021 YOUR RIDE. YOUR WAY. Las Cruces Shuttle – Taxi Charter – Courier Veteran Owned and Operated Since 1985. Jeffrey Dean Morgan Call us to make is among the stars of a reservation today! “The Walking Dead,” which starts its final We are Covid-19 Safe-Practice Compliant season Sunday on AMC. Call us at 800-288-1784 or for more details 2 x 5.5” ad visit www.lascrucesshuttle.com PHARMACY Providing local, full-service pharmacy needs for all types of facilities. • Assisted Living • Hospice • Long-term care • DD Waiver • Skilled Nursing and more Life for ‘The Walking Dead’ is Call us today! 575-288-1412 Ask your provider if they utilize the many benefits of XR Innovations, such as: Blister or multi-dose packaging, OTC’s & FREE Delivery. almost up as Season 11 starts Learn more about what we do at www.rxinnovationslc.net2 x 4” ad 2 Your Bulletin TV & Entertainment pullout section August 20 - 26, 2021 What’s Available NOW On “Movie: We Broke Up” “Movie: The Virtuoso” “Movie: Vacation Friends” “Movie: Four Good Days” From director Jeff Rosenberg (“Hacks,” Anson Mount (“Hell on Wheels”) heads a From director Clay Tarver (“Silicon Glenn Close reunited with her “Albert “Relative Obscurity”) comes this 2021 talented cast in this 2021 actioner that casts Valley”) comes this comedy movie about Nobbs” director Rodrigo Garcia for this comedy about Lori and Doug (Aya Cash, him as a professional assassin who grapples a straight-laced couple who let loose on a 2020 drama that casts her as Deb, a mother “You’re the Worst,” and William Jackson with his conscience and an assortment of week of uninhibited fun and debauchery who must help her addict daughter Molly Harper, “The Good Place”), who break up enemies as he tries to complete his latest after befriending a thrill-seeking couple (Mila Kunis, “Black Swan”) through four days before her sister’s wedding but decide job. -
1 Forever Alone in a Crowd, Arthur Fleck Seeks Connection. Yet, As He
Forever alone in a crowd, Arthur Fleck seeks connection. Yet, as he trods the sooted Gotham City streets and rides the graffitied mass transit rails of a hostile town teeming with division and dissatisfaction, Arthur wears two masks. One, he paints on for his day job as a clown. The other he can never remove; it’s the guise he projects in a futile attempt to feel he’s a part of the world around him, and not the misunderstood man whom life is repeatedly beating down. Fatherless, Arthur has a fragile mother, arguably his best friend, who nicknamed him Happy, a moniker that’s fostered in Arthur a smile that hides the heartache beneath. But, when bullied by teens on the streets, taunted by suits on the subway, or simply teased by his fellow clowns at work, this social outlier only becomes even more out of sync with everyone around him. Directed, co-written and produced by Todd Phillips, “Joker” is the filmmaker’s original vision of the infamous DC villain, an origin story infused with, but distinctly outside, the character’s more traditional mythologies. Phillips’ exploration of Arthur Fleck, who is indelibly portrayed by Joaquin Phoenix, is of a man struggling to find his way in Gotham’s fractured society. Longing for any light to shine on him, he tries his hand as a stand-up comic, but finds the joke always seems to be on him. Caught in a cyclical existence between apathy and cruelty and, ultimately, betrayal, Arthur makes one bad decision after another that brings about a chain reaction of escalating events in this gritty, allegorical character study. -
Race in Hollywood: Quantifying the Effect of Race on Movie Performance
Race in Hollywood: Quantifying the Effect of Race on Movie Performance Kaden Lee Brown University 20 December 2014 Abstract I. Introduction This study investigates the effect of a movie’s racial The underrepresentation of minorities in Hollywood composition on three aspects of its performance: ticket films has long been an issue of social discussion and sales, critical reception, and audience satisfaction. Movies discontent. According to the Census Bureau, minorities featuring minority actors are classified as either composed 37.4% of the U.S. population in 2013, up ‘nonwhite films’ or ‘black films,’ with black films defined from 32.6% in 2004.3 Despite this, a study from USC’s as movies featuring predominantly black actors with Media, Diversity, & Social Change Initiative found that white actors playing peripheral roles. After controlling among 600 popular films, only 25.9% of speaking for various production, distribution, and industry factors, characters were from minority groups (Smith, Choueiti the study finds no statistically significant differences & Pieper 2013). Minorities are even more between films starring white and nonwhite leading actors underrepresented in top roles. Only 15.5% of 1,070 in all three aspects of movie performance. In contrast, movies released from 2004-2013 featured a minority black films outperform in estimated ticket sales by actor in the leading role. almost 40% and earn 5-6 more points on Metacritic’s Directors and production studios have often been 100-point Metascore, a composite score of various movie criticized for ‘whitewashing’ major films. In December critics’ reviews. 1 However, the black film factor reduces 2014, director Ridley Scott faced scrutiny for his movie the film’s Internet Movie Database (IMDb) user rating 2 by 0.6 points out of a scale of 10. -
The Daily Gamecock, WEDNESDAY, JUNE 1, 2011
University of South Carolina Scholar Commons June 2011 6-1-2011 The aiD ly Gamecock, WEDNESDAY, JUNE 1, 2011 University of South Carolina, Office oftude S nt Media Follow this and additional works at: https://scholarcommons.sc.edu/gamecock_2011_jun Recommended Citation University of South Carolina, Office of Student Media, "The aiD ly Gamecock, WEDNESDAY, JUNE 1, 2011" (2011). June. 4. https://scholarcommons.sc.edu/gamecock_2011_jun/4 This Newspaper is brought to you by the 2011 at Scholar Commons. It has been accepted for inclusion in June by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. dailygamecock.com UNIVERSITY OF SOUTH CAROLINA WEDNESDAY, JUNE 1, 2011 VOL. 106, NO. 01 ● SINCE 1908 New business ventures aim to revive Main Street City celebrates Mast Store opening, expects renewal of downtown area Mikelle Street [email protected] Mast Store — a key tenant in Columbia’s ongoing Main Street renovation — opened its doors in an elaborate ribbon-cutting ceremony last week. Columbia leaders cheered the effort as a keynote sign of progress for the downtown district. “Columbia is ready for its Main Street to get in to full swing,” said John Cooper, president of the Mast Store. He addressed a crowd that stretched from the Main Street corner, across the road and to the opposite sidewalk. According to John Cooper, the crowd was two to three times larger than any previous opening. Once inside, many of the attendees made their way to the back corner of the store, which held more than 500 varieties of novelty candies to be purchased by the pound. -
Read Ebook {PDF EPUB} Scream a Screenplay by Kevin Williamson Unsubs Central
Read Ebook {PDF EPUB} Scream A Screenplay by Kevin Williamson UnSubs Central. Your stop for killer book and film reviews about the world's most notorious serial murderers. Scream 4: Calling Kevin Williamson. In 2014, I came across an opportunity to write for an arts & entertainment website. To apply, all I had to do was write a film review. I had never written a film review. After a flurry of research on “How to Write a Film Review,” next was deciding the film. I did not have to think long. I would review Scream 4 . I had an encyclopedic knowledge of the Scream series and had lost count of how many times I had watched and rewatched. I considered Wes Craven one of my heroes. The topper? Scream 4 had filmed in my town and many a late night was spent sitting on a sidewalk across the street watching them film. Yes, I would review Scream 4 . Below is my review as sent to the editor in 2014. Spoiler alert – I got the gig and for three years was a blogger for The Script Lab. Happy reading! Dimension Films – 2011 Director: Wes Craven Screenplay: Kevin Williamson, Ehren Kruger (not credited) Scream 4: Calling Kevin Williamson, Calling Kevin Williamson by Michelle Donnelly. With fevered anticipation I arrive at the movie theater on opening night to see Scream 4 , the latest installment of the Scream series. An hour and fifty-one minutes later, I walk out wondering what I have done to drive screenwriter Kevin Williamson away and am confused as to why he wants to destroy the relationship we once had. -
The Final Girl Grown Up: Representations of Women in Horror Films from 1978-2016
Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2017 The inF al Girl Grown Up: Representations of Women in Horror Films from 1978-2016 Lauren Cupp Scripps College Recommended Citation Cupp, Lauren, "The inF al Girl Grown Up: Representations of Women in Horror Films from 1978-2016" (2017). Scripps Senior Theses. 958. http://scholarship.claremont.edu/scripps_theses/958 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. THE FINAL GIRL GROWN UP: REPRESENTATIONS OF WOMEN IN HORROR FILMS FROM 1978-2016 by LAUREN J. CUPP SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS PROFESSOR TRAN PROFESSOR MACKO DECEMBER 9, 2016 Cupp 2 I was a highly sensitive kid growing up. I was terrified of any horror movie I saw in the video store, I refused to dress up as anything but a Disney princess for Halloween, and to this day I hate haunted houses. I never took an interest in horror until I took a class abroad in London about horror films, and what peaked my interest is that horror is much more than a few cheap jump scares in a ghost movie. Horror films serve as an exploration into our deepest physical and psychological fears and boundaries, not only on a personal level, but also within our culture. Of course cultures shift focus depending on the decade, and horror films in the United States in particular reflect this change, whether the monsters were ghosts, vampires, zombies, or aliens. -
David Arquette Will Return to Pursue Ghostface As Dewey Riley in the Relaunch of Scream for Spyglass Media Group
DAVID ARQUETTE WILL RETURN TO PURSUE GHOSTFACE AS DEWEY RILEY IN THE RELAUNCH OF SCREAM FOR SPYGLASS MEDIA GROUP James Vanderbilt and Guy Busick to Co-write the Screenplay With Project X Entertainment Producing, Creator Kevin Williamson Serving as Executive Producer and the Filmmaking Collective Radio Silence at the Helm LOS ANGELES (May 18, 2020)— David Arquette will reprise his role as Dewey Riley in pursuit of Ghostface in the relaunch of “Scream,” it was announced today by Peter Oillataguerre, President of Production for Spyglass Media Group, LLC (“Spyglass”). Plot details are under wraps but the film will be an original story co-written by James Vanderbilt (“Murder Mystery,” “Zodiac,” “The Amazing Spider-Man”) and Guy Busick (“Ready or Not,” “Castle Rock,”) with Project X Entertainment’s Vanderbilt, Paul Neinstein and William Sherak producing for Spyglass. Creator Kevin Williamson will serve as executive producer. Matt Bettinelli- Olpin and Tyler Gillett of the filmmaking group Radio Silence (“Ready or Not,” “V/H/S”) will direct and the third member of the Radio Silence trio, Chad Villella, will executive produce alongside Williamson. Principal photography will begin later this year in Wilmington, North Carolina when safety protocols are in place. Arquette said, “I am thrilled to be playing Dewey again and to reunite with my ‘Scream’ family, old and new. ‘Scream’ has been such a big part of my life, and for both the fans and myself, I look forward to honoring Wes Craven’s legacy.” Though Arquette is the first member of the film’s ensemble to be officially announced, conversations are underway with other legacy cast. -
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The Hangover Part 2 (2011) Bluray 720P
The hangover part 2 (2011) bluray 720p click here to download The Hangover Part II () p & p Bluray Free Download. Ganre: Comedy, Mystery. IMDB: / MPA: R. Language: English. Two years after the bachelor party in Las Vegas, Phil, Stu, Alan, and Doug jet to Thailand for Stu's wedding. Stu's plan for a subdued. 1, Arabic, subtitle The Hangover Part II p BD Rip Tamil Hindi 0, Serbian, subtitle www.doorway.rux[YTS. Two years after the bachelor party in Las Vegas, Phil, Stu, Alan, and Doug jet to Thailand for Stu's wedding. Stu's plan for a subdued pre-wedding brunch. The Hangover Part II - The Hangover crew heads to Thailand for Stu's wedding. After the disaster of a bachelor party in Las Vegas last year, Stu. www.doorway.ru - Download The Hangover Part II () Bluray p | www.doorway.ru Title: The Hangover Part II Bluray p Format: Mp4 IMDB Rate: The. www.doorway.ru-RARBG, Gigabyte, 55, Download, The Hangover Part II () p BR - MB -. Comedy · Two years after the bachelor party in Las Vegas, Phil, Stu, Alan, and Doug jet to The Hangover Part II (). R | 1h 42min .. DVD & Blu-ray. The Hangover Part II (Comedy) - Right after the bachelor party in Las Vegas, Phil, Stu, Alan, and Doug jet to Thailand for Stu's wedding. Stu's plan for a subdued. Storyline: The Hangover Part 2 () p Hindi BluRay Dual Audio Full Movie Download, Two years after the bachelor party in Las Vegas. 0, English, Subtitle The Hangover Part II p BluRay DTS xFelony, YTS. -
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filmmaking C KING OF CRASS HANGOVER DIRECTOR TODD PHILLIPS U REINVENTS THE SUMMER BLOCKBUSTER by Kevin Fallon / CAS ’09 oy wizards, warring Starsky & Hutch (2004) , is perhaps began as a project robots, superheroes most proud that his latest movie for Choy’s docu - L in spandex, drunk - was labeled “the raunchiest main - mentary-film en pirates, and talk - stream comedy of all time.” And course, which he B ing animals. These now he’s in demand as a producer took for four se - are the historic pillars of Holly - as well, having just wrapped the mesters. Phillips wood summer blockbusters. But ensemble comedy Project X , for focused on docu - T thanks to three men with splitting which he’s credited with discov - mentaries because headaches and a rogue tiger, the in - ering a cast of unknown actors he imagined him - dustry has discovered a new way to likely poised for big breaks. Is it all self too inexperi - sell tickets on a massive scale. Di - a little overwhelming? The enced to write rector Todd Phillips (TSOA ’94) is Brooklyn-born Phillips concedes: believable screen - the man behind the bawdy, box- “It’s a long way from living on plays. “When office-shattering comedies The Seventh Street and Avenue B and you’re 18 years Hangover (2009) and The Hangover going to Christine Choy’s docu - old, unless you’re Part II (2011) . The films each raked mentary class, for sure.” a naturally gifted in more than $480 million world - Phillips grew up on Long Is - writer, which I UR wide, rivaling the gross of franchise land, raised by his mother and two wasn’t, you don’t E hits such as Transformers and X- older sisters, and fed by the movies have a lot of sto - Men —but without the costly spe - of John Landis and Ivan Reitman, ries to tell yet,” he cial effects. -
June 14, 2018 the Honorable Bob Goodlatte, Chairman The
June 14, 2018 The Honorable Bob Goodlatte, Chairman The Honorable Jerry Nadler, Ranking Member House Committee on the Judiciary 2138 Rayburn House Office Building Washington, D.C. 20515 The Honorable Greg Walden, Chairman The Honorable Joe Barton, Vice Chairman The Honorable Frank Pallone, Ranking Member House Energy and Commerce Committee 2125 Rayburn House Office Building Washington, D.C. 20515 Dear Chairmen, Vice Chairman, and Ranking Members: We, the undersigned, are creatives who make our living in the entertainment industries. Whether we work in film, television, publishing, music, or photography, we and our colleagues have all been affected by the rampant, illicit activity that occurs on the major internet platforms, including Google and Facebook. There has been growing concern in Washington, in the press, and among Americans about the lack of responsibility exercised by the major internet platforms toward harmful and illegal activity taking place on their services. For decades, online gatekeepers like Facebook and Google have turned a blind eye to the proliferation of widespread societal harms on their platforms. From sex trafficking to foreign influence over our elections, from privacy to piracy, it has become increasingly clear that more needs to be done to ensure platform responsibility. In recent hearings in both the House and the Senate, Facebook’s CEO, Mark Zuckerberg, characterized Silicon Valley’s failure to take an appropriately broad view of its responsibility as a “big mistake.” But whether the lack of responsibility was a “mistake” or something else, the failure of Facebook, Google, and others to take responsibility is rooted in decades-old government policies, including legal immunities and safe harbors, that treat these companies differently than other industries and actually absolve internet platforms of responsibility.