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Film Reviews
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. -
Praise for Manu Saadia
PRAISE FOR MANU SAADIA “Manu Saadia proves that Star Trek is an even more valuable cultural icon than we ever suspected.” —Charlie Jane Anders, Hugo Award winner, editor in chief, io9 “In Trekonomics, Saadia reminds us of what made Star Trek such a bold experiment in the first place: its Utopian theme of human culture recovering from capitalism. Smart, funny, and wise, this book is a great work of analysis for fans of Star Trek and a call to arms for fans of eco- nomic justice.” —Annalee Newitz, tech culture editor, Ars Technica “To understand the fictional world of Star Trek is to understand not only the forces which drive our real world, but also the changes that are necessary to improve it. Manu’s book will change the way you see three different universes: the one that Gene Roddenberry created, the one we’re in, and the one we’re headed toward.” —Felix Salmon, senior editor, Fusion TREKONOMICS TREKONOMICS MANU SAADIA Copyright © 2016 Manu Saadia All rights reserved. No part of this book may be reproduced, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without express written permission of the publisher. Published by Pipertext Publishing Co., Inc., in association with Inkshares, Inc., San Francisco, California www.pipertext.com www.inkshares.com Edited and designed by Girl Friday Productions www.girlfridayproductions.com Cover design by Jennifer Bostic Cover art by John Powers ISBN: 9781941758755 e-ISBN: 9781941758762 Library of Congress Control Number: 2016931451 First edition Printed in United States To Lazare, our chief engineer, and to my father, Yossef Saadia. -
Birth and Ruin: Ttte Devil Versus Social Codes in Rosemary's Baby, the Exorcist and Ttie Omen
BIRTH AND RUIN: TTTE DEVIL VERSUS SOCIAL CODES IN ROSEMARY'S BABY, THE EXORCIST AND TTIE OMEN BY NATASHA LOPUSINA A Thesis submitted to the Faculty of Graduate Studies In Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Department ofEnglish University of Manitoba Winnipeg, Manitoba @ Natasha Lopusina, March 2005 THE UNIVERSITY OF MANITOBA FACULTY OF GRADUATE STUDIES COPYRIGHT PERMISSION BIRTH AND RUIN: THE DEVIL VERSUS SOCIAL CODES IN ROSEMARY'S BABY, THE EXORCIST AND THE OMEN BY NATASHA LOPUSINA A ThesisÆracticum submitted to the Faculty of Graduate Studies of The University of Manitoba in partial fulfillment of the requirement of the degree MÄSTER Of ARTS NATASHA LOPUSINA O 2OO5 Permission has been granted to the Library of the University of Manitoba to lend or sell copies of this thesis/practicum, to the National Library of Canada to microfilm this thesis and to lend or sell copies of the film, and to University Microfilms Inc. to publish an abstract of this thesis/practicum. This reproduction or copy of this thesis has been made available by authority of the copyright owner solely for the purpose of private study and research, and may only be reproduced and copied as permitted by copyright laws or with express written authorization from the copyright owner. Table of contents Abstract 2 Introduction J CHAPTER I. Rosemary's Baby - A Woman's Realþ Within a Lie t3 CHAPTER II. The Visual Terror of The Exorcist's Daughter 39 CHAPTER III. The Devil as The Omen of the American Family 66 Conclusion 94 Bibliography 103 Abstract In mv thesis Birth and Ruin: The Devil versus Social Codes in Rosemaryt's Bab\t. -
Scared Sacred: Idolatry, Religion and Worship in the Horror Film Exclusive Chapter Except for Daily Dead From
Scared Sacred: Idolatry, Religion and Worship in the Horror Film Exclusive chapter except for Daily Dead from: “I don’t know if we’ve got the heir to the Thorn millions here or Jesus Christ Himself”: Catholicism, Satanism and the Role of Predestination in The Omen (1976) LMK Sheppard In The Omen’s (1976) climactic scene, protagonist Robert Thorn (Gregory Peck) takes his adoptive son Damien (Harvey Stephens) to sacred ground on the instruction of historian and demonologist/exorcist Carl Bugenhagen (Leo McKern). Thorn plans to murder the young heir in accordance with an ancient ritual. The entire narrative has led to this moment, at which point the titular omen is finally brought to bear: will the suspected Son of Satan be allowed to live, or will he be sacrificed for the greater good? This choice is not one made of free will; it has been purportedly predestined since biblical times, as confirmed by the final scene. At the double funeral of his parents, the camera focuses upon the face of Damien as he smiles before revealing that the child is holding the hands of two adults: Thorn’s best friends, the President of the United States and his first lady. Thorn’s attempt to kill Damien has set in motion a specific course of events, and the orphaned child has been adopted by arguably the most politically influential couple in the world. Thorn’s choice therefore played a pivotal part in the fulfillment of an ancient prophecy: the Antichrist will arise from the world of politics and bring about the apocalypse. -
Science Fiction Review 37
SCIENCE FICTION REVIEW $2.00 WINTER 1980 NUMBER 37 SCIENCE FICTION REVIEW (ISSN: 0036-8377) Formerly THE ALIEN CRITZ® P.O. BOX 11408 NOVEMBER 1980 — VOL.9, NO .4 PORTLAND, OR 97211 WHOLE NUMBER 37 PHONE: (503) 282-0381 RICHARD E. GEIS, editor & publisher PAULETTE MINARE', ASSOCIATE EDITOR PUBLISHED QUARTERLY FEB., MAY, AUG., NOV. SINGLE COPY — $2.00 COVER BY STEPHEN FABIAN SHORT FICTION REVIEWS "PET" ANALOG—PATRICIA MATHEWS.40 ASIMOV'S-ROBERT SABELLA.42 F8SF-RUSSELL ENGEBRETSON.43 ALIEN THOUGHTS DESTINIES-PATRICIA MATHEWS.44 GALAXY-JAFtS J.J, WILSON.44 REVIEWS- BY THE EDITOR.A OTT4I-MARGANA B. ROLAIN.45 PLAYBOY-H.H. EDWARD FORGIE.47 BATTLE BEYOND THE STARS. THE MAN WITH THE COSMIC ORIGINAL ANTHOLOGIES —DAVID A. , _ TTE HUNTER..... TRUESDALE...47 ESCAPE FROM ALCATRAZ. TRIGGERFINGER—an interview with JUST YOU AND Ft, KID. ROBERT ANTON WILSON SMALL PRESS NOTES THE ELECTRIC HORSEMAN. CONDUCTED BY NEAL WILGUS.. .6 BY THE EDITOR.49 THE CHILDREN. THE ORPHAN. ZOMBIE. AND THEN I SAW.... LETTERS.51 THE HILLS HAVE EYES. BY THE EDITOR.10 FROM BUZZ DIXON THE OCTOGON. TOM STAICAR THE BIG BRAWL. MARK J. MCGARRY INTERFACES. "WE'RE COMING THROUGH THE WINDOW" ORSON SCOTT CARD THE EDGE OF RUNNING WATER. ELTON T. ELLIOTT SF WRITER S WORKSHOP I. LETTER, INTRODUCTION AND STORY NEVILLE J. ANGOVE BY BARRY N. MALZBERG.12 AN HOUR WITH HARLAN ELLISON.... JOHN SHIRLEY AN HOUR WITH ISAAC ASIMOV. ROBERT BLOCH CITY.. GENE WOLFE TIC DEAD ZONE. THE VIVISECTOR CHARLES R. SAUNDERS BY DARRELL SCHWEITZER.15 FRANK FRAZETTA, BOOK FOUR.24 ALEXIS GILLILAND Tl-E LAST IMMORTAL.24 ROBERT A.W, LOWNDES DARK IS THE SUN.24 LARRY NIVEN TFC MAN IN THE DARKSUIT.24 INSIDE THE WHALE RONALD R. -
CHALLENGER No
CHALLENGER no. 38 Guy & Rosy Lillian, editors Autumn, 2014 1390 Holly Avenue Merritt Island FL 32952 [email protected] Cover by AL SIROIS CONTENTS 1 Editorial: what Future?/Contraflow GHLIII 2 Our Old Future Gregory Benford 5 “I Never Repeat a Joke …” Joseph Major 9 The Challenger Tribute: JoAnn Montalbano GHLIII (Art by Charlie Williams) 13 The Predictions of Jules Verne / The Predictions of H.G. Wells Joseph L. Green 14 The Infamous Baycon Mike Resnick (Art by Kurt Erichsen) 20 A Marvelous House GHLIII (Photos by Guy & Rosy Lillian) 23 A Brief (Cinematic) History of the Future Jim Ivers 26 The Chorus Lines everyone 39 Afoot at Loncon … Gregory Benford 51 Zeppelin Terror W. Jas. Wentz (Illustration by Taral Wayne) 55 Chicon 7 Guest of Honor Speech Mike Resnick 62 Poem David Thayer 76 “We are all interested in the future, because that is where we are going to spend the rest of our lives.” Criswell, Plan 9 from Outer Space Challenger no. 38 is © 2014 by Guy H. Lillian III. All rights to original creators; reprint rights retained. GHLIII Press Publication #1160. what FUTURE? Fifty years ago, as a blushing youth of 14, I read the first volume of The Hugo Winners – a series I fervently wish some publisher would revive. Within, no less an authority than Isaac Asimov heaped praise on a novel originally published in 1939, Sinister Barrier by Erik Frank Russell. In subsequent years I never got around to reading the book until, aground in Florida in forced retirement, I thought to correct this lifelong lapse and ordered a cheap reading copy from eBay. -
Star Trek Fan Community
The Effect of Commercialisation and Direct Intervention by the Owners of Intellectual Copyright A Case Study: The Australian Star Trek Fan Community Susan Pamela Batho PhD Candidate University of Western Sydney Australia 2009 Resubmitted March 2009 © Susan Batho February 2007 Statement of Authentication The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare that I have not submitted this material, either in full or in part, for a degree at this or any other institution. …………………………………………… (Signature) ABSTRACT In the early 1990s, Australian Star Trek fandom appeared to be thriving, with large numbers of members in individual clubs, many publications being produced and conventions being held. The Star Trek phenomenon was also growing, with its profitability being an attractive selling point. In 1994, Viacom purchased Paramount Communications, and expanded the control over its rights by offering licences to the title of Official Star Trek Club for countries outside of the United States, as well licences for numerous commercially sold items At the time they were in negotiation with the Microsoft Corporation to establish an on-line community space for Star Trek to attract the expanding internet fan presence, and relaunching Simon & Schuster’s Pocket Books which was part of Paramount Communications, as its sole source of Star Trek fiction, and had organised to launch the Star Trek Omnipedia, a CD produced by Simon & Schuster Interactive. A new Star Trek series, Voyager, was about to appear, and marketing-wise, it was a good time to expand their presence commercially, launch the new website, and organise the fans through Official Star Trek Clubs, feeding them new merchandise, and the new website. -
Star Trek and Gene Roddenberry's “Vision of the Future”: the Creation of an Early Television Auteur
Volume 5, Issue 2 September 2012 Star Trek and Gene Roddenberry’s “Vision of the Future”: The Creation of an Early Television Auteur MICHAEL KMET, University of California Los Angeles ABSTRACT Gene Roddenberry propagated a narrative of himself as a “visionary” writer-producer and the primary author of Star Trek in the 1960s. From the 1970s onwards, Paramount Pictures (and later, CBS) co-opted that narrative to market what would become the Star Trek franchise. This paper will examine to what extent this narrative can be substantiated, and to what extent certain aspects can be contested. KEYWORDS Authorship, auteur, Gene Roddenberry, Science Fiction, Star Trek. Telefantasy, Television, visionary. Introduction When Gene Roddenberry died on October 24, 1991, obituary writers frequently mentioned the “vision of the future” presented in Star Trek (1966-1969) and Star Trek: The Next Generation (1987-1994), the two longest-running television programs to credit Roddenberry as their creator1 (Roush, 1991; Anon., 1991, October 25). Some went even further, proclaiming the late writer-producer an outright ‘visionary, a man who created a cultural phenomenon’ (Anon., 1991, October 26). These were not new labels for Gene Roddenberry, who had been described in such lofty terms since he began attending Star Trek conventions in the early 1970s (Engel, 1994, p.142). In the two decades since Roddenberry’s death, similar descriptions of the writer-producer have continued to appear in Star Trek-related press coverage (Thompson, 1996), value-added content on home video, and nonfiction books (Greenwald, 1998). Although a few books and articles have been written since Roddenberry’s death that have questioned some of his more grandiose claims about Star Trek, many more have perpetuated them, and few have deviated from the narrative of Gene Roddenberry as visionary. -
Star Trek: the Packet
"Star Trek: The Packet" (1 TTGTlI v.4.11: None More Black Written by Rick Berman and Michael Piller (Mike Witry of the University ofIowa) Subject: Based upon Gene Roddenberry's "Star Trek" Tossups Tl. She kidnapped Geordi La Forge in an attempt to brainwash him into assassinating Klingon governor Vagh(*). Despite her failure, she went on to bigger and better things, like sneaking supplies to the Duras faction in the Klingon civil war, and trying to invade Vulcan under the guise of a peace initiative. FTP, name this only blonde Romulan, who, through a bizarre series of events, was the daughter ofTasha Yar. C Sela~ T2. These useful devices are connected directly into a circuit, and come in a variety of sizes, ranging from about one amp in a car(*) to 30 amps in small appliances and higher. Common in the 20th century, the technology to build them was evidently lost by the 23rd, as shown by the shower of sparks thrown out by the computer systems every time the ship is shot. FTP, name these electrical devices, which melt to prevent wires from overheating. CFuse~ T3. Once upon a time, the eccentric shopkeeper Obe noticed that a weary traveler, Greb, overpaid him for a canister of beetle snuff(*). He set out to Greb's hometown to make restitution, but when he was halfway there, he was murdered by assassins hired by none other than Greb, who had been carrying on an affair with Obe's wife. This parable inspired, FTP, which Ferengi Rule of Acquisition, which reads, "Once you have their money, you never give it back"? CFirst_ Rule of Acquisition) T4. -
The Omen 1976
"THE OMEN n An Original Screenplay by David Seltzer PRODUCER: HARVEY BERNHARD EXECUTIVE PRODUCER: MACE NEUFELD DIRECTOR: RICHARD DONNER REVISED September 8~ 1975 A-22 REVISED ... 9/26/75 0 TEE' OMEN° FADE IN EXT. TEE NIGHT SXY l S1l.ent .. Peace:ful .. The constellations SEEN clearly., quilted against bl~e, interwoven with the M1l.lcy' Wa.y. From the in.t1nite depths o~ the Universe, j_mperceptibly at f1rat, we begin to BEAR a SOUND. It is a CHANT. Unison and resounding .. Distant. -- slowly growi in volume -- a thousand human vo1ees repeating the 11 11 until i-t fills the atmosphere, and we begin to SENSE MOVEMENT 1n the·STARS. SUPER: IN 'WHITE, BIBLICAL SCRIPTURE: . ' "Let'He who hath understanding Reckon the· number ot the Beast; For it ia a human number; Its number is Six, Hundred and Sixty-six" SUPER FADES: And the chant begins to rise in volume, the constellations begin to shudder, as a new STAR slowly forms in their midst. SUPER: IN WHITE, BIBLICAL SCRIPTURE: -- CHAPmR TWELVE VE:RSE TWENTY-EIGHT -- SUPER FADES: As the chant increases in volume. and the star takes sudden shape; t'1re at its center, a ha.lo or black surrounded by white. SUPER: OPEN:mo Trl'LE: REVELATIONS As MUSIC THUNDERS to a CRESCENDO: the STA!l BtmNINO WITH GREAT INTENSITY ••• CUT TO: EXT./INT. ROME - NIGHT A-1 A limousine drives through city. (8 shot montage). -OUT 2 CUT TO: A-22 Scanned and converted to PDF by SCREENTALK Magazine - www.screentalk.biz 11 11 REVISED - THE OMEN - 9/26 75 1-A INT. -
Universidad Central Del Ecuador Facultad De Comunicación Social
UNIVERSIDAD CENTRAL DEL ECUADOR FACULTAD DE COMUNICACIÓN SOCIAL ANÁLISIS SEMIÓTICO DE LOS LENGUAJES KINÉSICOS Y PROXÉMICOS DE LA PELÍCULA “LA PROFECÍA I” TRABAJO DE GRADO PREVIO A LA OBTENCIÓN DEL TÍTULO DE LICENCIADO EN COMUNICACIÓN SOCIAL ANDRÉS ERNESTO PONCE PROAÑO DIRECTOR: MGS. DIMITRI MAXIMILIANO MADRID MUÑOZ Quito- Ecuador 2014 DEDICATORIA Dedico esta Tesis de Grado a mi hermano Santiago Ponce, quien con su apoyo e incentivo incondicional me permitió lograr culminar este trabajo de forma satisfactoria y a mi familia que colaboró todo el tiempo. ii AGRADECIMIENTOS: A Dios por ser mi fuente de inspiración y a quien le debo mi vida, a mis padres y a mi familia por inculcar en mí valores de responsabilidad, amor, disciplina y perseverancia, a las autoridades de las Instituciones laborales en las que me desempeño como al Coro de la Casa de la Cultura Ecuatoriana por demostrar su comprensión y respaldo frente a este trabajo; y a mis verdaderos amigos, quiénes a pesar de que no los veo constantemente me han brindado su apoyo, especialmente en las situaciones más difíciles. iii AUTORIZACIÓN DE LA AUTORÍA INTELECTUAL Yo Andrés Ernesto Ponce Proaño en calidad de autor del trabajo de investigación o tesis realizada sobre: “Análisis semiótico de los lenguajes kinésicos y proxémicos de la película La Profecía I” por la presente autorizo a la UNIVERSIDAD CENTRAL DEL ECUADOR, hacer uso de todos los contenidos que me pertenecen o de parte de los que contiene esta obra, con fines estrictamente académicos o de investigación. Los derechos que como autor me corresponden, con excepción de la presente autorización, seguirán vigentes a mi favor, de conformidad con lo establecido en los artículos 5,6,8;19 y demás pertinentes de la Ley de Propiedad Intelectual y su reglamento. -
University of Southampton Research Repository Eprints Soton
University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES School of Philosophy The Veneer of Fear: Understanding Movie Horror by Stuart John Hitchcock Thesis for the degree of Doctor of Philosophy August 2016 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES Doctor of Philosophy THE VENEER OF FEAR: UNDERSTANDING MOVIE HORROR By Stuart John Hitchcock Over the past half century, theorists have grappled with the issue that spectators engage with, and are emotionally affected by, fiction. In particular, film fiction has aroused interest because of the strength of emotional response. Traditional thinking about film accepted that illusion was a component of a spectator’s experience of film. However, contemporary theory has veered significantly from this and assumed that the spectator is always aware of the fictional nature of the content.