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Images of the Religious in Horror Films
Journal of Religion & Film Volume 5 Issue 2 October 2001 Article 7 October 2001 The Sanctification of ear:F Images of the Religious in Horror Films Bryan Stone Boston University School of Theology, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Stone, Bryan (2001) "The Sanctification of ear:F Images of the Religious in Horror Films," Journal of Religion & Film: Vol. 5 : Iss. 2 , Article 7. Available at: https://digitalcommons.unomaha.edu/jrf/vol5/iss2/7 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. The Sanctification of ear:F Images of the Religious in Horror Films Abstract Horror film functions both as a threat and a catharsis by confronting us with our fear of death, the supernatural, the unknown and irrational, ''the other" in general, a loss of identity, and forces beyond our control. Over the last century, religious symbols and themes have played a prominent and persistent role in the on-screen construction of this confrontation. That role is, at the same time, ambiguous insofar as religious iconography has become unhinged from a compelling moral vision and reduced to mere conventions that produce a quasi-religious quality to horror that lacks the symbolic power required to engage us at the deepest level of our being. Although religious symbols in horror films are conventional in their frequent use, they may have lost all connection to deeper human questions. -
PT, Freud, and Psychological Horror
Press Start Silent Halls Silent Halls: P.T., Freud, and Psychological Horror Anna Maria Kalinowski York University, Toronto Abstract “What is a ghost?” “An emotion, a terrible moment condemned to repeat itself over and over…” —The Devil’s Backbone (Del Toro, 2001) This paper analyses P.T. (Kojima Productions, 2014), a playable teaser made to demo a planned instalment within the Silent Hill franchise. While the game is now indefinitely cancelled, P.T. has cemented itself not only as a full gaming experience, but also as a juggernaut in the genre of psychological horror. Drawing from Sigmund Freud’s concept of the uncanny, the aim of the paper is to address how these psychological concepts surface within the now infamous never-ending hallway of P.T. and create a deeply psychologically horrifying experience. Keywords psychological horror; the uncanny; Freud; game design; Press Start 2019 | Volume 5 | Issue 1 ISSN: 2055-8198 URL: http://press-start.gla.ac.uk Press Start is an open access student journal that publishes the best undergraduate and postgraduate research, essays and dissertations from across the multidisciplinary subject of game studies. Press Start is published by HATII at the University of Glasgow. Kalinowski Silent Halls Introduction The genre of psychological horror is a complex one to navigate through with ease, especially for those that are faint of heart. Despite its contemporary popularity, when the sub-genre first began to emerge within horror films, it was considered to be a detriment to the horror genre (Jancovich, 2010, p. 47). The term ‘psychological’ was often used to disguise the taming of horror elements instead of pushing the genre into more terrifying territories. -
9. List of Film Genres and Sub-Genres PDF HANDOUT
9. List of film genres and sub-genres PDF HANDOUT The following list of film genres and sub-genres has been adapted from “Film Sub-Genres Types (and Hybrids)” written by Tim Dirks29. Genre Film sub-genres types and hybrids Action or adventure • Action or Adventure Comedy • Literature/Folklore Adventure • Action/Adventure Drama Heroes • Alien Invasion • Martial Arts Action (Kung-Fu) • Animal • Man- or Woman-In-Peril • Biker • Man vs. Nature • Blaxploitation • Mountain • Blockbusters • Period Action Films • Buddy • Political Conspiracies, Thrillers • Buddy Cops (or Odd Couple) • Poliziotteschi (Italian) • Caper • Prison • Chase Films or Thrillers • Psychological Thriller • Comic-Book Action • Quest • Confined Space Action • Rape and Revenge Films • Conspiracy Thriller (Paranoid • Road Thriller) • Romantic Adventures • Cop Action • Sci-Fi Action/Adventure • Costume Adventures • Samurai • Crime Films • Sea Adventures • Desert Epics • Searches/Expeditions for Lost • Disaster or Doomsday Continents • Epic Adventure Films • Serialized films • Erotic Thrillers • Space Adventures • Escape • Sports—Action • Espionage • Spy • Exploitation (ie Nunsploitation, • Straight Action/Conflict Naziploitation • Super-Heroes • Family-oriented Adventure • Surfing or Surf Films • Fantasy Adventure • Survival • Futuristic • Swashbuckler • Girls With Guns • Sword and Sorcery (or “Sword and • Guy Films Sandal”) • Heist—Caper Films • (Action) Suspense Thrillers • Heroic Bloodshed Films • Techno-Thrillers • Historical Spectacles • Treasure Hunts • Hong Kong • Undercover -
Grimdark Magazine Issue 27 PDF
1 Contents From the Editor Beth Tabler Outliers A.M. Shine Crossing the Monster Kaaron Warren Island of Sin Jack Murphy An Interview with Chuck Wendig Beth Tabler The Tesseract Evan Marcroft An Interview with Paul Tremblay Beth Tabler The Jewels of the Mermaids Marisca Pichette The Case for Conflict Sadie Hartmann Tubes Jeremy C. Shipp An Interview with Graham Masterton 2 Beth Tabler Gingerbread Lindsay King-Miller 3 From the Editor BETH TABLER Hey, there. My name is Beth Tabler, and I am guest editing the horror crossover issue of Grimdark Magazine. As a young connoisseur of all horror and science fiction movies inappropriate for my age, I remember seeing Poltergeist for the first time when I was seven years old. I had snuck down to the television while my folks were sleeping. I never quite got over demonic trees, clowns, and an old woman screaming, "Carol Anne." I remember reading my first Stephen King book, Salem's Lot, at 12. I knew at that moment that my reading life would never be the same. I remember the first grimdark book I read at 25; it was Mark Lawrence’s Prince of Thorns, by the way. I realized sometimes heroes aren't heroic, bad guys can be protagonists, and life is full of a lot more gray than I had thought. Horror and grimdark are a part of who I am and how I see the world. They are my jam. The themes of horror and grimdark have always gone hand in hand. But often, a thin gray line separates the two, a place where the story does not fall one way or another but sits on that terrifying spot between the two, where you can't quite tell what is what. -
{PDF} the Crow
THE CROW PDF, EPUB, EBOOK J O'Barr | 272 pages | 26 Jul 2011 | SIMON & SCHUSTER | 9781451627251 | English | United States The Crow PDF Book Lee had completed most of his scenes for the film and was scheduled to shoot for only three more days. First appearance. A day care owner is killed, along with some of the children she watches, when a militia group tries to kill a senator. Also, her methods for dealing with her opposition are far more severe than Draven's. It'll upset the super religious of you who decided to watch this film. Leandre appears in The French Crow , Vols. Joshua, along with his wife and child, are murdered by a band of Confederate soldiers. In the thrid movie, "The Crow: Salvation", Alex Corvis was executed on an electric chair, and his face was burned by a hot metal helmet which was worn on his head during the execution. Release date. And he flash fried T-bird to his fucking car! The film opened at the top of the box office and attained a strong cult following. Orphan Black: Season 5. In either case, the Crow's magic is rooted in lost love. Ravens' tails and wings come to a point. Knoxville News-Sentinel. Edit Cast Cast overview, first billed only: Brandon Lee He appears in the four issue series The Crow: Waking Nightmares. Best Movie of the Year. Like his predecessor, Ashe successfully kills each of the gang members until he meets the crime boss who order his death. Don't Dress For Either". Nests are 1. -
Mcwilliams Ku 0099D 16650
‘Yes, But What Have You Done for Me Lately?’: Intersections of Intellectual Property, Work-for-Hire, and The Struggle of the Creative Precariat in the American Comic Book Industry © 2019 By Ora Charles McWilliams Submitted to the graduate degree program in American Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Co-Chair: Ben Chappell Co-Chair: Elizabeth Esch Henry Bial Germaine Halegoua Joo Ok Kim Date Defended: 10 May, 2019 ii The dissertation committee for Ora Charles McWilliams certifies that this is the approved version of the following dissertation: ‘Yes, But What Have You Done for Me Lately?’: Intersections of Intellectual Property, Work-for-Hire, and The Struggle of the Creative Precariat in the American Comic Book Industry Co-Chair: Ben Chappell Co-Chair: Elizabeth Esch Date Approved: 24 May 2019 iii Abstract The comic book industry has significant challenges with intellectual property rights. Comic books have rarely been treated as a serious art form or cultural phenomenon. It used to be that creating a comic book would be considered shameful or something done only as side work. Beginning in the 1990s, some comic creators were able to leverage enough cultural capital to influence more media. In the post-9/11 world, generic elements of superheroes began to resonate with audiences; superheroes fight against injustices and are able to confront the evils in today’s America. This has created a billion dollar, Oscar-award-winning industry of superhero movies, as well as allowed created comic book careers for artists and writers. -
1432381098736.Pdf
more exhilarating, and more exhausting, than six hours of Introduction miniatures combat. Be prepared. Follow the Wire-Fu training regimen and you’ll be just "Here's the plan: We go in, I start hittin' people hard fine. The section titled "I Know Kung-Fu" gives copious advice on in the face. See where it takes us." --Angel recreating the signature style of these films in a role-playing game. After that, you'll find character templates from Enlightened Wire-Fu is a Hong Kong style of film making that spans Masters to Cyborgs, and classic villains from Evil Eunuchs to genres from wuxia to sci-fi. It's characterized by elaborate fight Kung-Fu Vampires. Three “Worlds of Wire-Fu” demonstrate the choreography, gratuitous use of special effects, and a complete breadth of setting options available. Finally, you get over 15 disregard for the laws of physics. Its heros can take on entire pages of Kick-Ass Examples of Play, each more kick-ass than armies without breaking a sweat! They do what needs to be the last! done, even if that means doing the impossible. If you're already a Wushu fan, you should know that Wire- The most famous example of Hollywood Wire-Fu is the Fu does replace the original Wushu Core Rules, just like Pulp- Matrix Trilogy. (Say what you want about the sequels, but Fu did. However, it also includes a number of new rules and Reloaded has some of the most fantastic action sequences options that appear in neither its predecessors nor Wushu ever caught on film!) Those movies made excellent use of Yuen Open. -
THE CROW Stairway to Heaven
THE CROW Stairway to Heaven THE TV SERIES BIBLE: NEW TESTAMENT WRITTEN BY BRYCE ZABEL March 28, 1998 Version 1.1 THE CROW TV Bible: New Testament 1998 Bryce Zabel THE CROW : Stairway To Heaven WHAT TV GUIDE WILL SAY A murdered rock-and-roll musician returns to Earth exactly one year after his death to take revenge on his killers. THE BIGGER PICTURE Although the driving force behind the feature films was clearly violent revenge, the series picks up the secondary threads of those pictures: redemption, the afterlife, the power of love. Our concept has some ideas embedded inside it that have the power to dig in your soul and change the way you see life. For starters, this character, ERIC DRAVEN, exists at Ground Zero of a special universe where life and death get the special attention they deserve. He has a shattering effect on people, good and bad. A quick example: We all take for granted the inevitability of death. It forms a rigid line from which we construct our view of “the way things are.” Along comes a man who proves that the line can be crossed. His very presence gives faith, and it takes it away. Our series replaces the rigid line with a semi-permeable membrane between these worlds. In our construct, death is not an absolute. It is a transition. Big ideas, big action. THE CROW: STAIRWAY TO HEAVEN is about justice, and redemption, and how hard it is to play by the rules in a world where both evil and good seem about evenly matched. -
Brief Amici Curiae of Crow Tribe of Indians, National Congress Of
No. 19-1414 In the Supreme Court of the United States __________ UNITED STATES OF AMERICA, PETITIONER v. JOSHUA JAMES COOLEY, RESPONDENT __________ ON PETITION FOR A WRIT OF CERTIORARI TO THE UNITED STATES COURT OF APPEALS FOR THE NINTH CIRCUIT __________ BRIEF AMICI CURIAE OF THE CROW TRIBE OF INDIANS, THE NATIONAL CONGRESS OF AMERICAN INDIANS, AND OTHER TRIBAL ORGANIZATIONS __________ JENNIFER H. WEDDLE Busby, MT 59016 Counsel of Record Phone: (406) 672-4779 TROY A. EID [email protected] KYLE R. MONTOUR Greenberg Traurig, LLP DERRICK BEETSO 1144 15th St., Suite 3300 General Counsel Denver, CO 80202 National Congress of (303) 572-6500 American Indians [email protected] Embassy of Tribal Nations DION KILLSBACK 1516 P Street NW Killsback Law PLLC Washington, DC 20005 Attorney at Law Phone: 202.630.0318 P.O. Box 294 [email protected] Counsel for Amici Curiae QUESTION PRESENTED Whether the lower courts erred in suppressing ev- idence on the theory that a police officer of an Indian tribe lacked authority to temporarily detain and search respondent, a non-Indian, on a public right-of- way within a reservation based on a potential viola- tion of state or federal law. ii RELATED PROCEEDINGS United States District Court (D. Mont.): United States v. Cooley, No. 16-cr-42-BLG-SPW, 2017 U.S. Dist. LEXIS 17276 (D. Mont. Feb. 7, 2017). United States Court of Appeals (9th Cir.): United States v. Cooley, 919 F.3d 1135 (9th Cir. 2019)(petition for reh’g denied, United States v. Cooley, 947 F.3d 1215 (9th Cir. -
Origami Fiction: Psychological Horror in Interactive Narrative
Philosophy Study, ISSN 2159-5313 March 2014, Vol. 4, No. 3, 210-215 D DAVID PUBLISHING Origami Fiction: Psychological Horror in Interactive Narrative Blanca Estela López Pérez Universidad Autónoma Metropolitana One of the most relevant elements in contemporary narrative systems is the atmosphere creation. Even when talking about new digital media, interactive narratives can still be supported by strategies used by former media like cinema and television; namely, character design as well as the setting bonded to architectural space design. These elements are offered to the players through graphic representations that are intended to convey not only an uncanny atmosphere but also an aesthetic experience for psychological horror narratives in videogames. With narrative proposals close to interactive movies, titles like Heavy Rain manage to create a gloomy mood by using basic elements of style such as form, composition, and light, and also open the opportunity to get emotionally involved with the characters through everyday life choices. Even though Heavy Rain is not considered as an action videogame, its narrative audiovisual system is fully able to create enough tension and suspense in order to offer a quite intense aesthetic experience. However, most of its narrative resources are taken from cinema and television audiovisual strategies to tell stories and to hook the audience. Therefore, the study of former narrative systems both as language and human thought and psyche, could allow designers to create more effective interactive narratives for contemporary audiences. Key words: narrative, videogames, space, graphic representation 1. Introduction Interactive media, such as videogames and interactive movies, has not only achieved an outstanding degree of technical growth but also, and most important, has had progress in storytelling proposals. -
J-Horror and the Ring Cycle
Media students/03/c 3/2/06 8:16 am Page 94 CASECASE STUDY:STUDY: J-HORROR J-HORROR AND AND THE THE RING RINGCYCLECYCLE 1 2 3 4 5 6 7 • Horror cycles • Industry exploitation and circulation 8 • The beginnings of the Ring cycle • Fandom and the global concept of genre 9 • Replenishing the repertoire through repetition and • Summary: generic elements and classification 10 difference • References and further reading 11 • Building on the cycle 12 13 14 Horror cycles references to Carol Clover’s work in Chapter 3). The 15 ‘knowingness’ about horror, and cinema generally, 16 Chapter 3 emphasises the fluidity of genre as a in these films was often developed as comedy (e.g. in 17 concept, the constantly changing repertoires of Scream 2 (1998), the classroom discussion about film 18 elements and the possibility of different forms of sequels). The success of the cycle was exploited 19 ‘classification’ by producers, critics and audiences. further with a ‘spoof’ of the ‘spoof’ in the Scary Movie 20 Horror is a genre with some special characteristics series. 21 in cinema: At the end of the decade, a rather different kind of 22 consistently popular since the 1930s in Hollywood • film, a ‘ghost story with a twist’, The Sixth Sense (1999), 23 and earlier in some other national cinemas was a massive worldwide hit. It was followed by the 24 attracting predominantly youth audiences • Spanish film The Others (2001) and several other ghost 25 until the late 1960s, not given the status of a major • stories, some of which looked back to gothic traditions 26 studio release (the isolated country house shrouded in fog in The 27 ‘open’ to the influence of changes in society – in • Others), while others were more contemporary in 28 both ‘metaphorical’ (i.e. -
Playing the Zombie: Participation and Interpassivity in Gothic XR’ (2020) 19(1) Body, Space & Technology
Research How to Cite: O’Brien, S 2020 Playing the Zombie: Participation and Interpassivity in Gothic XR. Body, Space & Technology, 19(1), pp. 76–96. DOI: https://doi.org/10.16995/bst.332 Published: 19 February 2020 Peer Review: This article has been peer reviewed through the double-blind process of Body, Space & Technology, which is a journal published by the Open Library of Humanities. Copyright: © 2020 The Author(s). This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. See http://creativecommons.org/licenses/by/4.0/. Open Access: Body, Space & Technology is a peer-reviewed open access journal. Digital Preservation: The Open Library of Humanities and all its journals are digitally preserved in the CLOCKSS scholarly archive service. Sarah O’Brien, ‘Playing the Zombie: Participation and Interpassivity in Gothic XR’ (2020) 19(1) Body, Space & Technology. DOI: https://doi.org/10.16995/bst.332 RESEARCH Playing the Zombie: Participation and Interpassivity in Gothic XR Sarah O’Brien Teesside University, GB [email protected] Marina Warner states that the concept of the zombie ‘embodies the condition of our time’ as it represents contemporary experiences of selfhood shaped by new technologies (2006: 357–8). In this paper I argue that, due to the interactive and immersive qualities of XR, the concept of the zombie in some recent Gothic expressions does not just represent contemporary experience of selfhood but is a development of an ‘interpassive’ role we play in everyday life (Pfaller 1996; Žižek 2008).