Impacts of Bullying on Carrie in Stephen King's
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Advances in Social Science, Education and Humanities Research, volume 554 Proceedings of the 7th International Conference on Humanities and Social Science Research (ICHSSR 2021) The Hysteric Yell from Women: A Comparative Study of The Yellow Wall Paper and Carrie Lihua Lv1, Min Zhou1* 1 English Department, Zhejiang Ocean University, Zhoushan, Zhejiang 316000 P. R. China *Corresponding author. Email: [email protected] ABSTRACT Today, there are many researches focus on feminism, this paper from a new perspective, hysteria, to connect perspective of female literature in the past and the contemporary feminist literature, to look through the feminism history by comparation and give new inspiration to the development of women in the current society. Keywords: Feminism, Hysteria, The Yellow Wallpaper, Carrie 1. A BRIEF INTRODUCTION ON THE men’s private property, as they accept any treatment their TWO WORKS AND THEIR CREATING husbands, fathers or any male family members saw appropriate. Even they have doubts or disapproval in BACKGROUNDS their hearts. As the narrator in The Yellow Wallpaper did. Meanwhile, the treatments of so-called rest therapy, while 1.1. A Brief Introduction on The Yellow limiting and depriving any freewill of women in fact, Wallpaper and Its Creating Background were extremely popular at that time. Women of that time seemed to have all the needs and lived under proper care, The Yellow Wallpaper is a story narrated in the first- but their mind was supervised and restricted under person, the story is a collection of journal entries written patriarchy authority. From the end of the 18th century to by a woman who has a physician husband. -
Scary Movies at the Cudahy Family Library
SCARY MOVIES AT THE CUDAHY FAMILY LIBRARY prepared by the staff of the adult services department August, 2004 updated August, 2010 AVP: Alien Vs. Predator - DVD Abandoned - DVD The Abominable Dr. Phibes - VHS, DVD The Addams Family - VHS, DVD Addams Family Values - VHS, DVD Alien Resurrection - VHS Alien 3 - VHS Alien vs. Predator. Requiem - DVD Altered States - VHS American Vampire - DVD An American werewolf in London - VHS, DVD An American Werewolf in Paris - VHS The Amityville Horror - DVD anacondas - DVD Angel Heart - DVD Anna’s Eve - DVD The Ape - DVD The Astronauts Wife - VHS, DVD Attack of the Giant Leeches - VHS, DVD Audrey Rose - VHS Beast from 20,000 Fathoms - DVD Beyond Evil - DVD The Birds - VHS, DVD The Black Cat - VHS Black River - VHS Black X-Mas - DVD Blade - VHS, DVD Blade 2 - VHS Blair Witch Project - VHS, DVD Bless the Child - DVD Blood Bath - DVD Blood Tide - DVD Boogeyman - DVD The Box - DVD Brainwaves - VHS Bram Stoker’s Dracula - VHS, DVD The Brotherhood - VHS Bug - DVD Cabin Fever - DVD Candyman: Farewell to the Flesh - VHS Cape Fear - VHS Carrie - VHS Cat People - VHS The Cell - VHS Children of the Corn - VHS Child’s Play 2 - DVD Child’s Play 3 - DVD Chillers - DVD Chilling Classics, 12 Disc set - DVD Christine - VHS Cloverfield - DVD Collector - DVD Coma - VHS, DVD The Craft - VHS, DVD The Crazies - DVD Crazy as Hell - DVD Creature from the Black Lagoon - VHS Creepshow - DVD Creepshow 3 - DVD The Crimson Rivers - VHS The Crow - DVD The Crow: City of Angels - DVD The Crow: Salvation - VHS Damien, Omen 2 - VHS -
Creative Arts Emmy® Awards for Programs and Individual Achievements at the Nokia Theatre L.A
FOR IMMEDIATE RELEASE August 16, 2014 7:00 PM PT The Television Academy tonight (Saturday, August 16, 2014) presented the 2014 Creative Arts Emmy® Awards for programs and individual achievements at the Nokia Theatre L.A. LIVE in Los Angeles. This first ceremony of the 66th Emmy Awards honored guest performers on television dramas and comedy series, as well as the many talented artists and craftspeople behind the scenes to create television excellence. Produced for the 20th year by Spike Jones, Jr., this year’s Creative Arts Awards featured an array of notable presenters, among them Jane Lynch, Tony Hale, Amy Schumer, Allison Janney, Tim Gunn and Heidi Klum, Comedy Central’s Key & Peele, Fred Armisen and Carrie Brownstein, Morgan Freeman, Tony Goldwyn, Aisha Tyler, Joe Manganiello and Carrie Preston. Highlights included Jon Voight’s moving posthumous presentation of the Academy’s prestigious Governors Award to casting icon, Marion Dougherty. Voight was one of Dougherty’s discoveries. The awards, as tabulated by the independent accounting firm of Ernst & Young LLP, were distributed as follows: Program Individual Total HBO 4 11 15 NBC 1 9 10 PBS 2 6 8 Fox 1 6 7 Netflix - 7 7 CBS 1 5 6 ABC 1 4 5 Discovery Channel 2 2 4 Disney Channel 1 3 4 FOX/NatGeo - 4 4 Showtime 1 3 4 Cartoon Network - 3 3 FX Networks - 3 3 Comedy Central - 2 2 Starz - 2 2 Adult Swim - 1 1 AMC - 1 1 CartoonNetwork.com - 1 1 CNN 1 - 1 comcast.com 1 - 1 ESPN 1 - 1 FunnyOrDie.com 1 - 1 justareflektor.com 1 - 1 Nat Geo WILD - 1 1 National Geographic Channel 1 - 1 pivot.tv 1 - 1 TNT 1 - 1 TELEVISION ACADEMY 2014 CREATIVE ARTS EMMY AWARDS This year’s Creative Arts telecast partner is FXM; a two-hour edited version of the ceremony will air Sunday, August 24 at 8:00 PM ET/PT with an encore at 10:00 PM ET/PT on FXM. -
Audition Sheet Bring This Sheet with You to the Audition
THE STORY Based on the Stephen King’s first novel, Carrie is the story of a high school girl with telekinetic powers. Bullied by classmates and abused by her overbearing mother, Carrie finds herself on a path toward independence and acceptance by her peers- until everything comes to a brutal end on prom night. THE CAST • Carrie White • Margaret White- Carrie’s mother • Sue Snell- the first to befriend Carrie; the story is told from her memories • Tommy Ross- Sue’s boyfriend who takes Carrie to the prom • Chris Hargenson- Carrie’s biggest foe, determined to bring her down from her ascent • Billy Nolan- Chris’ boyfriend and cruel partner in crime • Reverend Bliss- church leader • Mr. Stephens- English teacher/guidance counselor • Ms. Gardner- PE teacher • Named Students- George, Freddy, Frieda, Stokes, Helen, Norma • Chorus- students and other smaller roles The cast will feature ~25 performers (principals and chorus). THE PRODUCTION Attendance at all rehearsals is mandatory for principals and for support cast as needed. A calendar will be distributed on a bi-weekly basis- I assume you can be at all rehearsals, Monday through Thursday (3:05-5:30) and Friday (2:30- 5:30) unless otherwise noted on this form. A missed rehearsal may require dismissal from the show. Masconomet's Drug and Alcohol Policy applies to all cast and crew members of school productions. There will be 3 performances of Carrie: October 27, 28, and 29 at 7:00pm. AUDITIONS Auditions for all male roles will take place on Monday, August 29, from 3:00-4:30pm. Auditions for all female roles will take place on Monday, August 29, from 6:00-8:30pm. -
Distribution Agreement in Presenting This Thesis As A
Distribution Agreement In presenting this thesis as a partial fulfillment of the requirements for a degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis in whole or in part in all forms of media, now or hereafter now, including display on the World Wide Web. I understand that I may select some access restrictions as part of the online submission of this thesis. I retain all ownership rights to the copyright of the thesis. I also retain the right to use in future works (such as articles or books) all or part of this thesis. Maron Tate March 6, 2019 Maternity and the Aging Female Body in Postmodern Hollywood Horror Film by Maron Tate Michele Schreiber Adviser Media Studies Michele Schreiber Adviser Tanine Allison Committee Member Amy Aidman Committee Member Joseph Skibell Committee Member 2019 Maternity and the Aging Female Body in Postmodern Hollywood Horror Film By Maron Tate Michele Schreiber Adviser An abstract of a thesis submitted to the Faculty of Emory College of Arts and Sciences of Emory University in partial fulfillment of the requirements of the degree of Bachelor of Arts with Honors Media Studies 2019 Abstract Maternity and the Aging Female Body in Postmodern Hollywood Horror Film By Maron Tate Beginning in the 1960s and progressing rapidly with the closure of the classical period in 1968, Hollywood departed from the supernatural “thing” theme of the horror genre and became fascinated with the familiar, and specifically, the familial. An era of maternity-coded films emerged, specifically with the debut of Psycho (1960), progressing to where Hollywood horror cinema stands now: a conglomeration of remakes, reinventions, and revisitations to recognizable themes entrenched in white (and often female) victimhood, paranormal visits, inexplicably violent strangers, and disease. -
Oh No, Ross and Carrie! Theme Song” by Brian Keith Dalton
00:00:00 Music Transition “Oh No, Ross and Carrie! Theme Song” by Brian Keith Dalton. A jaunty, upbeat instrumental. 00:00:08 Carrie Host Hello! Welcome to Oh No, Ross and Carrie! The show where we Poppy don’t just report on fringe science, spirituality, and claims of the paranormal. No, no, no, no, no. We take part, ourselves. 00:00:17 Ross Host Yup! When they make the claims, we show up, so you don’t have Blocher to! I’m Ross Blocher. 00:00:20 Carrie Host And I’m Ross Blocher. [Ross makes a “hm” sound.] We are coming at you, live, from my living room. 00:00:26 Ross Host Well, okay, so we’re not live. 00:00:28 Carrie Host Okay. Touché. 00:00:29 Ross Host Well, we—you and I are live. 00:00:30 Carrie Host We are alive! And we are— 00:00:33 Crosstalk Crosstalk Ross and Carrie: Conscious! Carrie: Coming at you consciously. Ross: Apropos of our recent visit to the Conscious Life— Ross and Carrie: [Cheering.] Expo! 00:00:42 Ross Host This is one I’ve wanted to do for a long time. 00:00:44 Carrie Host Yeah, and people send it to us every once in a while. [Carrie agrees several times as Ross talks.] 00:00:47 Ross Host This is something we’ve been aware of for a long time. And it was in its 18th year, this year! So, it’s been going on since year of our Lord 2003. -
Vengeance Is Ours: Safe Spaces and Critical Empathy in Horror Films David S
Bridgewater State University Virtual Commons - Bridgewater State University Honors Program Theses and Projects Undergraduate Honors Program 5-8-2018 Vengeance is Ours: Safe Spaces and Critical Empathy in Horror Films David S. Hooker Follow this and additional works at: http://vc.bridgew.edu/honors_proj Part of the Film and Media Studies Commons Recommended Citation Hooker, David S.. (2018). Vengeance is Ours: Safe Spaces and Critical Empathy in Horror Films. In BSU Honors Program Theses and Projects. Item 282. Available at: http://vc.bridgew.edu/honors_proj/282 Copyright © 2018 David S. Hooker This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. Vengeance is Ours Safe Spaces and Critical Empathy in Horror Films David S. Hooker Submitted in Partial Completion of the Requirements for Departmental Honors in English Bridgewater State University May 8, 2018 Dr. John Mulrooney, Thesis Advisor Prof. Evan Dardano, Committee Member Prof. Nicole Williams, Committee Member Hooker 1 Abstract Many genres of film seek to bring viewers to heightened emotional states, perhaps this is most true of horror films. Although often displaying extreme violence, such films paradoxically provide openings for critically empathetic viewings which allow viewers with diverse backgrounds and experiences to identify with victims and survivors and transcend elements of subjective identity. This project analyzes the capacity of horror films, including those of William Friedkin, David Cronenberg, Brian DePalma and others, to offer viewers space in which to be critically empathetic. Regarding gender issues in the genre as outlined by such scholars as Carol J. Clover, and the emerging scholarship on critical empathy, such as that of Todd DeStigter, this project offers new ways of thinking about horror both on screen and off. -
American Monsters: Tabloid Media and the Satanic Panic, 1970-2000
AMERICAN MONSTERS: TABLOID MEDIA AND THE SATANIC PANIC, 1970-2000 A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Sarah A. Hughes May 2015 Examining Committee Members: Kenneth L. Kusmer, Advisory Chair, History Carolyn Kitch, Journalism Susan E. Klepp, History Elaine Tyler May, External Member, University of Minnesota, American Studies © Copyright 2015 by Sarah A. Hughes All Rights Reserved iii ABSTRACT “American Monsters: Tabloid Media and the Satanic Panic, 1970-2000,” analyzes an episode of national hysteria that dominated the media throughout most of the 1980s. Its origins, however, go back much farther and its consequences for the media would extend into subsequent decades. Rooted in the decade’s increasingly influential conservative political ideology, the satanic panic involved hundreds of accusations that devil-worshipping pedophiles were operating America’s white middle-class suburban daycare centers. Communities around the country became embroiled in criminal trials against center owners, the most publicized of which was the McMartin Preschool trial in Manhattan Beach, California. The longest and most expensive trial in the nation’s history, the McMartin case is an important focal point of this project. In the 1990s, judges overturned the life sentences of defendants in most major cases, and several prominent journalists and lawyers condemned the phenomenon as a witch-hunt. They accurately understood it to be a powerful delusion, or what contemporary cultural theorist Jean Baudrillard termed a “hyperreality,” in which audiences confuse the media universe for real life. Presented mainly through tabloid television, or “infotainment,” and integral to its development, influence, and success, the panic was a manifestation of the hyperreal. -
Who Am I Really?: Questioning the Patriarchal “Girl World” to Find Identity in Mean Girls, Heathers the Musical, and Carrie: the Musical
Illinois State University ISU ReD: Research and eData Theses and Dissertations 3-30-2019 Who Am I Really?: Questioning the Patriarchal “Girl World” to Find Identity in Mean Girls, Heathers the Musical, and Carrie: The Musical Megan Renner Illinois State University, [email protected] Follow this and additional works at: https://ir.library.illinoisstate.edu/etd Part of the Theatre and Performance Studies Commons Recommended Citation Renner, Megan, "Who Am I Really?: Questioning the Patriarchal “Girl World” to Find Identity in Mean Girls, Heathers the Musical, and Carrie: The Musical" (2019). Theses and Dissertations. 1082. https://ir.library.illinoisstate.edu/etd/1082 This Thesis is brought to you for free and open access by ISU ReD: Research and eData. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. WHO AM I REALLY?: QUESTIONING THE PATRIARCHAL “GIRL WORLD” TO FIND IDENTITY IN MEAN GIRLS, HEATHERS THE MUSICAL, AND CARRIE: THE MUSICAL MEGAN RENNER 105 Pages Both musicals and stories about teenage girls are genres that tend to be overlooked by scholars, and to not receive serious analysis. Some scholars may dismiss these genres as being shallow and unworthy of scrutiny through a critical lens. However, much may be learned about patriarchal influence on teenage girls in musicals such as Mean Girls, Heathers the Musical and Carrie: The Musical. This thesis analyzes the patriarchal influence on the teen girl characters in these three musicals, using Girl Studies and feminist theory. This study applies arguments that state that patriarchal influence is what causes girls to form cliques, in order for them to feel powerful in a world that disenfranchises them, and applies it to these musicals. -
Carrietta White's Personality in Carrie by Stephen King a Thesis
CARRIETTA WHITE’S PERSONALITY IN CARRIE BY STEPHEN KING A THESIS Submitted as Partial Fulfilment of the Requirements for the Sarjana Degree of English Department Faculty of Letter and Humanities UIN Sunan Ampel Surabaya By : MARIYATUL HIBTIYAH Reg. Number : A73214048 ENGLISH DEPARTMENT FACULTY OF ARTS AND HUMANITIES UIN SUNAN AMPEL SURABAYA 2018 i ABSTRACT Hibtiyah, Mariyatul 2018. Carrietta White’s Personality in Carrie by Stephen King. Thesis. English Department. Faculty of Arts and Humanities. State Islamic University of Sunan Ampel surabaya. The Advisor : Sufi Ikrima Sa’adah, M. Hum ____________________________________________________________________ The thesis focuses on the personality of the main character named Carrie and the factors that affect her personality. This thesis uses personality theory of Carl Jung that focuses only on archetypes that includes Persona, Shadow, Anima & Animus and Self to be able to find Carrie's personality. This research uses descriptive qualitative method. The result of the research finds that Carrie's personality is strongly influenced by her religious fanatical mother and her schoolmates who always bully and avoid her, so that Carrie’s personality grow and generate 1) Carrie's persona is quiet and watchful to her friends and obedient to her mother. Persona occur on the basis of the demands of the environment and the people around her. 2) Carrie’s shadow characterized by rebel, anger, revenge, physical harm and murderous act. Shadow happens because she feels imperfect and too many bully and mockery she got so she can not see the good side of herself. 3) The animus of Carrie appears in the form of forceful argument. -
NEW BLOOD in CONTEMPORARY CINEMA W OMEN DIRECTORS and the POETICS of HORROR New Blood in Contemporary Cinema
PATRICIA PISTERS NEW BLOOD IN CONTEMPORARY CINEMA W OMEN DIRECTORS AND THE POETICS OF HORROR New Blood in Contemporary Cinema New Blood in Contemporary Cinema Women Directors and the Poetics of Horror Patricia Pisters Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting- edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © Patricia Pisters, 2020 Edinburgh University Press Ltd The Tun – Holyrood Road, 12(2f) Jackson’s Entry, Edinburgh EH8 8PJ Typeset in Monotype Ehrhardt by Servis Filmsetting Ltd, Stockport, Cheshire, and printed and bound in Great Britain. A CIP record for this book is available from the British Library ISBN 978 1 4744 6695 0 (hardback) ISBN 978 1 4744 6697 4 (webready PDF) ISBN 978 1 4744 6698 1 (epub) The right of Patricia Pisters to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988, and the Copyright and Related Rights Regulations 2003 (SI No. 2498). Contents List of Figures vii Acknowledgements viii Introduction: Virginia’s Unruly Daughters and Carrie’s Crimson Sisters 1 Red Flags on the Red Carpet 1 The Bloody Difference: Virginia Woolf’s Unruly Daughters 5 Cinematic Poetics of Horror, Metaphors and Relations: A Note on Theory 11 Following a Trail of Blood: Carrie’s Crimson Sisters 16 Drop by Drop: Chapter Overview 18 1. -
A Description of Theme in Stephen King's Novel Carrie
A DESCRIPTION OF THEME IN STEPHEN KING’S NOVEL CARRIE A PAPER BY NAME : TAMARA REBECCA REG.NO : 142202013 DIPLOMA III ENGLISH STUDY PROGRAM FACULTY OFCULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA MEDAN 2017 UNIVERSITAS SUMATERA UTARA Approved by Supervisor, Drs. Parlindungan Purba, M.Hum. NIP. 19630216 198903 1 003 Submitted to Faculty of Cultural Studies, University of North Sumatera In partial fulfillment of the requirements for Diploma-III in English Study Program Approved by Head of Diploma III English Study Program, Dra.SwesanaMardiaLubis.M.Hum. NIP. 19571002 198601 2 003 Approved by the Diploma-III English Study Program Faculty of Culture Studies, University of Sumatera Utara as a Paper for the Diploma-III Examination UNIVERSITAS SUMATERA UTARA Accepted by the board of examiners in partial fulfillment of the requirement for The Diploma-III Examination of the Diploma-III of English Study Program, Faculty of Cultural Studies, University of Sumatera Utara. The Examination is held on : Faculty of Culture Studies, University of Sumatera Utara Dean, Dr. Budi Agustono, M.S. NIP. 19600805198703 1 0001 Board of Examiners : Signed 1. Dra. SwesanaMardiaLubis, M.Hum( Head of ESP) ____________ 2. Drs. ParlindunganPurba, M.Hum( Supervisor ) ____________ 3. Drs. SiamirMarulafau, M.Hum ____________ UNIVERSITAS SUMATERA UTARA AUTHOR’S DECLARATION I am Tamara Rebecca declare that I am thesole author of this paper. Except where the reference is made in the text of this paper, this paper contains no material published elsewhere or extracted in whole or in part from a paper by which I have qualified for or awarded another degree. No other person’s work has been used without due acknowledgement in the main text of this paper.