Queer Slashers
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The Girl in the Woods: on Fairy Stories and the Virgin Horror
Journal of Tolkien Research Volume 10 Issue 1 J.R.R. Tolkien and the works of Joss Article 3 Whedon 2020 The Girl in the Woods: On Fairy Stories and the Virgin Horror Brendan Anderson University of Vermont, [email protected] Follow this and additional works at: https://scholar.valpo.edu/journaloftolkienresearch Recommended Citation Anderson, Brendan (2020) "The Girl in the Woods: On Fairy Stories and the Virgin Horror," Journal of Tolkien Research: Vol. 10 : Iss. 1 , Article 3. Available at: https://scholar.valpo.edu/journaloftolkienresearch/vol10/iss1/3 This Peer-Reviewed Article is brought to you for free and open access by the Christopher Center Library at ValpoScholar. It has been accepted for inclusion in Journal of Tolkien Research by an authorized administrator of ValpoScholar. For more information, please contact a ValpoScholar staff member at [email protected]. Anderson: The Girl in the Woods THE GIRL IN THE WOODS: ON FAIRY STORIES AND THE VIRGIN HORROR INTRODUCTION The story is an old one: the maiden, venturing out her door, ignores her guardian’s prohibitions and leaves the chosen path. Fancy draws her on. She picks the flow- ers. She revels in her freedom, in the joy of being young. Then peril appears—a wolf, a monster, something with teeth for gobbling little girls—and she learns, too late, there is more to life than flowers. The girl is destroyed, but then—if she is lucky—she returns a woman. According to Maria Tatar (while quoting Catherine Orenstein): “the girl in the woods embodies ‘complex and fundamental human concerns’” (146), a state- ment at least partly supported by its appearance in the works of both Joss Whedon and J.R.R. -
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”. -
PUBLIC DRAFT MAY 2019 Was Created By
PUBLIC DRAFT MAY 2019 was created by: MISSOULA DOWNTOWN ASSOCIATION BUSINESS IMPROVEMENT DISTRICT MISSOULA DOWNTOWN FOUNDATION The Downtown Missoula Partnership Dover, Kohl & Partners a collaboration of: planning team lead | town planning & urban design The Downtown Business Improvement District of Missoula Six Pony Hitch branding and outreach Missoula Downtown Association Territorial Landworks Missoula Downtown Foundation infrastructure Other major partners on this project include: Kimley Horn parking Missoula Redevelopment Agency Charlier Associates, Inc. Missoula Parking Commission transportation City of Missoula Cascadia Partners scenario planning Gibbs Planning Group retail market analysis Daedalus Advisory Services economics Urban Advantage photo simulations ... and thousands of participants from the Missoula community! Missoula’s Downtown Master Plan | Draft Steering Committee Our thanks to the following leaders who guided this process through the Master Plan Steering Committee and Technical Advisory Committee: Ellen Buchanan, Chair, Missoula Redevelopment Mike Haynes, Development Services Director Agency Donna Gaukler, Missoula Parks & Recreation Director Matt Ellis, Co-Chair, MDA & MPC Board Member Jim McLeod, Farran Realty Partners Owner Dale Bickell, City Chief Administrative Officer Eran Pehan, Housing & Community Development Dan Cederberg, Property Owner; BID Board, MDF Director Board Dave Strohmaier, Missoula County Commissioner Nick Checota, Property/Business Owner; Arts & Bryan Von Lossberg, Missoula City Council Entertainment -
The Green Sheet and Opposition to American Motion Picture Classification in the 1960S
The Green Sheet and Opposition to American Motion Picture Classification in the 1960s By Zachary Saltz University of Kansas, Copyright 2011 Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. ________________________________ Chairperson Dr. John Tibbetts ________________________________ Dr. Michael Baskett ________________________________ Dr. Chuck Berg Date Defended: 19 April 2011 ii The Thesis Committee for Zachary Saltz certifies that this is the approved version of the following thesis: The Green Sheet and Opposition to American Motion Picture Classification in the 1960s ________________________________ Chairperson Dr. John Tibbetts Date approved: 19 April 2011 iii ABSTRACT The Green Sheet was a bulletin created by the Film Estimate Board of National Organizations, and featured the composite movie ratings of its ten member organizations, largely Protestant and represented by women. Between 1933 and 1969, the Green Sheet was offered as a service to civic, educational, and religious centers informing patrons which motion pictures contained potentially offensive and prurient content for younger viewers and families. When the Motion Picture Association of America began underwriting its costs of publication, the Green Sheet was used as a bartering device by the film industry to root out municipal censorship boards and legislative bills mandating state classification measures. The Green Sheet underscored tensions between film industry executives such as Eric Johnston and Jack Valenti, movie theater owners, politicians, and patrons demanding more integrity in monitoring changing film content in the rapidly progressive era of the 1960s. Using a system of symbolic advisory ratings, the Green Sheet set an early precedent for the age-based types of ratings the motion picture industry would adopt in its own rating system of 1968. -
MARCELO EDUARDO MARCHI META-TERROR: O Uso Da Metalinguagem Como Recurso Narrativo No Slasher Movie
UNIVERSIDADE FEDERAL DE SÃO CARLOS CENTRO DE EDUCAÇÃO E CIÊNCIAS HUMANAS DEPARTAMENTO DE ARTES E COMUNICAÇÃO MARCELO EDUARDO MARCHI META-TERROR: o uso da metalinguagem como recurso narrativo no slasher movie SÃO CARLOS - SP 2020 MARCELO EDUARDO MARCHI META-TERROR: o uso da metalinguagem como recurso narrativo no slasher movie Dissertação apresentada ao Programa de Pós-Graduação em Imagem e Som, da Universidade Federal de São Carlos, para obtenção do título de Mestre em Imagem e Som. Orientador: Prof. Dr. Alessandro Constantino Gamo São Carlos-SP 2020 Dedicado aos arquitetos desse fascinante universo que é o gênero terror. Que sua inesgotável imaginação e ousadia estejam sempre grudadas em mim, como o sangue de porco na doce Carrie. AGRADECIMENTOS Nem mesmo as cento e tantas páginas desta dissertação seriam suficientes para expressar minha gratidão às mulheres que, todos os dias, fazem de mim o que eu sou. Elas permanecem zelando para que eu alcance os meus sonhos, e, mais importante ainda, para que eu nunca deixe de sonhar. Minha mãe, Dirce, minhas irmãs, Márcia e Marta, e minha sobrinha, Júlia, amo vocês com todas as minhas forças! Ao meu falecido pai, Benedito: sei que sua energia ainda está conosco. Agradeço também aos meus colegas de mestrado. Tão precioso quanto o conhecimento adquirido nessa jornada é o fato de tê-la compartilhado com vocês. Desejo-lhes um futuro sempre mais e mais brilhante. Aos amigos de tantos anos, obrigado por me incentivarem a abraçar mais essa etapa e por estarem presentes também nos momentos de esfriar a cabeça e jogar conversa fora: Jefferson Galetti e Vanessa Bretas, Dú Marques, Vitão Godoy, Led Bacciotti e Giovana Bueno, Nico Stolzel e Paulinha Gomes, Miller Guglielmo, e a galera da república Alcatraz em São Carlos. -
Chapter 1 Chapter 2
Notes Chapter 1 1. Jeffrey Mirel, “The Traditional High School: Historical Debates over Its Nature and Function,” Education Next 6 (2006): 14–21. 2. US Census Bureau, “Education Summary––High School Gradu- ates, and College Enrollment and Degrees: 1900 to 2001,” His- torical Statistics Table HS-21, http://www.census.gov/statab/ hist/HS-21.pdf. 3. Andrew Monument, dir., Nightmares in Red, White, and Blue: The Evolution of American Horror Film (Lux Digital Pictures, 2009). 4. Monument, Nightmares in Red. Chapter 2 1. David J. Skal, Screams of Reason: Mad Science and Modern Cul- ture (New York: Norton, 1998), 18–19. For a discussion of this more complex image of the mad scientist within the context of postwar film science fiction comedies, see also Sevan Terzian and Andrew Grunzke, “Scrambled Eggheads: Ambivalent Represen- tations of Scientists in Six Hollywood Film Comedies from 1961 to 1965,” Public Understanding of Science 16 (October 2007): 407–419. 2. Esther Schor, “Frankenstein and Film,” in The Cambridge Com- panion to Mary Shelley (Cambridge: Cambridge University Press, 2003), 63; James A. W. Heffernan, “Looking at the Monster: Frankenstein and Film,” Critical Inquiry 24, no. 1 (Autumn 1997): 136. 3. Russell Jacoby, The Last Intellectuals: American Culture in the Age of Academe (New York: Basic Books, 1987). 4. Richard Hofstadter, Anti-Intellectualism and American Life (New York: Knopf, 1963); Craig Howley, Aimee Howley, and Edwine D. Pendarvis, Out of Our Minds: Anti-Intellectualism and Talent 178 Notes Development in American Schooling (New York: Teachers Col- lege Press: 1995); Merle Curti, “Intellectuals and Other People,” American Historical Review 60 (1955): 259–282. -
Climate Changing: on Artists, Institutions, and the Social Environment
i CLIMATE CHANGING CLIMATE WHY CAN’T YOU TELL ME SCORE WHAT YOU NEED Somewhere our body needs party favors attending sick and resting temperatures times hot unevens twice I ask myself all the time too ward draw pop left under right Just try and squeeze me. Pause. What would you do? Fall down off my feet and try waking tired ex muses Like, you either know I can and work on it with me Or know I can’t and wouldn’t want your baby to go through what I have to go through Over prepared for three nights. Over it all scared for three nights. Tell me the unwell of never been better. Are we still good? Are we still good? TABLE OF CONTENTS Director’s Foreword 4 Johanna Burton A Climate for Changing 6 Lucy I. Zimmerman On Chris Burden’s Wexner Castle 10 Lucy I. Zimmerman Notes on Chris Burden’s Through the Night Softly 15 Pope.L WE LEFT THEM NOTHING 17 Demian DinéYazhi´ Untitled 21 Jibade-Khalil Huffman Scores 1, 3, 13, 23, 27, 50 Park McArthur and Constantina Zavitsanos Questioning Access 25 Advisory Committee Roundtable Discussion Artists in the Exhibition 29 Acknowledgments 47 3 BLANKET (STATEMENT) SCORE Why can’t you just tell me what you need DIRECTOR’S FOREWORD 4 Johanna Burton, Executive Director Opening in the first month of 2021 (or at least set to committee’s roundtable discussion further explores, open then at the time of this writing), Climate Changing: the exhibition intends not to inventory nor propose On Artists, Institutions, and the Social Environment solutions for these considerable challenges, but rather comes at a time of great uncertainty for cultural or- to provide artists a forum for bringing the issues into ganizations. -
Programmagasin 2005
15. oslO INTERNASJONALE FILMFESTIVal 17.-27. november 2005 VELKOMMEN TIL 15. OSLO INTERNASJONALE FILMFESTIVAL 17.-27 NOVEMBER 2005 Velkommen til ny runde med filmfestdager i Oslo. På nytt kan vi tilby et fantastisk program med aktuelle og spennende filmer. Som tidligere vil vi underholde, forarge, skremme og utfordre. Sjekk det beste vi har funnet via godt samarbeid med norske filmimportører. Opplev også filmer som du kanskje aldri seinere får se i Norge. En haug med internasjonale prisvinnere fra Sundance, Berlin, Cannes, Venezia med flere. Vi åpner med en nordisk premiere av George Clooneys filmregi nr. 2: Good Night, and Good Luck. Om legendariske nyhetsjournalister på 50-tallet som ikke vek unna for fokus på rasisme og maktmisbruk. Og hvordan misbruk av frykt som våpen da som nå er en trussel for ethvert demokrati. Kritikerpris, pluss beste manus og skuespiller i Venezia. Åpningsfilm i New York, avslutning i London. Japansk film er på sitt beste i Canary med et gripende portrett av barns verden. Støymusikk lanseres som effektivt middel mot virustrusler i Eli, Eli,..Ny fantasiferd innen japapansk animé med Mind Game. Nordisk festivalpremiere i spesialvisning: Walk the Line, sterkt og vakkert. Suverent tolker Joaquin Phoenix og Reese Witherspoon våre helter Johnny Cash og June Carter. Mer musikk blir det i dypt personlige og inspirerende portretter av unike musikere og kulthelter som Townes Van Zandt, Roky Erickson (regibesøk) og Billy Childish. Og all slags metal får sitt kart og sin fanbegeistrede hyllest i Metal: A Headbanger’s Journey. Fantasifullt, absurd og/eller sprøtt blir møtet med Mirrormask, Bangkok Loco, The District! og Night Watch. -
Proquest Dissertations
Early Cinema and the Supernatural by Murray Leeder B.A. (Honours) English, University of Calgary, M.A. Film Studies, Carleton University A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cultural Mediations © Murray Leeder September 2011 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 OttawaONK1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-83208-0 Our file Notre reference ISBN: 978-0-494-83208-0 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
10,1 MB | 252 S
Sekans Sinema Kültürü Dergisi Aralık 2018, Sayı e9, Ankara © Sekans Sinema Grubu Tüm Hakları Saklıdır. Sekans Sinema Kültürü Dergisi ve sekans.org içeriği, Sekans Sinema Grubu ve yazarlardan izin alınmaksızın kullanılamaz. [email protected] http://www.sekans.org Yayın Yönetmeni Ender Bazen Dosya Editörü A. Kadir Güneytepe Kapak Düzenleme ve Tasarım Cem Kayalıgil [email protected] Tansu Ayşe Fıçıcılar [email protected] Web Uygulama Ayhan Yılmaz [email protected] Kapak Fotoğrafı Güz Sonatı (Höstsonaten, Ingmar Bergman, 1978) Katkıda Bulunanlar Natig Ahmedli, Ahmet Akalın, Nurten Bayraktar, Gülizar Çelik, Gizem Çınar, M. Baki Demirtaş, Ekin Eren, Aleksey Fedorchenko, Ulaş Başar Gezgin, Erman Görgü, Dilan İlhan, Erdem İlic, Süheyla Tolunay İşlek, Erbolot Kasymov, Sertaç Koyuncu, Dila Naz Madenoğlu, İlker Mutlu, Yalçın Savuran, Mine Tezgiden, Seda Usubütün, Rukhsora Yusupova Bu elektronik dergi, bir Sekans Sinema Grubu ürünüdür. ÖNSÖZ Bir derginin en iyi yanı bir sayı içerisindeki birçok farklı başlığın sinemanın zengin dünyası içinde sinemanın bambaşka alanlarına sıçramayı sağlayabiliyor olması galiba. Her yeni sayıda yazarlarımızın ilgi alanlarının katkısıyla bu zengin dünyadaki her araştırma, her keşif bir diğer okumayı da besliyor çoğu zaman. Her sayıda olduğu gibi Sekans Sinema Kültürü Dergisi e-9’da da bu amaçla çalışmalara başlanmış, içeriğin ana hatları belirlenmişti. Sinemamızdan ve dünya sinemasından incelemeler, bir yönetmen söyleşisi, belgesel, akım, tür, anısına gibi bölümler, 50 yaşında bir film, bir ülke sinemasını ele alan dosya ile bu sayıda da farklı coğrafyalara, tarihlere, yönetmenlere, ülkelere ve düşüncelere yolculuk etmek için yola çıkılmıştı. Tüm bu çalışmaları okuyucuya ulaştırmanın yoğun çabası içindeyken sinema dünyasından kötü bir haber geldi. İtalyan yönetmen Bernardo Bertolucci, çokça tartışılmış, üzerine defalarca yazılmış, çizilmiş filmlerini ardında bırakarak bu dünyaya gözlerini kapamıştı. -
Feature Films
Libraries FEATURE FILMS The Media and Reserve Library, located in the lower level of the west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 10 Things I Hate About You DVD-0812 27 Dresses DVD-8204 1000 Eyes of Dr. Mabuse DVD-0048 28 Days Later DVD-4333 10th Victim DVD-5591 DVD-6187 12 DVD-1200 28 Weeks Later c.2 DVD-4805 c.2 12 and Holding DVD-5110 3 Women DVD-4850 12 Angry Men DVD-0850 3 Worlds of Gulliver DVD-4239 12 Monkeys DVD-3375 3:10 to Yuma DVD-4340 12 Years a Slave DVD-7691 30 Days of Night DVD-4812 1776 DVD-0397 300 DVD-6064 1900 DVD-4443 35 Shots of Rum DVD-4729 1984 (Hurt) DVD-4640 39 Steps DVD-0337 DVD-6795 4 Little Girls DVD-0051 1984 (Obrien) DVD-6971 400 Blows DVD-0336 2 Autumns, 3 Summers DVD-7930 42 DVD-5254 2 or 3 Things I Know About Her DVD-6091 50 First Dates DVD-4486 20 Million Miles to Earth DVD-3608 500 Years Later DVD-5438 2001: A Space Odyssey DVD-0260 61 DVD-4523 2010: The Year We Make Contact DVD-3418 70's DVD-0418 2012 DVD-4759 7th Voyage of Sinbad DVD-4166 2012 (Blu-Ray) DVD-7622 8 1/2 DVD-3832 21 Up South Africa DVD-3691 8 Mile DVD-1639 24 Season 1 (Discs 1-3) DVD-2780 Discs 9 to 5 DVD-2063 25th Hour DVD-2291 9.99 DVD-5662 9/1/2015 9th Company DVD-1383 Adventures of Ozzie and Harriet DVD-0831 A.I. -
University Microfilms, Inc., Ann Arbor, Michigan SOCIAL CRITICISM in the ENGLISH NOVEL
This dissertation has been microfilmed exactly as received 68-8810 CLEMENTS, Frances Marion, 1927- SOCIAL CRITICISM IN THE ENGLISH NOVEL: 1740-1754. The Ohio State University, Ph.D., 1967 Language and Literature, general University Microfilms, Inc., Ann Arbor, Michigan SOCIAL CRITICISM IN THE ENGLISH NOVEL 1740- 175^ DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Frances Marion Clements, B.A., M.A. * # * * # * The Ohio State University 1967 Approved by (L_Lji.b A< i W L _ Adviser Department of English ACKNOWLEDGMENTS I wish to thank the Library of Congress and the Folger Shakespeare Library for allowing me to use their resources. I also owe a large debt to the Newberry Library, the State Library of Ohio and the university libraries of Yale, Miami of Ohio, Ohio Wesleyan, Chicago, Illinois, Indiana, Iowa and Wisconsin for their generosity in lending books. Their willingness to entrust precious eighteenth-century volumes to the postal service greatly facilitated my research. My largest debt, however, is to my adviser, Professor Richard D. Altick, who placed his extensive knowledge of British social history and of the British novel at my disposal, and who patiently read my manuscript more times than either of us likes to remember. Both his criticism and his praise were indispensable. VITA October 17, 1927 Born - Lynchburg, Virginia 1950 .......... A. B., Randolph-Macon Women's College, Lynchburg, Virginia 1950-1959• • • • United States Foreign Service 1962-1967. • • • Teaching Assistant, Department of English, The Ohio State University, Columbus, Ohio 1962 .....