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PARANORMAL ACTIVITY 3 - Delivers More Terrifying Suspense and Shocks with an Unrated Version on Blu-Ray™/DVD Combo Pack
Record-Setting* Prequel to the Phenomenally Popular Film Series - PARANORMAL ACTIVITY 3 - Delivers More Terrifying Suspense and Shocks With an Unrated Version on Blu-ray™/DVD Combo Pack Debuting January 24, 2012, Blu-ray/DVD Combo Includes Extended Scenes and Chilling Lost Tapes In A First, All Three Films Will be Available for Digital Download in a Seamless, Chronological Experience Prior to the Blu-ray/DVD Debut "A new level of terror."—Brad Miska, BloodyDisgusting.com HOLLYWOOD, Calif., Dec. 20, 2011 /PRNewswire/ -- The record-breaking franchise that has terrified audiences around the world returns with the scariest story yet as PARANORMAL ACTIVITY 3 debuts on January 24, 2012 from Paramount Home Entertainment in a Blu-ray/DVD combo pack with UltraViolet™ and a Digital Copy.PARANORMAL ACTIVITY 3 will also be available On Demand. "Terrifying" (Time) with "heart-pounding scares" (BloodyDisgusting.com), PARANORMAL ACTIVITY 3 takes audiences back to where it all began with the masterminds behind the first two films returning to craft a hauntingly chilling follow up. Directed by Henry Joost and Ariel Schulman, the filmmakers who created the unsettling sensation Catfish, PARANORMAL ACTIVITY 3 achieved the biggest theatrical debut for a horror film ever, ultimately earning more than $200 million worldwide. (Photo: http://photos.prnewswire.com/prnh/20111220/LA25840) Arriving on January 24th, the PARANORMAL ACTIVITY 3 Blu-ray/DVD combo pack includes both the theatrical version of the film and an unrated version with footage not seen in theaters, as well as Lost Tapes that reveal more footage not seen in the film. In addition, all Blu-ray and DVD releases available for purchase will be enabled with UltraViolet, a new way to collect, access and enjoy movies. -
Found-Footage Horror and the Frame's Undoing
Found-Footage Horror and the Frame’s Undoing by CECILIA SAYAD Abstract: This article fi nds in the found-footage horror cycle an alternative way of under- standing the relationship between horror fi lms and reality, which is usually discussed in terms of allegory. I propose the investigation of framing, considered both fi guratively (framing the fi lm as documentary) and stylistically (the framing in handheld cameras and in static long takes), as a device that playfully destabilizes the separation between the fi lm and the surrounding world. The article’s main case study is the Paranormal Activity franchise, but examples are drawn from a variety of fi lms. urprised by her boyfriend’s excitement about the strange phenomena registered with his HDV camera, Katie (Katie Featherston), the protagonist of Paranormal Activity (Oren Peli, 2007), asks, “Are you not scared?” “It’s a little bizarre,” he replies. “But we’re having it documented, it’s going to be fi ne, OK?” S This reassuring statement implies that the fi lm image may normalize the events that make up the fabric of Paranormal Activity. It is as if by recording the slamming doors, fl oating sheets, and passing shadows that take place while they sleep, Micah and Katie could tame the demon that follows the female lead wherever she goes. Indeed, the fi lm repeatedly shows us the two characters trying to make sense of the images they capture, watching them on a computer screen and using technology that translates the recorded sounds they cannot hear into waves they can visualize. -
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. -
Why Found Footage Horror Films Matter : Introduction
Why Found Footage Horror Films Matter : Introduction Peter Turner, Oxford Brookes University The cinematic image of a young woman staring into the camera – crying, hyperventilating, and talking directly to her audience – has become the definitive image of The Blair Witch Project (Myrick and Sanchez, 1999). It is arguably the most famous scene, and certainly the most parodied image of found footage horror cinema in general, perhaps even one of the defining images of cinema in the 1990s. This character, Heather Donahue, is played by a hitherto unknown actress called Heather Donahue, in her feature debut. From what we see on screen, and the manner in which her monologue is delivered, it can be inferred that she is not reciting scripted lines. She does not seem to be acting; her fear appears genuine. Heather is alone in a dark tent, shooting this footage herself with a handheld camera. The shot did not look like most other horror films that had been previously shown in cinemas; it is poorly framed, poorly lit, and the character knows and acknowledges that she is on camera. There had been previous films in this style: Cannibal Holocaust (Deodato, 1980) contains the use of ‘found footage’ within its narrative structure, and Man Bites Dog (Belvaux, Bonzel and Poelvoorde, 1992) is a mock-documentary that purports to be completely filmed by a diegetic film crew. However, neither of these films had the cultural impact or box office success of The Blair Witch Project, a film that eventually spawned numerous imitators, and arguably the entire found footage horror sub- genre that now consists of hundreds of films.1 There is a straightforward economic reason why filmmakers continue to produce found footage horror films. -
The Glitch Dimension: Paranormal Activity and the Technologies of Vision Steven Shaviro
CHAPTER 18 The Glitch Dimension: Paranormal Activity and the Technologies of Vision Steven Shaviro Paranormal Activity: The Ghost Dimension (Gregory Plotkin, 2015) is a recent low-budget exploitation film that distorts and destroys its own images. Though such a practice is better known in gallery art, it is also found at the opposite end of the aesthetic and economic spectrum, in a crassly commer- cial venture like Ghost Dimension, whose mission to turn a quick profit is not mitigated by the aesthetic concerns of gallery art, nor even by mainstream Hollywood concerns with cultural prestige. I cannot discuss Ghost Dimension, however, without considering the whole series of which it is a part. The six Paranormal Activity movies (2007–15) are works of what Caetlin Benson-Allott calls ‘faux footage horror’.1 That is to say, they consist entirely of (fictional) found footage: video sequences osten- sibly shot by the protagonists themselves, and discovered and compiled after their deaths. The characters, settings and plots of these movies are entirely generic. Though some attempt is made to provide an overarching backstory for the series, there is no real narrative progression from one instalment to the next. Each movie follows the same predictable pattern. Strange events take place: odd noises are heard at night, and objects shift around inexplicably. At first, the disruption is fairly vague and low-key: things just don’t seem entirely right. But the incidents escalate both in frequency and intensity. The residents try to get to the bottom of whatever is going on, by recording the life of the household on video. -
Back in the Game
APP.COM Asbury Park Press Tuesday, Nov.1,2011 Page B5 Health CONTACT: SARAH GRIESEMER :: 732-643-4204 :: [email protected] :: APP.COM/HEALTH STUDENT ATHLETES TREATING CONCUSSIONS People’sPharmacy By Joe Graedon &Teresa Graedon Back Whyget a in the flushot everyyear? Q. Can you tell us about flu vacci- game nations? Idon’tunderstand how the vaccine can wear off so quick- ly that it’srequired every year. Manyschools What other vaccine acts like this? How can we be so confi- taking concussions dent in guessing which vi- ruses will be prevalent in the more seriously coming season? Ikeep won- dering if the vaccine really By Susan Bloom :: For NJ Press Media makes sense, since Idoubt that many people actually One Tu esday in September,19-year-old die from flu. Brookdale Community College sopho- more and star athlete Devin Hope played A. Flu viruses evolve quick- defense as she always did for her school’s ly,which is why each year soccer team —aggressively,giving it her the vaccine is made to pro- all. But something about the shot she tect against different blocked during that day’sgame was dif- strains. If you catch the flu, ferent. your body will recognize “The ball hit me in my right temple, that particular strain, but and it really hurt,” she said. “Ididn’tgo not the slightly different one down, Ijust kept playing, but all the way that may emerge next year home Iwas really dizzy and nauseous and or the year after.You are my head was in excruciating pain, like I right that most other vac- had amigraine. -
T Run up the Stairs!’: Why Removing the Paramount Decrees Would Be Bad for Hollywood
‘DON’T RUN UP THE STAIRS!’: WHY REMOVING THE PARAMOUNT DECREES WOULD BE BAD FOR HOLLYWOOD TYLER RIEMENSCHNEIDER* I. INTRODUCTION Have you ever watched a really great scary movie? A tingle runs down your spine and you feel your muscles tense up as you watch the monster slowly close in on the film’s protagonists. You can feel a sense of dread building up within you; try as they might, the camp counselors, the newly-moved family, the babysitting high schooler, are all helpless. Sure, maybe they’ve made some dumbfounding mistakes (“Don’t run up the stairs!”), but do they deserve the fate they’re sure to meet? In many ways, modern Hollywood feels like a scary movie. Long gone are the days where the major film studios used anticompetitive tactics to bend the rest of the industry to their will. That era was brought to an end via the Paramount Decrees, a series of consent decrees and court opinions in the 1940s and 1950s which used antitrust law to break up the studios’ control and allowed other groups to gain a foothold in the industry.1 Instead, the studios are playing the roles of horror-movie victims, desperately trying to escape the clutches of the Silicon Valley boogeyman. Not only are streaming services like Netflix and Amazon providing consumers with a cheaper, more * Juris Doctor Candidate, 2020, The Ohio State University Michael E. Moritz College of Law. 1 “The Department filed an antitrust lawsuit alleging that eight major motion picture companies had conspired to control the motion picture industry through their ownership of film distribution and exhibition. -
Catfish Discussion Guide
www.influencefilmforum.com Catfish Discussion Guide Director: Henry Joost, Ariel Schulman Year: 2010 Time: 87 min You might know this director from: Paranormal Activity 4 (2012) Paranormal Activity 3 (2011) NY Export: Opus Jazz (2010) FILM SUMMARY From the inception of public internet usage in the early 1990s to the birth of Facebook in 2004, the presence and increasing noise of social media continues to increase in our lives. CATFISH offers a bare-bones analysis of how electronic communication devices and channels, such as Facebook, allow us to create myths about ourselves, invent alternate identities, and even lead us on the rollercoaster of a false love affair. In CATFISH, Yaniv “Nev” Schulman receives an email from an 8-year old, small-town Michigan girl named Abby who wanted to paint some of Nev’s photographs. This seemingly innocent email is the first thread in a twisted web of lies and deceit. The email comes from the suppressed, emotionally downfallen Angela, mother of Abby and stepmother of two severely handicapped sons. Angela feels she has sacrificed so much of her life and that the days of being an artistic, free-thinking woman who is worthy of love have passed her by. At her lowest point, Angela grasps for a pinprick of hope, and there she finds Facebook, with Nev at the other end, ready, willing and equally hungry for the emotional bond that Angela offers. Through a network of fake identities and connections, Angela creates Megan, “a real friendship that I was looking for,” Nev admits once the truth is revealed. -
The Contemporary American Horror Film Remake, 2003-2013
RE-ANIMATED: THE CONTEMPORARY AMERICAN HORROR FILM REMAKE, 2003-2013 Thesis submitted by Laura Mee In partial fulfilment of the requirements for the award of Doctor of Philosophy De Montfort University, March 2014 Abstract This doctoral thesis is a study of American horror remakes produced in the years 2003-2013, and it represents a significant academic intervention into an understanding of the horror remaking trend. It addresses the remaking process as one of adaptation, examines the remakes as texts in their own right, and situates them within key cultural, industry and reception contexts. It also shows how remakes have contributed to the horror genre’s evolution over the last decade, despite their frequent denigration by critics and scholars. Chapter One introduces the topic, and sets out the context, scope and approach of the work. Chapter Two reviews the key literature which informs this study, considering studies in adaptation, remaking, horror remakes specifically, and the genre more broadly. Chapter Three explores broad theoretical questions surrounding the remake’s position in a wider culture of cinematic recycling and repetition, and issues of fidelity and taxonomy. Chapter Four examines the ‘reboots’ of one key production company, exploring how changes are made across versions even as promotion relies on nostalgic connections with the originals. Chapter Five discusses a diverse range of slasher film remakes to show how they represent variety and contribute to genre development. Chapter Six considers socio-political themes in 1970s horror films and their contemporary post-9/11 remakes, and Chapter Seven focuses on gender representation and recent genre trends in the rape-revenge remake. -
'Paranormal Activity 4′ Review
TV & Movie News Without The Sugar Coating Search M O V I E M O V I E M O V I E T V G A L L E RPI OE DS C A S T S Currently Hot Topics: NStaEr WWarsS EpisodeT 7R | A ThIe LWaElkiRng SDeRadE | V SkIyfEall W | SIrNon EMaWn 3S | Breaking Bad | Sons of Anarchy | ‘Paranormal Activity 4′ Review 1 week ago by Ben Kendrick 13 Like 112 0 Get Screen Rant news sent to your inbox Your Email Address Back in 2009, Screen Rant’s Kofi Outlaw caught a preview showing of the indie- produced found-footage film Paranormal Activity – during director Oren Peli’s campaign to have viewers “demand” film screenings in their area. Positive word of TOP GALLERIES mouth eventually carried the film into a wide release and on to $193 million dollars (from a $15,000 budget). Since that time, the Paranormal Activity sequels have Iron Man 3 Photo become standard Halloween season programming at the box office and with low- Gallery cost productions and massive ticket revenue, the films now rank as some of the most profitable movies ever made. Superman: Man of Now the producers are back with Paranormal Activity 4, re-teaming with their Steel Photo Gallery Paranormal Activity 3 directors, Henry Joost and Ariel Schulman (Catfish). Despite some memorable scares, Paranormal Activity 3 was criticized for the way it handled the larger (albeit thin) franchise “story.” Can Joost and Schulman find a better balance this round – a film that delivers both creative scares Comic-Con Cosplay and advances the Paranormal Activity mythos? Babes Gallery New Movie Trailer The Hobbit Photo Directed by Award Winning Director Barry Levinson. -
November 2011
November 2011 Inside this issue: The Lookout Athletic Awards 2 move up from advanced of great competition and it is Howard 3 Hear Our Hearts to elite, which will really interesting to watch make it more difficult to who they have to dance By: Alexa Lange against. The dancers must be Paula Wendholt 4 win. This means this extremely nervous during “To watch us dance year the dance team will competitions because one is to hear our hearts.” The have to work even harder, Recipe 5 mess up could dock points Forest Park Dance Team has than they already do. As and cause a loss. Even been extremely successful many people already know, though they have a lot of throughout the years. The dance takes a lot of time, ef- Rec Center 5 pressure on their shoulders, coach, Denise Heilers, is a fort, and practice to get it they always do their best. great example of an awesome right. The dance team re- White-tailed Fever 6 coach. Last year, her daugh- quires at least four days of I am sure the dance ter Taylor Heilers graduated practice after school, maybe team is going to rock your The Musical 7 showing a ton of love and even more sometimes. Even socks off this year with their tears at their last competition. though it takes a lot of effort, new routines. Be sure to This year for the 2012 season, you can tell the dancers love come out and support the Gamers Unite 8 the dance team consists of six to dance. -
Trick-Or-Treat – Halloween Dvds at Lilly
Trick-or-Treat – Halloween DVDs at Lilly Modern Horror and Suspense …………… The Sixth Sense – DVD 20 28 Days Later – DVD 5011 The Strangers – DVD 13350 Abraham Lincoln, Vampire Slayer - DVD 22825 The Texas Chainsaw Massacre – DVD 2715 Blair Witch Project – DVD 8929 The Vanishing – DVD 5265 Bram Stoker’s Dracula – DVD 18781 The Woman in Black - DVD 22816 Brotherhood of the Wolf – DVD 7317 Warm Bodies – DevilDVD 24168 Cabin in the Woods - DVD 23495 Candyman – DVD 2202 Carrie – DVD 8937 Cat People – DVD 1259 Company of Wolves – DVD 1307 Cronos – DVD 18443 Daughters of Darkness – DVD 15142 Friday the 13th – DVD 8167 Funny Games – DVD 12168 I Know What You Did Last Summer – DVD 10840 Interview with the Vampire – DVD 15544 Martin – DVD 7341 Television Series …………… Buffy the Vampire Slayer – DVD 18486, DVD 574 Dexter – DVD 8989, DVD 11679, DVD 14656, DVD 17869 Grimm – DVD 22294 The Outer Limits: Volume One – DVD 5600 The Twilight Zone – DVD 19020 thru DVD 19024 The Walking Dead - DVD 24912, DVD 22526, DVD 20571 True Blood – DVD 14696, DVD 19184, DVD 20066 Night of the Living Dead – DVD 3374 Nightmare on Elm Street – DVD 980 Asian Horror ………… Paranormal Activity - DVD 16807 A Tale of Two Sisters – DVD 3442 Paranormal Activity 3 - DVD21279 Audition – DVD 764 Possession – DVD 1291 House – DVD 18041 Rosemary’s Baby – DVD 281, DVD 22790 Jigoku – DVD 7891 Shutter Island – DVD 19192 Ju-On – DVD 4804 Sisters – DVD 1107 Kwaiden – DVD 1724 The Children of the Corn – DVD 7195 Onibaba – DVD 2827 The Descent – DVD 8777 Ringu – DVD 1934 The Entity – DVD 11382