DOCSLIB.ORG

Annie Hall Michael Myers Characters As a Communication Associate Profes­ Trol If You’Re an Actor ~ You Work Despite Claiming Reality Scares 1977 Sor Don Diefenbach

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Annie Hall Michael Myers Characters As a Communication Associate Profes­ Trol If You’Re an Actor ~ You Work Despite Claiming Reality Scares 1977 Sor Don Diefenbach {The Blue Banner} I hursday, April 17, 200B Arts. Etc Pages muni f #... Column by Heather Thompson Horror special ejfects artist Tom Savini visits UNCA Contributing Writer Meredi Wagner-Hoehn Staff Writer [email protected] Dark Days 2000 Fatience create.s true terror, Director: Marc Singer accordinj; to acclaimed horror movie actor, director and special In Dark Days, Docuraentarian Marc Singer goes effects artist Tom .Savini. underground for this hilarious and astounding docu­ "Anybody can jump up and mentary about the dozens of homeless people living go, that scare lasts like under the street by the Amtrak rails near Penn Sta­ two seconds. The best scares tion. They enter their homes through a man-sized come from suspense, when you hole covered by a rug in an alley. They live in fairly show the threat and then the hero, sturdy one-room shacks, or hou.ses. Some have elec­ which is usually a woman if it is a tricity and they use water from a leaking pipe to take horror movie," Savini said. "That showers. Most of them are former or current drug is the beginning of the scare that abusers, and through the course of the film the viewer learns about lasts all the way until the culmi­ their lives, how they got down there, how they get income and if they nation -she either escapes or the plan to leave at any time. I love this documentary, not only because of thing grabs her, or you fathom Photos Contributed by Don Diefenbach it’s subject, but because Singer was not a filmmaker. He used his own money to make this film to create a source of income for the people nothing's there behind the door Tom Savini, renowned horror .spe­ he lived with in the tunnels so that they could eventually get out. The and then the thing is behind her. cial effects artist, spoke at UNC soundtrack is all original music by DJ Shadow. There are some tough That can last a long time. Hut Asheville last Thursday in the Hu­ scenes to watch, but there are also several hilarious scenes. My favor­ you have to be careful because if manities Lecture Hall, which was you wait t<K) long, the audience packed with students. Savini, left, ite part is when one of the guys explains how awesome his past pets doesn’t care anymore." walks to dinner with Hen Horn, were. The DVD has some of the best extras I’ve seen on a DVD, as Savini is best known for his center, and Brett Albers. Fluffy, well as a follow up on the individuals who are spotlighted, so we get to find out what happened to them after the film. work in Ni^ht of the Living Dead. above, is one of Savini’s creatures Friday the Uth. Creepshow. The from the movie Creepshow. Huniinf<, The I’rowler and Ma­ Pan’s Labyrinth niac. 2006 Savini also created the Tom Director: Guillermo del Toro Hut, the Hollywood horror Savini’s Special Make-Up Ef­ expert told an audience at UNC fects Program in Pennsylvania, Pan’s Labyrinth was directed by creator of night­ Asheville last Thursday that he which is a 16-month strenuous mares, Guillermo del Toro (no relation to Benecio). was actually initially drawn to degree program. Del Toro studied makeup effects under the great Dick comedy. “They learn animatronics. Smith (The Exorcist) before becoming a director. The "1 loved the Marx Hrothers They learn hair work - most film takes place in Spain in 1944 and follows the expe­ and the Stooges. Horror was just make-up artists don’t know any­ riences of a young girl who is forced to live with her more serious and had more of an thing about hair work. Gradu­ mother and step-father (a captain of the Spanish army). effect on me when I was a kid. I ate from my school and you can In order to survive these times, she delves into a fantas­ believed that /• rankeii.stein. Ihe weave a toupee,” Savini said. tical world where she is believed to be the princess of the underworld, Wolf Man and The Mummy were Students can work not only in lost to her parents long ago. OK, it sounds like a lot it could be a bor­ real," Savini said, referencing the the film industry, but in prosthetic ing epic, but I assure you it is not. I saw this in theaters at a 4:10 p.m. ‘40s lilms from directors James labs, museums and toy compa­ showing and couldn’t get it out of my head and had to go back the same and say, ‘Sex Machine, how did Whale, George Waggner and Karl ond that you can do lots of things nies with this degree, according evening at 9:10 p.m. and see it again. The visual stimulation that one Treund respectively. “Laughing you get the bullets into the gun?’ well." to Savini. receives from viewing Pan’s Labyrinth cannot compare to anything was great, but being .scared - it I’m looking at this person and Anne Slatton. who teaches F'or a man who knows all the else I’ve seen. Yes, it’s subtitled, but if you have a problem with that did something that 1 watited to do I’m saying, ‘You know, it’s only a film genres and film criticism secrets and makes a living of cre­ then you’re already missing out on a majority of the world’s films. to people." movie,’" Savini said, referencing clas.ses at UNCA, said trying dif­ ating fear in other people, he still They can’t all cater to Americans. Ofelia, played by Ivana Baquero, is The packed Humanities lec­ characters from his films Friday ferent fields makes a professional has his nightmares. fantastic. Mercedes, maid of the captain, is played by Maribel Verdu the 13th, Halloween and From ture Hall st(K)d as evidence of stronger. Savini was a combat photogra­ of Y tu Mama, Tambien, is one of the toughest female characters I’ve Savini's extensive fan base here Dusk Till Dawn. "If you believe "It’s a natural progression as pher in the Vietnam War. seen in a long, long time and Sergi Lopez (who plays the much hated Jason is a real character walking at UNCA. an artist to try new things, espe­ "I find safety behind the cam­ captain) will send chills up your spine and not just because he gets fish "One E)f the great things ahtTut around, you’re being trained to be cially if you’re in the business era," he said. “To be there and see hooked with a knife. If you haven’t seen this...'WHY NOT? stupid." Tom (Savini) is the timeless na­ for a long time," .Slatton said. that, you have to be able to turn ture of his appeal," said mass Savini created the Jason and “Either to try to have more con­ your emotions off” Annie Hall Michael Myers characters as a communication associate profes­ trol if you’re an actor ~ you work Despite claiming reality scares 1977 sor Don Diefenbach. "In the late make-up and special effects artist; with a lot of directors and learn him the most, he lists The Exor­ Director: Woody Allen he acted as the character Sex Ma­ ‘70s and the early ‘80s, when he a lot of stuff and then you want cist, Aliens and the 1959 origi­ chine, who had a pistol strapped Annie Hall is not my favorite Woody Allen film, (it’s was really blowing the industry to try it out yourself, or you want nal of House on Haunted Hill to his groin. ^ Love and Death) but it is one of his more popular films right open, consuming it at the to take your personal experience as movies that frightened him I and it is very, very fiinny. Staring Diane Keaton as An­ time I was thinking, ‘Oh, well Savini’s resume for special and translate it into a different art most. nie Hall, and Woody Allen as Alvy Singer, a neurotic (to this is great now and then there'll effects includes 22 films; for act­ form." He labels The Passion of the say the least) comedian who falls in love with her, TTie be something later.' Jason and ing, 16 films; for directing, one Through his various positions, Christ as the horror film of the story is about the ups and downs of the relationships that zombies, I don’t know what it feature film and three television the horror Jack-of-all-trades has century. Alvy has had in the past and present. Carol Kane {Taxi, is, but just like Frankenstein and shows. learned an infinite number of ter­ Though many people write off A Dog Day Afternoon) is one of my favorite past wives Dracula, going back to the ‘30s, "My father could do any­ rifying tricks that help in the in­ the fantastical fear in horror films of Alvy as .Allison. Everyone’s favorite, Christopher Walken, plays his work from the ‘70s and ‘80s thing. He did many things. He dustry. as silly or unnecessary, Diefen­ Annie s brother and is undoubtedly one of the best characters in the is the .second wave of classic hor­ was a carpenter, a bricklayer, a "If you can make people be­ bach sees validity to zombies and film. I’ve seen this movie at least 15-20 times and it’s funnier every ror.’‘ plumber, an electrician, an artist, lieve there’s a bone structure vampires.
Load more

Recommended publications
  • Guillermo Del Toro’S Bleak House
    GuillermoAt Home With Monstersdel Toro By James Balestrieri Guillermo del Toro’s Bleak House. Photo ©Josh White/ JWPictures.com. LOS ANGELES, CALIF. — The essence of “Guillermo del Toro: At Home With Monsters,” the strange and wonderful exhibition at the Los Angeles County Museum of Art (LACMA) through November 27, is this: Guillermo del Toro, born in 1964, is a major writer and director whose films include Cronos (1993), The Devil’s Backbone (2001), Hellboy (2004), Pan’s Labyrinth (2006), Pacific Rim (2013) and Crimson Peak (2015). He is a master who creates worlds that embrace horror, science fiction, fantasy and fairy tales. He insists that, as fantastic as they are, these worlds are located and grounded beside, beneath and in the real world, our world — a world, he might argue, that we merely imagine as real. The membrane separating these worlds is thin, porous and portal-ridden. The worlds are distorted reflections of one another. This distortion becomes the occasion for his ideas and art. Page from Notebook 2 by Guillermo del Toro. Leather-bound notebook, ink on paper, 8 by 10 by 1½ inches. Collection of Guillermo del Toro. ©Guillermo del Toro. Photo courtesy Insight Editions. Jointly organized by LACMA with the Minneapolis Institute of Art and the Art Gallery of Ontario, this first retrospective of the filmmaker’s work arrays sculpture, paintings, prints, photography, costumes, ancient artifacts, books, maquettes and film to create a complex portrait of a creative genius. Roughly 60 of the 500 objects on view are from LACMA’s collection. More belong to the artist.
    [Show full text]
  • Coursera Statistical Inference Spring 2017 - Allen Vs Coen(S) (#2708)
    Coursera Statistical Inference Spring 2017 - Allen vs Coen(s) (#2708) Author(s) Created: 01/29/2017 05:26 PM (PT) Michael Lewitter (Coursera) - [email protected] Public: 01/29/2017 05:30 PM (PT) 1) What's the main question being asked or hypothesis being tested in this study? Many directors have a dedicated cult following. In particular, are Joel and Ethan Coen (aka the Coen Brothers) and Woody Allen have received many accolades. Both examine the human condition, but have very different takes on their cinematic and directorial style. Do audiences interested in this subject matter prefer one director over the other? 2) Describe the key dependent variable(s) specifying how they will be measured. I will evaluate this based on the IMDb rating (not metascore) of the filmmakers’ complete English-language feature-length non-TV-film filmography with director credit. 3) How many and which conditions will participants be assigned to? Two groups: films directed by Woody Allen, and films directed by the Coen brothers (Joel Coen has traditionally taken the director credit for their films). 4) Specify exactly which analyses you will conduct to examine the main question/hypothesis. I will use a two one-sided t-test (TOST) procedure to test for equivalence with bounds of -0.8 and +0.8. I will use alpha = 0.05, and a 90% CI. 5) Any secondary analyses? No. 6) How many observations will be collected or what will determine sample size? No need to justify decision, but be precise about exactly how the number will be determined. I will use the IMDb rating (not metascore) of the filmmakers’ complete English-language feature-length non-TV-film filmography where they have a director credit.
    [Show full text]
  • Being a Non-Entity with Soon-Yi Previn
    Ellipsis Volume 41 Article 27 2014 Being a Non-Entity with Soon-Yi Previn Carl Hugmeyer Follow this and additional works at: https://scholarworks.uno.edu/ellipsis Part of the Nonfiction Commons Recommended Citation Hugmeyer, Carl (2014) "Being a Non-Entity with Soon-Yi Previn," Ellipsis: Vol. 41 , Article 27. DOI: https://doi.org/10.46428/ejail.41.27 Available at: https://scholarworks.uno.edu/ellipsis/vol41/iss1/27 This Creative Nonfiction is brought to you for free and open access by the Department of English and Foreign Languages at ScholarWorks@UNO. It has been accepted for inclusion in Ellipsis by an authorized editor of ScholarWorks@UNO. For more information, please contact [email protected]. Being a Non-Entity with Soon-Yi Previn Carl Hugmeyer Sometimes I realize that I’m not really putting myself out there. Being pleasant and considerate towards those around you is important, but part of me still thinks there should be something else going on. I find it hard to track down my contributions, my expressions, my statements. Partially read New Yorkers pile up and Netflix still recommends more documentaries than sitcoms. There is kale in the refrigerator, yes, and a $23 bottle of wine. Great. But is this supposed to be a model of beautiful living, to show to those who scream at their children, slapping them and then tugging at their arms as they wait for the tank to fill up at the gas station? To those who throw their Burger King wrappers out of the car window? It is dust accumulating, nothing, a mouse in the walls of the world that no one really sees or cares about except when it gets audibly worked up or so thoroughly stuck that a smell begins to emanate.
    [Show full text]
  • Café Society
    Presents CAFÉ SOCIETY A film by Woody Allen (96 min., USA, 2016) Language: English Distribution Publicity Bonne Smith Star PR 1352 Dundas St. West Tel: 416-488-4436 Toronto, Ontario, Canada, M6J 1Y2 Fax: 416-488-8438 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com @MongrelMedia MongrelMedia CAFÉ SOCIETY Starring (in alphabetical order) Rose JEANNIE BERLIN Phil STEVE CARELL Bobby JESSE EISENBERG Veronica BLAKE LIVELY Rad PARKER POSEY Vonnie KRISTEN STEWART Ben COREY STOLL Marty KEN STOTT Co-starring (in alphabetical order) Candy ANNA CAMP Leonard STEPHEN KUNKEN Evelyn SARI LENNICK Steve PAUL SCHNEIDER Filmmakers Writer/Director WOODY ALLEN Producers LETTY ARONSON, p.g.a. STEPHEN TENENBAUM, p.g.a. EDWARD WALSON, p.g.a. Co-Producer HELEN ROBIN Executive Producers ADAM B. STERN MARC I. STERN Executive Producer RONALD L. CHEZ Cinematographer VITTORIO STORARO AIC, ASC Production Designer SANTO LOQUASTO Editor ALISA LEPSELTER ACE Costume Design SUZY BENZINGER Casting JULIET TAYLOR PATRICIA DiCERTO 2 CAFÉ SOCIETY Synopsis Set in the 1930s, Woody Allen’s bittersweet romance CAFÉ SOCIETY follows Bronx-born Bobby Dorfman (Jesse Eisenberg) to Hollywood, where he falls in love, and back to New York, where he is swept up in the vibrant world of high society nightclub life. Centering on events in the lives of Bobby’s colorful Bronx family, the film is a glittering valentine to the movie stars, socialites, playboys, debutantes, politicians, and gangsters who epitomized the excitement and glamour of the age. Bobby’s family features his relentlessly bickering parents Rose (Jeannie Berlin) and Marty (Ken Stott), his casually amoral gangster brother Ben (Corey Stoll); his good-hearted teacher sister Evelyn (Sari Lennick), and her egghead husband Leonard (Stephen Kunken).
    [Show full text]
  • False Authenticity in the Films of Woody Allen
    False Authenticity in the Films of Woody Allen by Nicholas Vick November, 2012 Director of Thesis: Amanda Klein Major Department: English Woody Allen is an auteur who is deeply concerned with the visual presentation of his cityscapes. However, each city that Allen films is presented in such a glamorous light that the depiction of the cities is falsely authentic. That is, Allen's cityscapes are actually unrealistic recreations based on his nostalgia or stilted view of the city's culture. Allen's treatment of each city is similar to each other in that he strives to create a cinematic postcard for the viewer. However, differing themes and characteristics emerge to define Allen's optimistic visual approach. Allen's hometown of Manhattan is a place where artists, intellectuals, and writers can thrive. Paris denotes a sense of nostalgia and questions the power behind it. Allen's London is primarily concerned with class and the social imperative. Finally, Barcelona is a haven for physicality, bravado, and sex but also uncertainty for American travelers. Despite being in these picturesque and dynamic locations, happiness is rarely achieved for Allen's characters. So, regardless of Allen's dreamy and romanticized visual treatment of cityscapes and culture, Allen is a director who operates in a continuous state of contradiction because of the emotional unrest his characters suffer. False Authenticity in the Films of Woody Allen A Thesis Presented To the Faculty of the Department of English East Carolina University In Partial Fulfillment of the Requirements for the Degree MA English by Nicholas Vick November, 2012 © Nicholas Vick, 2012 False Authenticity in the Films of Woody Allen by Nicholas Vick APPROVED BY: DIRECTOR OF DISSERTATION/THESIS: _______________________________________________________ Dr.
    [Show full text]
  • American International Pictures Retrospective at the Museum of Modern Art
    The Museum of Modern Art 50th Anniversary •JO NO. 47 FOR IMMEDIATE RELEASE AMERICAN INTERNATIONAL PICTURES RETROSPECTIVE AT THE MUSEUM OF MODERN ART The Department of Film of The Museum of Modern Art will present a retrospective exhibition of films from American International Pictures beginning July 26 and running through August 28, 1979. The 38 film retrospective, which coincides with the studio's 25th anniversary, was selected from the company's total production of more than 500 films, by Adrienne Mancia, Curator, and Larry Kardish, Associate Curator, of the Museum's Department of Film. The films, many in new 35mm prints, will be screened in the Museum's Roy and Niuta Titus Auditorium and, concurrent with the retro­ spective, a special installation of related film stills and posters will be on view in the adjacent Auditorium Gallery. "It's extraordinary to see how many filmmakers, writers and actors — now often referred to as 'the New Hollywood'—took their first creative steps at American International," commented Adrienne Mancia. "AIP was a good training ground; you had to work quickly and economically. Low budgets can force you to find fresh resources. There is a vitality and energy to these feisty films that capture a certain very American quality. I think these films are rich in information about our popular culture and we are delighted to have an opportunity to screen them." (more) II West 53 Street, New York, NY. 10019, 212-956-6100 Coble: Modernart NO. 47 Page 2 Represented in the retrospective are Martin Scorsese, Francis Ford Coppola, Woody Allen, Jack Nicholson, Annette Funicello, Peter Fonda, Richard Dreyfuss, Roger Corman, Ralph Bakshi, Brian De Palma, John Milius, Larry Cohen, Michael Schultz, Dennis Hopper, Michelle Phillips, Robert De Niro, Bruce Dern, Michael Landon, Charles Bronson, Mike Curb, Richard Rush, Tom Laughlin, Cher, Richard Pryor, and Christopher Jones.
    [Show full text]
  • Special Effect Supply Corporation
    Books Special Effect Supply Corporation “Largest Selection of Books West of Mule Creek” 164 East Center • North Salt Lake UT 84054 • Phone (801) 936-9762 www.fxsupply.com [email protected] Fax (801) 936-9763 Special Makeup Effects Books: More Books on How to Make Stuff: Special Effects and Related: Techniques of Three-Dimensional Makeup Behind the Mask by Lee Baygan Mold Making and Casting Guides: Secrets of Hollywood's Monster Makers The most complete book on makeup prosthetics available. Four book set includes: MOLDMAKING GUIDE, CASTING by Mark Salisbury and Alan Hedgcock Contents include: Making a Life Mask, The Three-Piece Mold, GUIDE, SOURCE GUIDE, BONUS GUIDE. Moldmaking Take a close look at the men and their monsters; Dick Smith, Modeling and Casting Large Pieces, Plus much more. 180 Guide is 63 pages. Casting guide is 77 pages. Source book for Stan Winston, Rick Baker, Bob Bottin, Steve Johnson. pages, paperback, color photos, 1988. ISBN: 0-8230-5261-3. 186 sources of 210 materials is 28 pages. There is also a bonus Highlights film's greatest monsters from The Exorcist t o B613 Tech. of 3-D Makeup/Baygan..............................................$29.95 guide with charts and other valuable information. 8.5x11, Jurassic Park. Sure to be a classic. 125 pages, paper, b/w and Stapled, Illus. color photos throughout, 1994. The Technique of the Professional Make-Up Artist B042 Mold Making and Casting Guides/Castcraft........................$36.00 B885 Behind the Mask/Salisbury/Hedgcock.................................$23.95 by Vincent J R Kehoe Much expanded version of Special Makeup Effects. Updated for Monster Makers Mask Maker's Handbook the next generation of make-up artists.
    [Show full text]
  • New York Stories De Martin Scorsese, Francis Ford Coppola Et Woody Allen Michel Beauchamp
    Document generated on 09/27/2021 5:31 p.m. 24 images New York vu par… New York Stories de Martin Scorsese, Francis Ford Coppola et Woody Allen Michel Beauchamp Cinéma d’animation Number 43, Summer 1989 URI: https://id.erudit.org/iderudit/22936ac See table of contents Publisher(s) 24/30 I/S ISSN 0707-9389 (print) 1923-5097 (digital) Explore this journal Cite this review Beauchamp, M. (1989). Review of [New York vu par… / New York Stories de Martin Scorsese, Francis Ford Coppola et Woody Allen]. 24 images, (43), 76–77. Tous droits réservés © 24 images inc., 1989 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ NEW YORK STORIES DE MARTIN SCORSESE, FRANCIS FORD COPPOLA ET WOODY ALLEN Le peintre Lionel Dobie (Nick Nolte) en compagnie de son assistante /amante Paulette (Rosanna Arquette). NEW YORK VII PAR.. par Michel Beauchamp ew York, Scorsese, Coppola et tème et en renverser les valeurs. Il pousse d'un orchestre qui accompagne le célé- Allen. C'est l'affiche la plus presti­ à son terme la logique du désir qui lui est brissime flûtiste. Seule échappée dans le N gieuse que pouvait offrir le cinéma chère et se rend aux confins du rêve, là où réel, un clochard enfoui sous un amas de américain pour donner toutes ses chances disparaît le désir.
    [Show full text]
  • Reading for Fictional Worlds in Literature and Film
    Reading for Fictional Worlds in Literature and Film Danielle Simard Doctor of Philosophy University of York English and Related Literature March, 2020 2 Abstract The aim of this thesis is to establish a critical methodology which reads for fictional worlds in literature and film. Close readings of literary and cinematic texts are presented in support of the proposition that the fictional world is, and arguably should be, central to the critical process. These readings demonstrate how fictional world-centric readings challenge the conclusions generated by approaches which prioritise the author, the reader and the viewer. I establish a definition of independent fictional worlds, and show how characters rather than narrative are the means by which readers access the fictional world in order to analyse it. This interdisciplinary project engages predominantly with theoretical and critical work on literature and film to consider four distinct groups of contemporary novels and films. These texts demand readings that pose potential problems for my approach, and therefore test the scope and viability of my thesis. I evaluate character and narrative through Fight Club (novel, Chuck Palahniuk [1996] film, David Fincher [1999]); genre, context, and intertextuality in Solaris (novel, Stanisław Lem [1961] film, Andrei Tarkovsky [1974] film, Steven Soderbergh [2002]); mythic thinking and character’s authority with American Gods (novel, Neil Gaiman [2001]) and Anansi Boys (novel, Neil Gaiman [2005]); and temporality and nationality in Cronos (film, Guillermo
    [Show full text]
  • 1 April 2012 DEAD by DAWN 29 March - 1 April 2012 All Screenings in Cinema One
    29 March - 1 April 2012 DEAD BY DAWN 29 March - 1 April 2012 All screenings in Cinema One Thursday THE FIELDS 2330 – 0115 Friday RED TEARS 1200 – 1335 What You Make It short film programme 1415 – 1515 THE OMEN 1600 – 1800 Long Shorts short film programme 1900 – 2035 BELOW ZERO + Q&A with Signe Olynyk and Bob Schultz 2115 – 2315 THE PUPPET MONSTER MASSACRE 0015 – 0130 Saturday DELIVERANCE 1245 – 1445 Cutting Edge short film programme 1530 – 1715 NIGHTMARE FACTORY 1815 – 1950 LOBOS DE ARGA + Q&A with Juan Martinez Moreno 2045 – 2250 Late Night Triple Bill Bear + JUAN DE LOS MUERTOS 0000 – 0155 Infernal Nuns + DEMONS 0230 – 0405 MACABRE 0425 – 0600 Sunday CREEPSHOW 1345 – 1550 2D & Deranged short animation programme 1630 – 1740 RED NIGHTS 1830 – 2015 HAUNTERS 2100 – 2245 Freebies, Blethering, Shit Film Amnesty 2330 – 2350 THE CABIN IN THE WOODS 2350 – 0140 Some times may be subject to slight change. Welcome to Dead by Dawn! It’s sound advice to be more afraid of the living than the dead. Sure, the dead can kill you, but at least they’re easy to spot. In this year’s programme too many of the monsters will smile when they meet you, and will still be smiling when they lock you in a meat freezer. Or encourage you onto a ledge. Or offer to share their martini. You could try politely declining their kind offer, see how that works out... Dead by Dawn is a discovery festival which exists to showcase potential and vibrant emerging talent, but also aims to screen the widest possible range of what can be described as horror both in feature and short form.
    [Show full text]
  • The Ghost Is Just a Metaphor: Guillermo Del Toro's Crimson Peak
    EUROPEAN JOURNAL OF MEDIA STUDIES www.necsus-ejms.org The ghost is just a metaphor: Guillermo del Toro’s Crimson Peak, nineteenth-century female gothic, and the slasher Evangelia Kindinger NECSUS 6 (2), Autumn 2017: 55–71 URL: https://necsus-ejms.org/the-ghost-is-just-a-metaphor- guillermo-del-toros-crimson-peak-nineteenth-century-female- gothic-and-the-slasher/ Keywords: final girl, Guillermo del Toro, horror-ghost film, nine- teenth-century gothic A brief overview of American film and television since the 1990s affirms Ma- ría del Pilar Blanco and Esther Peeren’s conclusion: ‘It seems that ghosts are everywhere these days.’[1] With the release of Crimson Peak in 2015, Mexican filmmaker Guillermo del Toro did not only add another horror movie to his oeuvre,[2] but as a horror-ghost film[3] Crimson Peak joins a long list of cine- matic representations of ghosts. It also displays del Toro’s unique style, his vision of movies as ‘durchkonzipierte und bis ins letzte Detail kontrollierte Gesamtkunstwerke [conceptualised and detailed, total works of art]’.[4] Set in Buffalo, New York, around 1900, the film introduces Edith Cushing, the young, white, upper-class daughter of industrial mogul Carter Cushing, who spends her time writing ghost stories and trying to get them pub- lished.[5] When English baronet Thomas Sharpe and his sister Lucille arrive in Buffalo to find investors for Thomas’ clay mining invention, Edith falls in love with him. Her father is very suspicious of the siblings and after black- mailing them to leave Buffalo following the revelation that Thomas is already married, he is killed by an unknown figure in black who is later revealed as Lucille.
    [Show full text]
  • The National Bank of Indianapolis Summer Nights Film Series Returns to Newfields 6/4 Tickets Go on Sale May 21 for Members, May 28 for Public
    FOR IMMEDIATE RELEASE Images available upon request. The National Bank of Indianapolis Summer Nights Film Series returns to Newfields 6/4 Tickets go on sale May 21 for members, May 28 for public INDIANAPOLIS, May 17, 2021–The beloved summer tradition, The National Bank of Indianapolis Summer Nights Film Series returns to Newfields on Fridays and select Saturdays this June, July and August. Over the summer, 14 films will be shown —everything from classic black-and-white films to modern blockbusters. “Supporting the Summer Nights Film Series is a way for us to give back to our city, and to support our community in an engaging and meaningful way,” said Ann Merkel, senior vice president and chief market development officer at The National Bank of Indianapolis. “We dedicate our resources to activities that create a stronger community and enhance the quality of life for all who live here. We are pleased to be celebrating 10 years as the title sponsor of this beloved program.” New this year and to maintain a safe social distance and reduced capacity in The Amphitheater, Summer Nights tickets will be sold as boxed seating that can accommodate one to four individuals. Each box will be seven feet by eight feet and be spaced six feet apart from others. For everyone’s health and safety, the boxes will be sold at a fixed price with a maximum of four tickets. Tickets go on sale for members on May 21 at 11 a.m. and for the public on May 28 at 11 a.m. Ticket boxes of four are $36 for members and $48 for public.
    [Show full text]