The Fly Based on the Story by George Langelaan Screenplay by Charles Edward Pogue and David Cronenberg Produced by Stuart Corn
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Irish Gothic Fiction
THE ‘If the Gothic emerges in the shadows cast by modernity and its pasts, Ireland proved EME an unhappy haunting ground for the new genre. In this incisive study, Jarlath Killeen shows how the struggle of the Anglican establishment between competing myths of civility and barbarism in eighteenth-century Ireland defined itself repeatedly in terms R The Emergence of of the excesses of Gothic form.’ GENCE Luke Gibbons, National University of Ireland (Maynooth), author of Gaelic Gothic ‘A work of passion and precision which explains why and how Ireland has been not only a background site but also a major imaginative source of Gothic writing. IRISH GOTHIC Jarlath Killeen moves well beyond narrowly political readings of Irish Gothic by OF IRISH GOTHIC using the form as a way of narrating the history of the Anglican faith in Ireland. He reintroduces many forgotten old books into the debate, thereby making some of the more familiar texts seem suddenly strange and definitely troubling. With FICTION his characteristic blend of intellectual audacity and scholarly rigour, he reminds us that each text from previous centuries was written at the mercy of its immediate moment as a crucial intervention in a developing debate – and by this brilliant HIST ORY, O RIGI NS,THE ORIES historicising of the material he indicates a way forward for Gothic amidst the ruins of post-Tiger Ireland.’ Declan Kiberd, University of Notre Dame Provides a new account of the emergence of Irish Gothic fiction in the mid-eighteenth century FI This new study provides a robustly theorised and thoroughly historicised account of CTI the beginnings of Irish Gothic fiction, maps the theoretical terrain covered by other critics, and puts forward a new history of the emergence of the genre in Ireland. -
“No Reason to Be Seen”: Cinema, Exploitation, and the Political
“No Reason to Be Seen”: Cinema, Exploitation, and the Political by Gordon Sullivan B.A., University of Central Florida, 2004 M.A., North Carolina State University, 2007 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2017 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Gordon Sullivan It was defended on October 20, 2017 and approved by Marcia Landy, Distinguished Professor, Department of English Jennifer Waldron, Associate Professor, Department of English Daniel Morgan, Associate Professor, Department of Cinema and Media Studies, University of Chicago Dissertation Advisor: Adam Lowenstein, Professor, Department of English ii Copyright © by Gordon Sullivan 2017 iii “NO REASON TO BE SEEN”: CINEMA, EXPLOITATION, AND THE POLITICAL Gordon Sullivan, PhD University of Pittsburgh, 2017 This dissertation argues that we can best understand exploitation films as a mode of political cinema. Following the work of Peter Brooks on melodrama, the exploitation film is a mode concerned with spectacular violence and its relationship to the political, as defined by French philosopher Jacques Rancière. For Rancière, the political is an “intervention into the visible and sayable,” where members of a community who are otherwise uncounted come to be seen as part of the community through a “redistribution of the sensible.” This aesthetic rupture allows the demands of the formerly-invisible to be seen and considered. We can see this operation at work in the exploitation film, and by investigating a series of exploitation auteurs, we can augment our understanding of what Rancière means by the political. -
Retrofuture Hauntings on the Jetsons
City University of New York (CUNY) CUNY Academic Works Publications and Research Queens College 2020 No Longer, Not Yet: Retrofuture Hauntings on The Jetsons Stefano Morello CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/qc_pubs/446 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] de genere Rivista di studi letterari, postcoloniali e di genere Journal of Literary, Postcolonial and Gender Studies http://www.degenere-journal.it/ @ Edizioni Labrys -- all rights reserved ISSN 2465-2415 No Longer, Not Yet: Retrofuture Hauntings on The Jetsons Stefano Morello The Graduate Center, City University of New York [email protected] From Back to the Future to The Wonder Years, from Peggy Sue Got Married to The Stray Cats’ records – 1980s youth culture abounds with what Michael D. Dwyer has called “pop nostalgia,” a set of critical affective responses to representations of previous eras used to remake the present or to imagine corrective alternatives to it. Longings for the Fifties, Dwyer observes, were especially key to America’s self-fashioning during the Reagan era (2015). Moving from these premises, I turn to anachronisms, aesthetic resonances, and intertextual references that point to, as Mark Fisher would have it, both a lost past and lost futures (Fisher 2014, 2-29) in the episodes of the Hanna-Barbera animated series The Jetsons produced for syndication between 1985 and 1987. A product of Cold War discourse and the early days of the Space Age, the series is characterized by a bidirectional rhetoric: if its setting emphasizes the empowering and alienating effects of technological advancement, its characters and its retrofuture aesthetics root the show in a recognizable and desirable all-American past. -
The Hunchback of Notre Dame by Richard Hills a Smith Script
THE HUNCHBACK OF NOTRE DAME BY RICHARD HILLS A SMITH SCRIPT EXTRACT This script is protected by copyright laws. No performance of this script – IN ANY MEDIA – may be undertaken without payment of the appropriate fee and obtaining a licence. For further information, please contact SMITH SCRIPTS – [email protected] THE HUNCHBACK OF NOTRE DAME A Pantomime By RICHARD HILLS Loosely based on the story by Victor Hugo CHARACTERS 1ST Gargoyle Part of Bell Tower 2nd Gargoyle Part of Bell Tower Claude Frollo Nasty Minister of Justice. Qussimodo The Hunchback of Notre Dame Fe Fe La Large Proprietress of the Jolly Frenchman Gringoire A Street Actor Yvette Owner of Ye Olde Bread Basket Shop Clopin King of the Beggars Esmeralda A Gypsy Dancer Marguerite Daughter of Fe Fe Phoebus Captain of the Guard Chorus of Street Urchins, Carnival Revellers, Townspeople, Beggars, Soldiers and Dancers SYNOPSIS OF SCENES PROLOGUE Part of the Bell Tower of Notre Dame ACT 1 Scene 1 The Square outside Notre Dame Scene 2 Part of the Bell Tower of Notre Dame Scene 3 The Square outside Notre Dame, the next morning Scene 4 Part of the Bell Tower of Notre Dame Scene 5 The Court of Miracles, that night ACT 2 Scene 1 The Square outside Notre Dame, next morning Scene 2 Part of the Bell Tower of Notre Dame, later that day Scene 3 The Square outside Notre Dame, later that day Scene 4 Another street in Paris, the next day Scene 5 The weddings inside Notre Dame MUSICAL NUMBERS This is a list of suggested songs only, and can be changed to suit needs and voices available. -
Transatlantica, 2 | 2017 Marianne Kac-Vergne, Masculinity in Contemporary Science Fiction Cinema
Transatlantica Revue d’études américaines. American Studies Journal 2 | 2017 (Hi)stories of American Women: Writings and Re- writings / Call and Answer: Dialoguing the American West in France Marianne Kac-Vergne, Masculinity in Contemporary Science Fiction Cinema. Cyborgs, Troopers and Other Men of the Future Mehdi Achouche Electronic version URL: https://journals.openedition.org/transatlantica/10482 DOI: 10.4000/transatlantica.10482 ISSN: 1765-2766 Publisher Association française d'Etudes Américaines (AFEA) Electronic reference Mehdi Achouche, “Marianne Kac-Vergne, Masculinity in Contemporary Science Fiction Cinema. Cyborgs, Troopers and Other Men of the Future”, Transatlantica [Online], 2 | 2017, Online since 19 April 2019, connection on 20 May 2021. URL: http://journals.openedition.org/transatlantica/10482 ; DOI: https:// doi.org/10.4000/transatlantica.10482 This text was automatically generated on 20 May 2021. Transatlantica – Revue d'études américaines est mise à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Marianne Kac-Vergne, Masculinity in Contemporary Science Fiction Cinema. Cybo... 1 Marianne Kac-Vergne, Masculinity in Contemporary Science Fiction Cinema. Cyborgs, Troopers and Other Men of the Future Mehdi Achouche REFERENCES Marianne Kac-Vergne, Masculinity in Contemporary Science Fiction Cinema. Cyborgs, Troopers and Other Men of the Future, London, I.B. Tauris, 2018, 246 pages, ISBN 978-1-78076-748-2, 3 1 If, as J.P. Telotte has pointed out, science fiction cinema “has focused its attention on the problematic nature of human being and the difficult task of being human” (2), this “humanist” proclivity is in fact often, like da Vinci’s Vitruvian Man, about making white men the heart of the system. -
Zoom on the Fly!
How to Zoom on the Fly! Let’s say you are in Chat and you realize it will be much easier if you show the student your screen or see theirs. Here’s how to set up an instant Zoom meeting. 1. Set up a Zoom account via CCC Confer. Visit www.conferzoom.org and set up an account using your Cerritos.edu email address. (You only need one account for the entire CA Community College System, so if you already have one from another school you can use that one and you don’t need to set up an account.) 2. Create an On-the-Fly session. Visit https://cccconfer.zoom.us/ Click Host A Meeting. You can decide to host With Video On if you want the other people. If you choose With Video Off you will still be able to share the screen. (If it asks you to login first just put in your credentials from CCC Confer. HOST A MEETING ..., MY ACCOUNT With Video Off With Video On Click Open Link to launch the application. • Launch Application This Ii k needs to be ope ed wit h an application. Send to: 0 Remember my c oice for zoom mtg links. Cancel Open link j 1 Indicate how you want to set up the audio for yourself. • Choose ONE of the audio conference options Phone Call Computer Audio Join With Computer Audio Test Speaker and Microphone 0 Automatically join audio by computer when joining a meeting If you chose to conduct the meeting without video you will see this screen: Meeting Topic: Stephanie Rosenblatt's Zoom Meeting Host Name: Stephanie Rosenblatt Invitation URL: https://cccconfer.zoom.us/j/349926273 Copy URL ◄◄---- Participant ID: 41 Join Audio Share Scree n Invite Others Computer Audio Connected Copy the URL and send it to the student in chat so they can join, then click Share Screen. -
Filmic Bodies As Terministic (Silver) Screens: Embodied Social Anxieties in Videodrome
FILMIC BODIES AS TERMINISTIC (SILVER) SCREENS: EMBODIED SOCIAL ANXIETIES IN VIDEODROME BY DANIEL STEVEN BAGWELL A Thesis Submitted to the Graduate Faculty of WAKE FOREST UNIVERSITY GRADUATE SCHOOL OF ARTS AND SCIENCES in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Communication May 2014 Winston-Salem, North Carolina Approved By: Ron Von Burg, Ph.D., Advisor Mary Dalton, Ph.D., Chair R. Jarrod Atchison, Ph.D. ACKNOWLEDGMENTS A number of people have contributed to my incredible time at Wake Forest, which I wouldn’t trade for the world. My non-Deac family and friends are too numerous to mention, but nonetheless have my love and thanks for their consistent support. I send a hearty shout-out, appreciative snap, and Roll Tide to every member of the Wake Debate team; working and laughing with you all has been the most fun of my academic career, and I’m a better person for it. My GTA cohort has been a blast to work with and made every class entertaining. I wouldn’t be at Wake without Dr. Louden, for which I’m eternally grateful. No student could survive without Patty and Kimberly, both of whom I suspect might have superpowers. I couldn’t have picked a better committee. RonVon has been an incredibly helpful and patient advisor, whose copious notes were more than welcome (and necessary); Mary Dalton has endured a fair share of my film rants and is the most fun professor that I’ve had the pleasure of knowing; Jarrod is brilliant and is one of the only people with a knowledge of super-violent films that rivals my own. -
Desire, Disease, Death, and David Cronenberg: the Operatic Anxieties of the Fly
Desire, Disease, Death, and David Cronenberg: The Operatic Anxieties of The Fly Yves Saint-Cyr 451 University of Toronto Introduction In 1996, Linda and Michael Hutcheon released their groundbreaking book, Opera: Desire, Disease, Death, a work that analyses operatic representations of tuberculosis, syphilis, cholera, and AIDS. They followed this up in 2000 with Bodily Charm, a discussion of the corporeal in opera; and, in 2004, they published Opera: The Art of Dying, in which they argue that opera has historically provided a metaphorical space for the ritualistic contemplation of mortality, whether the effect is cathartic, medita- tive, spiritual, or therapeutic. This paper is based on a Hutcheonite reading of the Fly saga, which to date is made up of seven distinct incarnations: George Langelaan published the original short story in 1957; Neumann and Clavell’s 1958 film adaptation was followed by two sequels in 1959 and 1965; David Cronenberg re-made the Neumann film in 1986, which gener- ated yet another sequel in 1989; and, most recently in 2008, Howard Shore and David Henry Hwang adapted Cronenberg’s film into an opera. If the Hutcheons are correct that opera engenders a ritualistic contemplation of mortality by sexualising disease, how does this practice influence composers and librettists’ choice of source material? Historically, opera has drawn on the anxieties of its time and, congruently, The Fly: Canadian Review of Comparative Literature / Revue Canadienne de Littérature Comparée CRCL DECEMBER 2011 DÉCEMBRE RCLC 0319–051x/11/38.4/451 © Canadian Comparative Literature Association CRCL DECEMBER 2011 DÉCEMBRE RCLC The Opera draws on distinctly 21st-century fears. -
Science Fiction Films of the 1950S Bonnie Noonan Louisiana State University and Agricultural and Mechanical College, [email protected]
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 "Science in skirts": representations of women in science in the "B" science fiction films of the 1950s Bonnie Noonan Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Noonan, Bonnie, ""Science in skirts": representations of women in science in the "B" science fiction films of the 1950s" (2003). LSU Doctoral Dissertations. 3653. https://digitalcommons.lsu.edu/gradschool_dissertations/3653 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. “SCIENCE IN SKIRTS”: REPRESENTATIONS OF WOMEN IN SCIENCE IN THE “B” SCIENCE FICTION FILMS OF THE 1950S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English By Bonnie Noonan B.G.S., University of New Orleans, 1984 M.A., University of New Orleans, 1991 May 2003 Copyright 2003 Bonnie Noonan All rights reserved ii This dissertation is “one small step” for my cousin Timm Madden iii Acknowledgements Thank you to my dissertation director Elsie Michie, who was as demanding as she was supportive. Thank you to my brilliant committee: Carl Freedman, John May, Gerilyn Tandberg, and Sharon Weltman. -
The Content of the Film for Group Discussion, As Well As a Brief Summary of the Film for Reference
(Photo Source: David via WordPress) Brandi Pessman, Tim Wucherer, Brad Dawson We present here guiding questions on the content of the film for group discussion, as well as a brief summary of the film for reference. Introduction: A Brooksfilm production, The Fly (1986) is an American science-fiction film directed and co- written by David Cronenberg. The Fly (1986) is based on the same-named 1957 short story by George Langlaan and a 1958 film written by James Clavell and directed by Kurt Neumann. Film Summary: Seth Brundle (played by Jeff Goldblum) is a scientist who, inspired by his life-long struggle with motion sickness, is developing a teleportation device. While at a science conference, he meets Veronica Quaife (played by Geena Davis), a journalist looking to write a story about the next great scientific discovery. Veronica proceeds to document his work on trying to teleport living beings. Things go horribly wrong when Seth attempts to teleport himself and a fly enters the “tele-pod” with him. Questions for Discussion: 1. How do Seth Brundle’s actions accurately or inaccurately represent those of a scientist? In other words, how are scientists portrayed in the film? 2. How could viewers’ perceptions of insects be influenced or changed by the film? 3. Why do you think the Brundle fly never developed wings or the ability to fly? 4. Did the Brundle fly’s transformation proceed by what you believe is a natural progression? 5. What role do you think the computer chip in Seth Brundle's’ back played in his transformation into a fly? 6. -
Body Horror by Matthew Ronay and Lane Relyea, May/June 2020
Body Horror By Matthew Ronay and Lane Relyea, May/June 2020 TISHAN HSU’s paintings and sculptures evoke nightmarish visions of the body’s forced integration with its technological surrounds. After a spate of exhibitions in the 1980s at venues including Pat Hearn Gallery and Leo Castelli, the artist’s work largely disappeared from public view. Now, New York’s SculptureCenter has organized the survey “Tishan Hsu: Liquid Circuit.” The show debuted at the Hammer Museum, Los Angeles, this past winter and was slated to open at SculptureCenter in May before being postponed in the wake of Covid-19. To mark this occasion, Artforum invited artist MATTHEW RONAY and art historian LANE RELYEA to reflect on Hsu’s dark, prescient, and singularly weird oeuvre. Tishan Hsu, Vertical Ooze, 1987, ceramic tile, urethane, vinyl cement compound, acrylic, and oil on wood, 61 3⁄4 × 70 7⁄8 × 24 1⁄4". MATTHEW RONAY I NEVER KNEW THAT I LOVED DRAINS. An algorithm on YouTube revealed this predilection to me. As a connoisseur of portals, orifices, and pores, I should have known that drains and the waste they imply, hidden beneath their sterile exteriors, would be in my pleasure zone. I look at most art in the same way I look at drains on YouTube: in reproduction, removed from reality. I came across Tishan Hsu at a similar remove, through books and the internet. The vents, screens, intakes, fantasy architectures, and fleshy degradations that pervade his work “clogged” me from my first impression. Some of Hsu’s pristine Euclidean models, such as Ooze, 1987, resembling a barren sauna basin waiting to be filled with myriad fluids, arouse in me a love for the rational illusion that architecture brings to sculpture. -
Chapter 24 the Cinema of David Cronenberg
Chapter 24 The Cinema of David Cronenberg Objectives: The objective of this chapter is to introduce the learners to the films and works of David Cronenberg, one of the leading Canadian filmmakers. Key words: body horror, graphic sequences, auteurism David Cronenberg (1943- ) Cronenberg’s became a significant presence in world cinema since the commercial success in the United States of his 1981 film Scanners. He is an author as well as an auteur, writing or adapting the screenplays for most of his movies.Yet, the English-speaking Canada has never been really comfortable with Cronenberg. A filmmaker of remarkable originality, Cronenberg has rarely received an appropriate consideration from scholarly opinion in English Canada. A voracious reader, his readings range from the modernists to science fiction, and he cites Vladimir Nabokov and William Burroughs, rather than any filmmakers, as his artistic influences. David Cronenberg’s movies are often described as ‘immoral.’ They are consequently criticized for being ‘sick, perverse, and sometimes downright depraved’. Often called Dave ‘Depraved’ Cronenberg and ‘The Baron of Blood’, he is one of the principal originators of what is commonly known as the body horror genre, a style of filmmaking which explores people’s fears of bodily transformation and infection. The idea of cursed intelligence occurs frequently in his films. His Videodrome (1983) is a commentary on how films and television have changed the notions of reality and fantasy. In Dead Zone (1983), based on a Stephen King novel, Christopher Walken plays a man who is able to see the end of life in anyone he touches.