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Thought for the Month – August 2011
Jeff Kirkendall’s Thoughts For The Month Column Thoughts, Opinions, Reviews, Commentary & More! Hello and Welcome! My name is Jeff Kirkendall and I'm an independent filmmaker and actor from the Upstate New York area. This is the section of the Very Scary Productions website where I write about topics related to independent filmmaking, digital video production, acting, movies in general, horror movies in particular, my own indie movies, as well as anything and everything related or in between. I decided to create this commentary page because I find that I often come across things that either interest me, excite me, intrigue me, or maybe just bug me. Any topic related to movies and cinema is fair game, from the most mainstream to the most controversial. For example I'll often read about movie projects that I have a strong interest in or opinion on, for one reason or another. This page gives me a forum to discuss these things. It's all about discussion and furthering understanding of our pop culture. Anyone who has feedback concerning what I have to say here, feel free to contact me (see the contact link at http://www.veryscaryproductions.com/). I'd also like to point out that the following is just my opinion, and everyone is free to agree or disagree with what I have to say. Enjoy, and to all the Indies out there: Keep on Filming! SUBJECT: DVD Horrors Movie Review – I Am Nancy (documentary) – August 2011 On my biography page I note how the 1984 horror classic A Nightmare on Elm Street was the movie that got me interested in the horror genre to begin with. -
October 5, 2010 (XXI:6) Federico Fellini, 8½ (1963, 138 Min)
October 5, 2010 (XXI:6) Federico Fellini, 8½ (1963, 138 min) Directed by Federico Fellini Story by Federico Fellini & Ennio Flaiano Screenplay by Ennio Flaiano, Tullio Pinelli, Federico Fellini & Brunello Rondi Produced by Angelo Rizzoli Original Music by Nino Rota Cinematography by Gianni Di Venanzo Film Editing by Leo Cattozzo Production Design by Piero Gherardi Art Direction by Piero Gherardi Costume Design by Piero Gherardi and Leonor Fini Third assistant director…Lina Wertmüller Academy Awards for Best Foreign Picture, Costume Design Marcello Mastroianni...Guido Anselmi Claudia Cardinale...Claudia Anouk Aimée...Luisa Anselmi Sandra Milo...Carla Hazel Rogers...La negretta Rossella Falk...Rossella Gilda Dahlberg...La moglie del giornalista americano Barbara Steele...Gloria Morin Mario Tarchetti...L'ufficio di stampa di Claudia Madeleine Lebeau...Madeleine, l'attrice francese Mary Indovino...La telepata Caterina Boratto...La signora misteriosa Frazier Rippy...Il segretario laico Eddra Gale...La Saraghina Francesco Rigamonti...Un'amico di Luisa Guido Alberti...Pace, il produttore Giulio Paradisi...Un'amico Mario Conocchia...Conocchia, il direttore di produzione Marco Gemini...Guido da ragazzo Bruno Agostini...Bruno - il secundo segretario di produzione Giuditta Rissone...La madre di Guido Cesarino Miceli Picardi...Cesarino, l'ispettore di produzione Annibale Ninchi...Il padre di Guido Jean Rougeul...Carini, il critico cinematografico Nino Rota...Bit Part Mario Pisu...Mario Mezzabotta Yvonne Casadei...Jacqueline Bonbon FEDERICO FELLINI -
1,000 Films to See Before You Die Published in the Guardian, June 2007
1,000 Films to See Before You Die Published in The Guardian, June 2007 http://film.guardian.co.uk/1000films/0,,2108487,00.html Ace in the Hole (Billy Wilder, 1951) Prescient satire on news manipulation, with Kirk Douglas as a washed-up hack making the most of a story that falls into his lap. One of Wilder's nastiest, most cynical efforts, who can say he wasn't actually soft-pedalling? He certainly thought it was the best film he'd ever made. Ace Ventura: Pet Detective (Tom Shadyac, 1994) A goofy detective turns town upside-down in search of a missing dolphin - any old plot would have done for oven-ready megastar Jim Carrey. A ski-jump hairdo, a zillion impersonations, making his bum "talk" - Ace Ventura showcases Jim Carrey's near-rapturous gifts for physical comedy long before he became encumbered by notions of serious acting. An Actor's Revenge (Kon Ichikawa, 1963) Prolific Japanese director Ichikawa scored a bulls-eye with this beautifully stylized potboiler that took its cues from traditional Kabuki theatre. It's all ballasted by a terrific double performance from Kazuo Hasegawa both as the female-impersonator who has sworn vengeance for the death of his parents, and the raucous thief who helps him. The Addiction (Abel Ferrara, 1995) Ferrara's comic-horror vision of modern urban vampires is an underrated masterpiece, full- throatedly bizarre and offensive. The vampire takes blood from the innocent mortal and creates another vampire, condemned to an eternity of addiction and despair. Ferrara's mob movie The Funeral, released at the same time, had a similar vision of violence and humiliation. -
Logging Into Horror's Closet
Logging into Horror’s Closet: Gay Fans, the Horror Film and Online Culture Adam Christopher Scales Thesis submitted for the degree of Doctor of Philosophy University of East Anglia School of Art, Media and American Studies September 2015 © This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. Abstract Harry Benshoff has boldly proclaimed that ‘horror stories and monster movies, perhaps more than any other genre, actively invoke queer readings’ (1997, p. 6). For Benshoff, gay audiences have forged cultural identifications with the counter-hegemonic figure of the ‘monster queer’ who disrupts the heterosexual status quo. However, beyond identification with the monstrous outsider, there is at present little understanding of the interpretations that gay fans mobilise around different forms and features of horror and the cultural connections they establish with other horror fans online. In addressing this gap, this thesis employs a multi-sited netnographic method to study gay horror fandom. This holistic approach seeks to investigate spaces created by and for gay horror fans, in addition to their presence on a mainstream horror site and a gay online forum. In doing so, this study argues that gay fans forge deep emotional connections with horror that links particular textual features to the construction and articulation of their sexual and fannish identities. In developing the concept of ‘emotional capital’ that establishes intersubjective recognition between gay fans, this thesis argues that this capital is destabilised in much larger spaces of fandom where gay fans perform the successful ‘doing of being’ a horror fan (Hills, 2005). -
A Gay Reception and Narrative Analysis of a Nightmare on Elm Street 2: Freddy’S Revenge
‘Something is Trying to Get Inside My Body’: A Gay Reception and Narrative Analysis of A Nightmare on Elm Street 2: Freddy’s Revenge ADAM SCALES, University of East Anglia ABSTRACT The critical understanding of horror film has traditionally been locked into a particular psychoanalytic framework concerning audience composition of the genre, as well as the identity politics operating within (Twitchell 1985; Carroll 1990; Clover 1992; Creed 1993; Grant 1996). Within this work, little attention has been paid to alternative audience demographics, especially gay and sexually non-normative viewers. This is rather surprising considering the horror film, and the monster in particular, has been understood as a material manifestation of queerness, as that which bourgeois ideology cannot accept and must therefore construct as ‘Other’ (Benshoff 1997; Wood 1986; Saunders 1998). As a result, this article looks at a gay online reception of gay audiences of A Nightmare on Elm Street 2: Freddy’s Revenge (Jack Sholder, 1985). Such a text is important, as it fractures the established formula of the slasher film by introducing a ‘male scream queen’ – a ‘final boy’ named Jesse Walsh (Mark Patton). This article employs Janet Staiger’s (2000) work on reception studies to argue that the strategies and tactics brought by the spectator to the filmic experience are constructed by particular historical circumstances, which in turn, assist in the formation of ‘interpretive communities’. While the introduction of the final boy certainly disrupts fixed points of gendered identification, such features are only part of a holistic approach to understanding the subjective responses of gay audiences to Jesse’s characterisation. -
9781474458139 Vampires in It
VAMPIRES IN ITALIAN CINEMA, 1956–1975 66352_Guarneri.indd352_Guarneri.indd i 225/04/205/04/20 110:030:03 AAMM 66352_Guarneri.indd352_Guarneri.indd iiii 225/04/205/04/20 110:030:03 AAMM VAMPIRES IN ITALIAN CINEMA, 1956–1975 Michael Guarneri 66352_Guarneri.indd352_Guarneri.indd iiiiii 225/04/205/04/20 110:030:03 AAMM Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © Michael Guarneri, 2020 Edinburgh University Press Ltd The Tun – Holyrood Road 12(2f) Jackson’s Entry Edinburgh EH8 8PJ Typeset in 10/12.5 pt Sabon by IDSUK (DataConnection) Ltd, and printed and bound in Great Britain A CIP record for this book is available from the British Library ISBN 978 1 4744 5811 5 (hardback) ISBN 978 1 4744 5813 9 (webready PDF) ISBN 978 1 4744 5814 6 (epub) The right of Michael Guarneri to be identifi ed as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988, and the Copyright and Related Rights Regulations 2003 (SI No. 2498). 66352_Guarneri.indd352_Guarneri.indd iivv 225/04/205/04/20 110:030:03 AAMM CONTENTS Figures and tables vi Acknowledgements viii Introduction 1 PART I THE INDUSTRIAL CONTEXT 1. The Italian fi lm industry (1945–1985) 23 2. Italian vampire cinema (1956–1975) 41 PART II VAMPIRE SEX AND VAMPIRE GENDER 3. -
Dan Curtis Productions Records PASC.0001
http://oac.cdlib.org/findaid/ark:/13030/kt1q2nc59j No online items Finding Aid for the Dan Curtis Productions Records PASC.0001 Finding aid prepared by UCLA Library Special Collections staff, additions by Erin Froschle in the Center for Primary Research and Training; machine-readable finding aid created by Julie Graham. UCLA Library Special Collections Online finding aid last updated on 2020 October 15. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections Finding Aid for the Dan Curtis PASC.0001 1 Productions Records PASC.0001 Contributing Institution: UCLA Library Special Collections Title: Dan Curtis Productions records Creator: Curtis, Dan Creator: Dan Curtis Productions Identifier/Call Number: PASC.0001 Physical Description: 64.0 Linear Feet(162 boxes) Date (inclusive): 1963-2005 Abstract: The Dan Curtis Productions Records span the years 1963-2005. Dan Curtis predominantly produced television series, made for television movies, television episodes, and television miniseries. While Curtis produced many acclaimed productions, he is most known for his 1960's gothic soap opera Dark Shadows and the massive television miniseries Winds of War and War and Remembrance. Curtis also produced four motion picture projects including the horror film Burnt Offerings, Me and the Kid, as well as two films based on Dark Shadows. Series include television projects, motion picture projects, unproduced projects, and business records. Subseries are arranged alphabetically by project title and include scripts, production materials, and audio reels. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. -
Thoughts for the Month – June 2010
Jeff Kirkendall’s Thoughts For The Month Column Thoughts, Opinions, Reviews, Commentary & More! Hello and Welcome! My name is Jeff Kirkendall and I'm an independent filmmaker and actor from the Upstate New York area. This is the section of the Very Scary Productions website where I write about topics related to independent filmmaking, digital video production, acting, movies in general, horror movies in particular, my own indie movies, as well as anything and everything related or in between. I decided to create this commentary page because I find that I often come across things that either interest me, excite me, intrigue me, or maybe just bug me. Any topic related to movies and cinema is fair game, from the most mainstream to the most controversial. For example I'll often read about movie projects that I have a strong interest in or opinion on, for one reason or another. This page gives me a forum to discuss these things. It's all about discussion and furthering understanding of our pop culture. Anyone who has feedback concerning what I have to say here, feel free to contact me (see the contact link at http://www.veryscaryproductions.com/). I'd also like to point out that the following is just my opinion, and everyone is free to agree or disagree with what I have to say. Enjoy, and to all the Indies out there: Keep on Filming! SUBJECT: DVD Horrors Movie Review – Never Sleep Again: The Elm Street Legacy (documentary) – June 2010 * About the same time the 2009 remake of Friday the 13th hit theaters, Jason Voorhees fans were also treated to the cool DVD documentary His Name Was Jason. -
Creature of the Night: the Changing Image of Dracula
Creature of the Night: The Changing Image of Dracula Kathleen Webb Miami University Creature of the Night: The Changing Image of Dracula A thesis submitted to the Miami University Honors Program in partial fulfillment of the Requirements for University Honors by Kathleen Webb May 2003 Oxford, Ohio ii iii Abstract Vampires have horrified and fascinated people the world over for thousands of years. During that time vampires have evolved with society. Even from the time the Bram Stoker’s novel Dracula was published in 1897 to the first on-screen depiction of Dracula, there is change. Dracula doesn’t bring to mind the fearsome, corpse-like monster that Stoker created, but images of Bela Lugosi in the classic 1931 film. Today the “Bela Lugosi” Dracula has become the quintessential vampire. His long, black opera cape and tuxedo are the standard attire for the twentieth and twenty-first century vampire. Dracula is not a static creature, and has changed with the times. As society becomes more comfortable with sex, Dracula does as well. Thus it is important to examine not only what led to the “birth” of Dracula but also the social situations which have changed the way Dracula is portrayed in film and literature. Stoker’s Dracula who was pure evil has “matured” over time and now is an attractive figure who finds himself engaged in love affairs. iv Creature of the Night: The Changing Image of Dracula By Kathleen Webb Approved by: ______________________, Advisor (Dr. Ronald H. Spielbauer) ______________________, Reader (Dr. Richard D. Erlich) ______________________, Reader (Dr. Paul Chaise LaDousa) Accepted by: ______________________, Director, University Honors Program v Acknowledgements I would first like to thank my advisor, Dr. -
Danza Macabra: the Reevaluation of Antonio Margheriti Through His Film Castle of Blood Nicholas Diak a Thesis Submitted in Parti
Danza Macabra : The Reevaluation of Antonio Margheriti through His Film Castle of Blood Nicholas Diak A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Interdisciplinary Studies University of Washington 2012 Committee: Joe Sharkey David Coon Program Authorized to Offer Degree: Interdisciplinary Arts and Sciences ©Copyright 2012 Nicholas Diak TABLE OF CONTENTS Page Introduction ............................................................................................................................................... 1 Genre/Vernacular Films ........................................................................................................................ 3 A History of Margheriti / A History of Italian Vernacular Cinema ....................................................... 5 Sci-fi, Italian Style ................................................................................................................................ 7 Italy’s First Horror Cycle ...................................................................................................................... 8 Peplums ................................................................................................................................................ 11 Eurospy ............................................................................................................................................... 13 Mondo Films ...................................................................................................................................... -
Contents 2018-2019
Contents 2018-2019 About Hollins University 1 Mission 1 Setting 1 Faculty 1 Graduate Programs 2 Graduate Facilities 2 Academic Support Programs 2 Admission Guidelines 5 Readmission to Hollins 6 Tuition and Fees 7 Financial Assistance 8 Federal Title IV Financial Aid 9 Academic Regulations 10 Grades 10 Honor Code 11 Incompletes 11 Transfer Credit 12 Withdrawals 12 Business Office Policies 12 Housing 13 Tuition Fee/Refund Policies 14 Notification of Rights under FERPA 15 Children’s Literature (M.A. /M.F.A.) 16 Courses 17 Faculty 20 Children’s Book Writing and Illustrating (M.F.A.) 23 Courses 24 Faculty 25 Certificate in Children’s Book Illustration 28 Courses 29 Faculty 30 Creative Writing (M.F.A.) 31 Courses 32 Faculty 35 Dance (M.F.A.) 36 Courses 38 Faculty 41 Master of Arts in Liberal Studies (M.A.L.S.) 45 Certificate of Advanced Studies (C.A.S.) 47 Courses 47 Faculty 63 Playwriting (M.F.A.) 65 Courses 66 Faculty 70 Certificate in New Play Directing 72 Courses 73 Faculty 74 Certificate in New Play Performance 76 Courses 77 Faculty 78 Screenwriting and Film Studies (M.A. /M.F.A.) 80 Courses 81 Faculty 82 Master of Arts in Teaching (M.A.T.) 85 i Courses 86 Faculty 88 Master of Arts in Teaching and Learning 89 Courses 89 Faculty 90 Administration 91 Graduate Center Staff 92 Telephone Numbers 93 University Calendar 94 Campus Map 95 Roanoke Valley Map 96 ii About Hollins Hollins was founded in 1842 as Virginia’s first chartered women’s college. Coed graduate programs were established in 1958, and university status was granted in 1998. -
The Vincent Price Legacy: Discounts for CSL Members Or Students Apply
Vincentennial The Vincent Price 100th Birthday Celebration • May 19-28, 2011 orn in St. Louis on May 27, 1911, iconic actor Vincent Price retained a special fondness for his place of origin, and that love is now reciprocated Bwith Vincentennial, a celebration of his 100th birthday in his hometown. Price’s long career stretched over 55 years, beginning in 1938 at the height of classical Hollywood cinema, reaching its apex with his legendary horror fi lms of the 1960s and ’70s, and concluding in his later years with abundant voice work and capstone performances in “The Whales of August” and “Edward Scis- sorhands.” Although sometimes regarded as a fi gure of camp – which he playfully encouraged in some contexts – Price was nonetheless an actor of real substance and range, and Vincentennial will provide a thorough exploration his life and fi lm legacy. Give You and Your Family a Price was not only a notable St. Louisan but one of the 20th century’s most remarkable men. To do full justice to the range of his accomplishments, Vincen- tennial features not only a 10-day fi lm festival but also a pair of exhibits, a stage production, and illuminating discussions by Price experts and fi lm historians. Bookending Vincentennial are special appearances by legendary fi lmmaker Roger Corman, who receives a Lifetime Achievement Award, and V ictoria Price, author of “Vincent Price: A Daughter’s Biography,” who presents a multimedia remem- bright future... brance of her father. Cinema St. Louis is delighted to pay tribute to the astonishing life and career of Vincent Price with Vincentennial.