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Montclair Film Announces October 2017 Lineup at Cinema505
! For Immediate Release MONTCLAIR FILM ANNOUNCES CINEMA505 PROGRAM FOR OCTOBER 2017 SLASHERS! retrospective arrives for Halloween September 22, 2017, MONTCLAIR, NJ - Montclair Film today announced the complete October 2017 film lineup for Cinema505, the organization’s screening space located in the Investors Bank Film & Media Center at 505 Bloomfield in Montclair, NJ. October marks the continuation of the ongoing Montclair Film + Classics series, this time featur- ing SLASHERS!, a retrospective program of the horror genre’s touchstone films, all pre- sented on the big screen, including the 4K restoration of Tobe Hooper’s THE TEXAS CHAINSAW MASSACRE, the restored version of John Carpenter’s HALLOWEEN, and more. October also sees the continuation of The Mastery of Miyazaki series, which fea- tures the Japanese animation legend’s all ages classic PONYO, presented in English for the enjoyment of younger children. October will also see runs of the critically acclaimed new documentary releases THE FORCE, directed by Peter Nicks, EX LIBRIS: NEW YORK PUBLIC LIBRARY, a masterful portrait of the New York Public Library directed by documentary film legend Frederick Wiseman, Jeff Malmberg and Chris Shellen's Montclair Film Festival hit SPETTACOLO returns, THE PARIS OPERA, a wonderful documentary about the legendary Parisian the- ater directed by Jean-Stéphane Bron, and REVOLUTION ’67 directed by Jerome + Mary- lou Bongiorno features in Filmmakers Local 505 program, a look at the 1967 Revolution in Newark, NJ. The Films October 4-8, THE FORCE, directed by Peter Nicks October 6-8, EX LIBRIS: NEW YORK PUBLIC LIBRARY, directed by Frederick Wiseman October 7 & 8, SCREAM, directed by Wes Craven October 11-15, HALLOWEEN, directed by John Carpenter October 13-15, FRIDAY THE 13TH, directed by Sean S. -
Tracing Posthuman Cannibalism: Animality and the Animal/Human Boundary in the Texas Chain Saw Massacre Movies
The Cine-Files, Issue 14 (spring 2019) Tracing Posthuman Cannibalism: Animality and the Animal/Human Boundary in The Texas Chain Saw Massacre Movies Ece Üçoluk Krane In this article I will consider insights emerging from the field of Animal Studies in relation to a selection of films in The Texas Chain Saw Massacre (hereafter TCSM) franchise. By paying close attention to the construction of the animal subject and the human-animal relation in the TCSM franchise, I will argue that the original 1974 film, The Texas Chain Saw Massacre II (1986) and the 2003 reboot The Texas Chain Saw Massacre all transgress the human-animal boundary in order to critique “carnism.”1 As such, these films exemplify “posthuman cannibalism,” which I define as a trope that transgresses the human-nonhuman boundary to undermine speciesism and anthropocentrism. In contrast, the most recent installment in the TCSM franchise Leatherface (2017) paradoxically disrupts the human-animal boundary only to re-establish it, thereby diverging from the earlier films’ critiques of carnism. For Communication scholar and animal advocate Carrie Packwood Freeman, the human/animal duality lying at the heart of speciesism is something humans have created in their own minds.2 That is, we humans typically do not consider ourselves animals, even though we may acknowledge evolution as a factual account of human development. Freeman proposes that we begin to transform this hegemonic mindset by creating language that would help humans rhetorically reconstruct themselves as animals. Specifically, she calls for the replacement of the term “human” with “humanimal” and the term “animal” with “nonhuman animal.”3 The advantage of Freeman’s terms is that instead of being mutually exclusive, they are mutually inclusive terms that foreground commonalities between humans and animals instead of differences. -
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como nos Slashers, de figuras que encarnam o mal, mas de figuras tragadas por esse mal e impelidas a agir por influência deste que se encontra nos espaços que estes “assassinos” TOBE HOOPER sempre perseguiu sua habitam, é aí que reside sua grande diferença obsessão de construir uma experiência es- de postura e a evidência mais clara disto se tética renovada, para isso elege um gênero, vê na trajetória trágica do que chamaremos o horror, com o qual flerta timidamente em de final girl Hopperiana. seu primeiro longa, Eggshells (1969), para Estando o mal em Hopper contido nos depois deslanchar em uma carreira onde espaços, os embates dos filmes serão tra- a apropriação e compreensão do gênero é vados não entre Assassino e final girl, mas sempre transmutada para sua visão ímpar de entre o espaço e seus agentes (figuras que mundo e representação do horror. lembram os assassinos de Slasher, mas não Com isso em mente, há de se chegar a passam de marionetes) contra a final girl. comparações entre os filmes de Hopper e A postura destas personagens ao longo dos o objeto dentro do horror que lhe interessa filmes de Hopper apresenta certa progres- estudar. Há dentro do horror o subgênero são rumo ao caos e a descrença completa Slasher, onde tradicionalmente os enredos de redenção daquele meio, culminando em giram em torno de assassinos inumanos que um estranho flerte da final girl Hopperiana perseguem avidamente suas vítimas, dentre por eles. elas encontra-se a final girl, personagem vir- Em Pague Para Entrar, Reze Para Sair tuosa que será, como a designação sugere, (The Funhouse,1981) a personagem Amy a última vítima a sucumbir ao perseguidor Harper (Elizabeth Berridge) estabelece des- ou mesmo a única sobreviver ao final. -
Bastrop County Texas Beth (Susan Sarandon), Shown Above, Is Performing a Office Worldwide That Year
ELGIN ELGIN FILM FRIENDLY BASTROP COUNTY FILM TRAIL 6 7 The Great Waldo Pepper (1975) Transformers: Age of Extinction (2014) Adventure, Drama, PG Action, Adventure Sci-Fi, PG-13 • Downtown Elgin, Main Street • Silo area, 301 East First Street, just off of Main Street The 1920s-30s period movie was filmed in Elgin, with Produced by Steven Speilberg, the fourth installment of most flight scenes near San Antonio and in Florida. Robert the Transformers film series was the highest grossing film Redford stars as pilot Waldo Pepper. In the film, Mary of 2014, the only film to earn over $1 billion at the box Bastrop County Texas Beth (Susan Sarandon), shown above, is performing a office worldwide that year. It is the first to in the series to stunt as a wing walker when the Standard J-1 biplane not feature the human cast from prior films. Along with FILM TRAIL lands on Elgin’s Main Street between the historic buildings international filming locations, Elgin’s industrial area was lining the roadway. Curiously enough, the buildings in chosen for a portion of the film. the film are not shown in the correct sequence. The cast Bastrop County also includes Margot Kidder as Waldo’s girlfriend Maude PLOT: Five years after the Battle of Chicago (in the third film in the series), the Transformers are now being and Bo Svenson as fellow pilot Axel Olsson. Directed by is a favorite of regarded a threat and the government is seeking to disable Bastrop County George Roy Hill, the film is highly regarded among aviation filmmakers, from commercials to television series to historians, with aerial sequences staged by Frank Tallman. -
Universal Orlando Halloween Horror Nights 30 Event
4 12 11 8 7 13 Q 3 M 9 C D 4 5 7 6 L 6 10 E 5 8 B 5 4 3 9 3 2 10 11 G 2 14 F A 2 P N 1 16 15 K H LEGEND 17 Guest Must Be At Least Indicated Height No Loose Articles – Lockers Available for I Duration of Visit J Guest May Remain in Standard Wheelchair O 12 Metal Detectors at Attraction 1 Guest May Remain in Electric Convenience 1 Vehicle Test Seating Available at Attraction Entrance Guest Must Be Able to Transfer to Ride’s Open Captioning Seating Single Riders Accepted – Availability Varies Guest Must Be Able to Transfer to Standard Wheelchair Halloween Horror Nights Express Accepted HAUNTED HOUSES RIDES & ATTRACTIONS *Closes prior to event end. DINING A Universal Monsters: The Bride of Frankenstein Lives 1 Hollywood Rip Ride Rockit* 51"-79"/130cm-201cm 1 TODAY Cafe 2 Universal Studios’ Classic Monsters Cafe B The Texas Chainsaw Massacre 2 TRANSFORMERS: The Ride-3D* 40"/102cm 3 Bone Chillin’ C Revenge of the Tooth Fairy 4 Jack’s Place and Carnival Courtyard 3 Revenge of the Mummy 48"/122cm D Halloween Horror Nights ICONS: Captured 5 Finnegan’s Bar & Grill 6 Auntie Anne’s Pretzels E Welcome to Scarey: Horror in the Heartland 4 Harry Potter and the Escape from Gringotts™* 7 ® 42"/107cm Häagen-Dazs 8 Starbucks® F The Wicked Growth: Realm of the Pumpkin 5 MEN IN BLACK™ Alien Attack™ 42"/107cm 9 Louie’s Italian Restaurant G Puppet Theatre: Captive Audience SHOPPING 10 Richter’s Burger Co. -
2019 Edition
2019 Edition LeanderCC.org Leander, TX - the Austin Market... Without the Congestion • Fastest growing city in the nation with a population over 50,000 • 43% of the workforce with a bachelor’s degree or better. • Home to only Commuter Rail into downtown Austin. • Home to a 12,000 student Austin Community College Campus (under construction). • Home to 50 acre St. David’s Medical Center. • Ranked #3 small city for families in the nation by Forbes. • One of the Top 100 Safest Cities in America. Contact Mark Willis, Economic Development Director (512) 528-2852 • [email protected] leanderbusiness.com 2 512.259.1907 • www.leandercc.org YOUR GO-TO SHOP FOR VEHICLE CUSTOMIZATION With hundreds of thousands of products at their fingertips, LINE-X of Austin can help you get everything you need to 512.528.6038 outfit your truck or Jeep exactly the LINEXATX.COM way you want. We customize both personal & commercial vehicles. 10209 East Crystal Falls Parkway • Leander, Texas, 78641 512.259.1907 • www.leandercc.org 3 4 512.259.1907 • www.leandercc.org TABLE OF contents Welcome to Leander & Chamber Team ................. 6 Board of Directors & Executive Committee.......... 7 Letter From the Mayor ............................................... 8 City Staff & City Council Members ......................... 9 City of Leander at a Glance ....................................11 Leander Events Spring ..............................................12 Leander Events Summer .......................................... 13 Leander Events Fall .................................................. -
Stephen King's Vampire Kingdom. Supernatural EVIL and Human Evil
Stephen King’s Vampire Kingdom. Supernatural EVIL and Human evil in TV adaptations of Salem’s Lot (1979, 2004) ‘Beneath the postcard camouflage there’s little good in small towns. Mostly boredom, interspersed with a dull, mindless, moronic evil’ (Salem’s Lot, 2004) First published in October 1975, Salem’s Lot is one of Stephen King’s most enduring novels. King critic Douglas Winter considers it ‘the single most influential of his books’ (1989:43), while screenwriter Peter Filardi, who would adapt it for TV in 2004, has described it as ‘a modern literary classic’ (Gross 2004: 10). Not only did the novel achieve longevity in its own right, but also the story of a small American community torn asunder by the arrival of a supernatural force became something of an archetypal Stephen King narrative to which he would return many times during his career. In Salem’s Lot the catalyst is the arrival of Kurt Barlow, an ancient European vampire, but in later works King has had the destructive force be extra-terrestrial (IT, 1985, The Tommyknockers, 1987 and Under the Dome, 2009), demonic (Needful Things, 1991), cosmic forces of fate (Insomnia, 1994) and inter-dimensional (‘The Mist’ 1980) Possibly because its structure became a King archetype, or due to its enduring appeal and the fact that it is one of King’s earliest works, Salem’s Lot is unusual in the canon of King adaptations by being adapted twice, once in 1979 and once in 2004. Both were miniseries for television, the first directed by Tobe Hooper and the second by Mikael Salomon. -
Clanking, Rattling, and Screaming in the Texas Chain Saw Massacre (Tobe Hooper, 1974)
Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 22 | 2021 Unheard Possibilities: Reappraising Classical Film Music Scoring and Analysis Southern Discomfort: Clanking, Rattling, and Screaming in The Texas Chain Saw Massacre (Tobe Hooper, 1974) Christophe Chambost Electronic version URL: http://journals.openedition.org/miranda/36614 DOI: 10.4000/miranda.36614 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Christophe Chambost, “Southern Discomfort: Clanking, Rattling, and Screaming in The Texas Chain Saw Massacre (Tobe Hooper, 1974)”, Miranda [Online], 22 | 2021, Online since 02 March 2021, connection on 27 April 2021. URL: http://journals.openedition.org/miranda/36614 ; DOI: https:// doi.org/10.4000/miranda.36614 This text was automatically generated on 27 April 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Southern Discomfort: Clanking, Rattling, and Screaming in The Texas Chain Saw... 1 Southern Discomfort: Clanking, Rattling, and Screaming in The Texas Chain Saw Massacre (Tobe Hooper, 1974) Christophe Chambost Introduction 1 In his introduction of Music in the Horror Film, Neil Lerner stresses the prevailing role of sounds in horror films: sounds are essential because one cannot just cover one’s ears to make the soundtrack fully disappear (whereas two eyelids are enough to cancel an unwanted image) (VIII). Referring to Charles Darwin, the scholar also insists on the vital role of ears in the development of man as a species, and he even goes further than the biologist, asserting that a wider range of emotions can be triggered by music. Agreeing with Darwin, Lerner admits that music can awaken gentle feelings like tenderness and love, but he adds that it can also exacerbate feelings of horror, fear, and rage in films (VIII). -
Catalog Seventy Royal Books
catalog seventy royal books Royal Books catalog seventy THE CELLULOID PAPER TRAIL Oak Knoll Press is pleased to announce the publication of Terms and Conditions Kevin R. Johnson’s The Celluloid All books are first editions unless indicated otherwise. Paper Trail. The first book All items in wrappers or without dust jackets advertised have glassine covers, and all dust jackets are protected ever published on film script by new archival covers. Single, unframed photographs identification and description, housed in new, archival mats. lavishly illustrated and detailed. In many cases, more detailed physical descriptions for archives, manuscripts, film scripts, and other ephemeral Designed for any book scholar, items can be found on our website. including collectors, archivists, Any item is returnable within 30 days for a full refund. librarians, and dealers. Books may be reserved by telephone, or email, and are subject to prior sale. Payment can be made by credit card Available now at royalbooks.com or, if preferred, by check or money order with an invoice. or by calling 410.366.7329. Libraries and institutions may be billed according to preference. Reciprocal courtesies extended to dealers. Please feel free to let us know if you would like your copy signed or inscribed by the author. We accept credit card payments by VISA, MASTERCARD, AMERICAN EXPRESS, DISCOVER, and PAYPAL. Shipments are made via USPS priority mail or Fedex Ground unless other arrangements are requested. All shipments are fully insured. Shipping is free within the United States. For international destinations, shipping is $60 for the first book and $10 for each thereafter. -
You've Seen the Movie, Now Play The
“YOU’VE SEEN THE MOVIE, NOW PLAY THE VIDEO GAME”: RECODING THE CINEMATIC IN DIGITAL MEDIA AND VIRTUAL CULTURE Stefan Hall A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2011 Committee: Ronald Shields, Advisor Margaret M. Yacobucci Graduate Faculty Representative Donald Callen Lisa Alexander © 2011 Stefan Hall All Rights Reserved iii ABSTRACT Ronald Shields, Advisor Although seen as an emergent area of study, the history of video games shows that the medium has had a longevity that speaks to its status as a major cultural force, not only within American society but also globally. Much of video game production has been influenced by cinema, and perhaps nowhere is this seen more directly than in the topic of games based on movies. Functioning as franchise expansion, spaces for play, and story development, film-to-game translations have been a significant component of video game titles since the early days of the medium. As the technological possibilities of hardware development continued in both the film and video game industries, issues of media convergence and divergence between film and video games have grown in importance. This dissertation looks at the ways that this connection was established and has changed by looking at the relationship between film and video games in terms of economics, aesthetics, and narrative. Beginning in the 1970s, or roughly at the time of the second generation of home gaming consoles, and continuing to the release of the most recent consoles in 2005, it traces major areas of intersection between films and video games by identifying key titles and companies to consider both how and why the prevalence of video games has happened and continues to grow in power. -
Remaking Horror According to the Feminists Or How to Have Your Cake and Eat It, Too David Roche
Remaking Horror According to the Feminists Or How to Have your Cake and Eat It, Too David Roche To cite this version: David Roche. Remaking Horror According to the Feminists Or How to Have your Cake and Eat It, Too. Représentations : la revue électronique du CEMRA, Centre d’Etudes sur les Modes de la Représentation Anglophone 2017. hal-01709314 HAL Id: hal-01709314 https://hal.archives-ouvertes.fr/hal-01709314 Submitted on 14 Feb 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Représentations dans le monde Anglophone – Janvier 2017 Remaking Horror According to the Feminists Or How to Have your Cake and Eat It, Too David Roche, Université Toulouse Jean Jaurès Key words: horror, remake, feminist film theory, post-feminism, politics. Mots-clés : horreur, remake, théorie féministe, post-féminisme, politiques identitaires. Remakes, as Linda Hutcheon has noted, “are invariably adaptations because of changes in context” (170), and this in spite of the fact that the medium remains the same. What Robert Stam has said of film adaptations is equally true of remakes: “they become a barometer of the ideological trends circulating during the moment of production” because they “engage the discursive energies of their time” (45). -
Film and Television Projects Made in Texas (1910 – 2021) Page 1 of 36
Film and Television Projects Made in Texas (1910 – 2021) Page 1 of 36 PROJECT NAME TYPE PRODUCTION COMPANY PRODUCTION DATE(S) CITY/TOWN SHOT IN MAGNOLIA TABLE - SEASON 4 TV Series (Network/Cable/Digital) Blind Nil LLC 2021-06-14 – 2021-07-02 Valley Mills; Waco MAGNOLIA TABLE - SEASON 3 TV Series (Network/Cable/Digital) Blind Nil LLC 2021-04-06 – 2021-04-23 Valley Mills Austin; College Station; Fredericksburg; San QUEER EYE - SEASON 6 TV Series (Network/Cable/Digital) Netflix / LWT Enterprises 2021-03-22 – 2021-07-02 Antonio BBQ BRAWL - SEASON 3 TV Series (Network/Cable/Digital) Rock Shrimp Productions 2021-02-22 – 2021-04-02 Austin; Bee Cave; Buda; Cedar Park; Manor Bee Cave; Driftwood; Dripping Springs; BBQ BRAWL - SEASON 2 TV Series (Network/Cable/Digital) Rock Shrimp Productions 2021-02-22 – 2021-04-01 Fredericksburg; Luckenbach Highland Haven; South Padre Island; LAKEFRONT BARGAIN HUNT - SEASON 12 TV Series (Network/Cable/Digital) Magilla Entertainment 2021-01-27 – 2021-06-10 Surfside Beach Rebel 6 Films / TLG Motion FREE DEAD OR ALIVE Feature (Independent) Pictures 2021-01-24 – 2021-03-03 Alpine; Austin; Buda; Lajitas; Terlingua READY TO LOVE - SEASON 3 TV Series (Network/Cable/Digital) Light Snack Media, LLC 2021-01-20 – 2021-03-27 Houston MAGNOLIA TABLE - SEASON 2 TV Series (Network/Cable/Digital) Blind Nil LLC 2021-01-18 – 2021-01-28 Valley Mills VAN GO TV Series (Network/Cable/Digital) Rabbit Foot Studios 2020-11-17 – 2021-05-12 Austin Austin; Bartlett; Bastrop; Lockhart; WALKER - SEASON 1 TV Series (Network/Cable/Digital) CBS