Gates of Heaven Discussion Guide
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Unknown Known by Errol Morris: Quebec Premiere at Docville Thursday, April 24, 8 P.M., Cinéma Excentris
PRESS RELEASE FOR IMMEDIATE DISTRIBUTION The Unknown Known by Errol Morris: Quebec premiere at Docville Thursday, April 24, 8 p.m., Cinéma Excentris Montreal, Thursday, April 10, 2014 – The Montreal International Documentary Festival (RIDM) is proud to present the Quebec premiere of The Unknown Known by Errol Morris, the fourth monthly Docville screening of 2014. Morris is the internationally acclaimed director of such films as The Fog of War and The Thin Blue Line. In 2003, Errol Morris won the Oscar for Best Documentary Feature for The Fog of War, in which former U.S. Secretary of Defense Robert McNamara reflected on his career. A decade later, the filmmaker interviewed Donald Rumsfeld, who held the same position under George W. Bush. Armed with thousands of memos written by Rumsfeld during his long White House career (which began during the Nixon/Ford administration), Morris questions the controversial political figure on thorny topics like the invasion of Iraq under false pretences and the use of torture at Abu Ghraib. Staring down the camera without ever losing his aloof smile, Rumsfeld tackles every question with rhetorical poise as hypnotic as the film’s music, by Danny Elfman. Shown at the Venice, Telluride and Toronto festivals, The Unknown Known is a gripping verbal duel that leaves the historical truth more elusive than ever. THE UNKNOWN KNOWN Directed by Errol Morris. United States. 2013. 103 min. In English. Thursday, April 24, 8 p.m., Cinéma Excentris The film is distributed by Les Films Séville, an Entertainment One company. Trailer: http://www.youtube.com/watch?v=9TcZ2‐sEb3o Online ticket purchase: https://excentris.ticketacces.net/fr/organisation/representations/index.cfm?EvenementID=511 Since 2012, the RIDM’s Docville series, presented on the last Thursday of every month, has given audiences the chance to see Montreal premieres of excellent documentaries that have enjoyed recent success at the world’s most prestigious festivals. -
Doc Nyc Announces Final Titles Including
DOC NYC ANNOUNCES FINAL TITLES INCLUDING WORLD PREMIERE OF BRUCE SPRINGSTREEN & THE E STREET BAND’S “DARKNESS ON THE EDGE OF TOWN” CONCERT FILM AT ZIEGFELD THEATER ON NOVEMBER 4TH AND “MOMENTS OF TRUTH” FEATURING ALEC BALDWIN AND OTHER FAMOUS FIGURES DISCUSSING THEIR FAVORITE DOC MOMENTS New York, NY, October 19th 2010 - DOC NYC, New York’s Documentary Festival, announced its final slate of titles including the world premiere of “Darkness on the Edge of Town,” a new concert film with Bruce Springsteen & the E Street Band performing their classic album. The film will screen at the Ziegfeld Theatre on November 4. Directed by the Grammy and Emmy award winner Thom Zimny, the film was shot last year at the Paramount Theatre in Asbury Park, NJ in an unconventional manner without any audience in attendance. Springsteen’s manager Jon Landau has said this presentation “best captures the starkness of the original album.” The film will be released on DVD as part of the box set “The Promise: The Darkness on the Edge of Town Story” later in November. “We wanted to give fans a one night only opportunity to see this spectacular performance on the Ziegfeld’s big screen,” said DOC NYC Artistic Director Thom Powers. A portion of the proceeds from this screening will be donated to the Danny Fund/Melanoma Research Alliance – a non-profit foundation devoted to advancing melanoma research and awareness set up after the 2008 passing of Danny Federici, longtime Springsteen friend and E-Street Band member. DOC NYC will help launch a new promo campaign of shorts called “Moments of Truth,” in which noteworthy figures (actors, politicians, musicians, etc) describe particular documentary moments that moved them. -
The Satanic Rituals Anton Szandor Lavey
The Rites of Lucifer On the altar of the Devil up is down, pleasure is pain, darkness is light, slavery is freedom, and madness is sanity. The Satanic ritual cham- ber is die ideal setting for the entertainment of unspoken thoughts or a veritable palace of perversity. Now one of the Devil's most devoted disciples gives a detailed account of all the traditional Satanic rituals. Here are the actual texts of such forbidden rites as the Black Mass and Satanic Baptisms for both adults and children. The Satanic Rituals Anton Szandor LaVey The ultimate effect of shielding men from the effects of folly is to fill the world with fools. -Herbert Spencer - CONTENTS - INTRODUCTION 11 CONCERNING THE RITUALS 15 THE ORIGINAL PSYCHODRAMA-Le Messe Noir 31 L'AIR EPAIS-The Ceremony of the Stifling Air 54 THE SEVENTH SATANIC STATEMENT- Das Tierdrama 76 THE LAW OF THE TRAPEZOID-Die elektrischen Vorspiele 106 NIGHT ON BALD MOUNTAIN-Homage to Tchort 131 PILGRIMS OF THE AGE OF FIRE- The Statement of Shaitan 151 THE METAPHYSICS OF LOVECRAFT- The Ceremony of the Nine Angles and The Call to Cthulhu 173 THE SATANIC BAPTISMS-Adult Rite and Children's Ceremony 203 THE UNKNOWN KNOWN 219 The Satanic Rituals INTRODUCTION The rituals contained herein represent a degree of candor not usually found in a magical curriculum. They all have one thing in common-homage to the elements truly representative of the other side. The Devil and his works have long assumed many forms. Until recently, to Catholics, Protestants were devils. To Protes- tants, Catholics were devils. -
NECROPHILIC and NECROPHAGIC SERIAL KILLERS Approval Page
Running head: NECROPHILIC AND NECROPHAGIC SERIAL KILLERS Approval Page: Florida Gulf Coast University Thesis APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Science Christina Molinari Approved: August 2005 Dr. David Thomas Committee Chair / Advisor Dr. Shawn Keller Committee Member The final copy of this thesis has been examined by the signatories, and we find that both the content and the form meet acceptable presentation standards of scholarly work in the above mentioned discipline. NECROPHILIC AND NECROPHAGIC SERIAL KILLERS 1 Necrophilic and Necrophagic Serial Killers: Understanding Their Motivations through Case Study Analysis Christina Molinari Florida Gulf Coast University NECROPHILIC AND NECROPHAGIC SERIAL KILLERS 2 Table of Contents Abstract ........................................................................................................................................... 5 Literature Review............................................................................................................................ 7 Serial Killing ............................................................................................................................... 7 Characteristics of sexual serial killers ..................................................................................... 8 Paraphilia ................................................................................................................................... 12 Cultural and Historical Perspectives -
America's Fascination with Multiple Murder
CHAPTER ONE AMERICA’S FASCINATION WITH MULTIPLE MURDER he break of dawn on November 16, 1957, heralded the start of deer hunting T season in rural Waushara County, Wisconsin. The men of Plainfield went off with their hunting rifles and knives but without any clue of what Edward Gein would do that day. Gein was known to the 647 residents of Plainfield as a quiet man who kept to himself in his aging, dilapidated farmhouse. But when the men of the vil- lage returned from hunting that evening, they learned the awful truth about their 51-year-old neighbor and the atrocities that he had ritualized within the walls of his farmhouse. The first in a series of discoveries that would disrupt the usually tranquil town occurred when Frank Worden arrived at his hardware store after hunting all day. Frank’s mother, Bernice Worden, who had been minding the store, was missing and so was Frank’s truck. But there was a pool of blood on the floor and a trail of blood leading toward the place where the truck had been garaged. The investigation of Bernice’s disappearance and possible homicide led police to the farm of Ed Gein. Because the farm had no electricity, the investigators con- ducted a slow and ominous search with flashlights, methodically scanning the barn for clues. The sheriff’s light suddenly exposed a hanging figure, apparently Mrs. Worden. As Captain Schoephoerster later described in court: Mrs. Worden had been completely dressed out like a deer with her head cut off at the shoulders. -
Frequencies Between Serial Killer Typology And
FREQUENCIES BETWEEN SERIAL KILLER TYPOLOGY AND THEORIZED ETIOLOGICAL FACTORS A dissertation presented to the faculty of ANTIOCH UNIVERSITY SANTA BARBARA in partial fulfillment of the requirements for the degree of DOCTOR OF PSYCHOLOGY in CLINICAL PSYCHOLOGY By Leryn Rose-Doggett Messori March 2016 FREQUENCIES BETWEEN SERIAL KILLER TYPOLOGY AND THEORIZED ETIOLOGICAL FACTORS This dissertation, by Leryn Rose-Doggett Messori, has been approved by the committee members signed below who recommend that it be accepted by the faculty of Antioch University Santa Barbara in partial fulfillment of requirements for the degree of DOCTOR OF PSYCHOLOGY Dissertation Committee: _______________________________ Ron Pilato, Psy.D. Chairperson _______________________________ Brett Kia-Keating, Ed.D. Second Faculty _______________________________ Maxann Shwartz, Ph.D. External Expert ii © Copyright by Leryn Rose-Doggett Messori, 2016 All Rights Reserved iii ABSTRACT FREQUENCIES BETWEEN SERIAL KILLER TYPOLOGY AND THEORIZED ETIOLOGICAL FACTORS LERYN ROSE-DOGGETT MESSORI Antioch University Santa Barbara Santa Barbara, CA This study examined the association between serial killer typologies and previously proposed etiological factors within serial killer case histories. Stratified sampling based on race and gender was used to identify thirty-six serial killers for this study. The percentage of serial killers within each race and gender category included in the study was taken from current serial killer demographic statistics between 1950 and 2010. Detailed data -
Adam Gopnick
WERNER HERZOG IN CONVERSATION WITH PAUL HOLDENGRÄBER WAS THE 20th CENTURY A MISTAKE? February 16, 2007 Celeste Bartos Forum New York Public Library WWW.NYPL.ORG/LIVE NATHANIEL KAHN: Hello. Okay, thank you for coming to the New York Public Library—and I have a couple of brief—I’m Nathaniel Kahn and I have a couple of—can everybody hear back there? A couple of brief notes, first of all thank you very much for joining us tonight. And this is a promotional offer—we’re happy to offer each person who signs up on our e-mail list, one free ticket to a LIVE from the New York Public Library program in the Spring 07 season. Just to give you a little preview of the coming events. On March 7th, Paul has a conversation with William T. Vollmann and it’s called “Are You Poor?” and the answer for all of us is probably yes. March 10th, Mira Nair and Jhumpa Lahiri, March 26th, Clive James in conversation with Paul Holdengräber, and that’s called “Cultural Amnesia.” And lastly, we encourage you to become a Friend of the library and support these wonderful events, and LIVE from the NYPL, Werner Herzog in conversation with Paul Holdengräber, 2/16/07, page 1 they are wonderful, at LIVE from the New York Public Library, and you can sign up at the Friends table. This is an enormous honor for me to introduce Werner Herzog, who needs no introduction from me, but when Paul asked me to introduce him, of course I said yes—how can you not say yes to introducing your hero?—even if it is a little like asking the ant to introduce the elephant. -
The Unknown Known
BERLINALE SPECIAL THE UNKNOWN KNOWN Errol Morris Über 10 000 Memos schrieb Donald Rumsfeld als Ratgeber von vier USA 2013 US-Präsidenten und Verteidigungsministern an seine Mitarbeiter und 102 Min. · DCP · Farbe · Dokumentarfilm Kollegen. Diese über Jahrzehnte aufgehobenen aufschlussreichen No- tizen bilden die Grundlage für die Annäherung an einen Mann, der die Regie Errol Morris US-amerikanische Außenpolitik und den sogenannten Krieg gegen Kamera Robert Chappell Schnitt Steven Hathaway den Terror entscheidend mitprägte. In einem neutralen Raum bittet Musik Danny Elfman der Filmemacher den umstrittenen Politiker, Platz zu nehmen und ver- Sound Design Skip Lievsay wickelt ihn mit scheinbar banalen Fragen in ein immer brisanter wer- Production Design Ted Bafaloukos, dendes Gespräch. Von Pearl Harbor über Vietnam bis zu 9/11 bezieht Jeremy Landman Geboren 1948 in Hewlett, New York. Studierte Rumsfeld Stellung zum Umgang der USA mit militärischen und po- Produzenten Errol Morris, Philosophie an der University of Wisconsin litischen Fehlern und Katastrophen. Robert Fernandez, Amanda Branson Gill in Madison, der Princeton University und der Mit diesem Film schlägt der Essay- und Dokumentarfilmer Errol Mor- Ausführende Produzenten Dirk Hoogstra, University of California in Berkeley. Außerdem ris ein weiteres Kapitel verdrängter US-Geschichte auf. In STANDARD Julian P. Hobbs, Molly Thompson, Cello bei Nadia Boulanger, bei der auch Philip Diane Weyermann, Jeff Skoll, Tom Quinn, Glass und Quincy Jones Unterricht nahmen. OPERATION PROCEDURE (Wettbewerb Berlinale, 2008) ergründete er die Vorgänge hinter den Folterfotos aus Abu Ghraib. Und schon einmal Jason Janego, Josh Braun, Celia Taylor, Drehte seit 1978 zahlreiche Dokumentarfilme, Angus Wall, Julia Sheehan die sich vorzugsweise mit wissenschaftlichen nahm er einen ehemaligen US-Verteidigungsminister, Robert S. -
Norman Bates As “One of Us”: Freakery in Alfred Hitchcock's
an online journal of trespassing art, science, and philosophy www.trespassingjournal.com Trespassing Bodies: Issue 6, Winter 2017 Norman Bates as “One of us”: Freakery in Alfred Hitchcock’s Psycho1 Amanda Roberts Northern Illinois University Abstract In the mid-nineteenth-century, P.T. Barnum gained a fame for exhibiting attractions and persons such as the Feejee Mermaid, “General” Tom Thumb, and Joice Heath. While freakshows had previously existed to a certain extent, they did not gain great popularity until this period. However, with increased access to travel through rail lines, it was possible to bring freaks to spectators, rather than spectators traveling long distances to gaze at freaks. In addition, industrialization made more leisure time possible for persons who previously would not have had such a luxury. Also, industrialization was beginning to shape perceptions of what was considered a normal body; bodies ought to be able to operate standardized machinery and wear mass-produced clothing. Thus, it was a shift in culture that made the freak show possible. Rosemarie Garland- Thompson argues that freaks are made, not born, and the people often described as freaks of nature are in fact, “freaks of culture” (10). Nadja Durbach believes these freaks of culture were valued or devalued as the case might be for their ability to shatter dichotomies (3). This epistemological shift in the way bodies were perceived came from a practice Robert Bogdan has called “freakery,” which he defines as “a way of thinking about and presenting people –a frame of mind and a set of practices” (24). The creation of freaks was achieved through various means, through exotisizing the other, through medical testimony, pure showmanship, and sometimes plain trickery. -
The Skin and the Protean Body in Pedro Almodóvar's Body Horror
humanities Article Destruction, Reconstruction and Resistance: The Skin and the Protean Body in Pedro Almodóvar’s Body Horror The Skin I Live In Subarna Mondal Department of English, The Sanskrit College and University, Kolkata 700073, India; [email protected] Abstract: The instinct to tame and preserve and the longing for eternal beauty makes skin a crucial element in the genre of the Body Horror. By applying a gendered reading to the art of destruction and reconstruction of an ephemeral body, this paper explores the significant role of skin that clothes a protean body in Almodóvar’s unconventional Body Horror, “The Skin I Live In” (2011). Helpless vulnerable female bodies stretched on beds and close shots of naked perfect skin of those bodies are a frequent feature in Almodóvar films. Skin stained and blotched in “Tie Me Up! Tie Me Down!” (1989), nurtured and replenished in “Talk to Her” (2002), patched up and stitched in “The Skin I Live In”, becomes a key ingredient in Almodóvar’s films that celebrate the fluidity of human anatomy and sexuality. The article situates “The Skin I Live In” in the filmic continuum of Body Horrors that focus primarily on skin, beginning with Alfred Hitchcock’s “Psycho” (1960), and touching on films like Jonathan Demme’s “The Silence of the Lambs” (1991) and Tom Tykwer’s “Perfume: The Story of a Murderer” (2006) and attempts to understand how the exploited bodies that have been culturally and socially subjugated have shaped the course of the history of Body Horrors in cinema. In “The Skin I Live In” the destruction of Vicente’s body and its recreation into Vera follow a mad scientist’s urge to dominate an unattainable body, but this ghastly assault on the body has the onscreen appearance of a routine surgical operation by an expert cosmetologist in a well-lit, sanitized mise-en-scène, Citation: Mondal, Subarna. -
The Great Documentaries II Instructor: Michael Fox Mondays, 12 Noon-1:30Pm, June 7-28, 2021 [email protected]
The Great Documentaries II Instructor: Michael Fox Mondays, 12 noon-1:30pm, June 7-28, 2021 [email protected] With nonfiction films entrenched as a genre of mainstream movie entertainment, we examine standouts of the contemporary documentary. The five-session lineup is comprised of a trio of films about recent historical events bookended by personal documentaries. This lecture and discussion class (students will view the films on their own prior to class) encompasses perennial issues such as the responsibility of the filmmaker to his/her subject, the slipperiness of truth, the tools of storytelling and the use of poetry and metaphor in nonfiction. Four of the films can be streamed for free (three on Kanopy, one on Hoopla) and the other can be rented from Amazon Prime and other platforms. All the films are probably available via Netflix’s DVD plan. The Great Documentaries II is a historical survey that follows and builds on Documentary Touchstones I and II, which I taught at OLLI a few years ago. I’ve appended a list of those films and more information at the end of the syllabus, if you have never seen them and wish to journey further back into the history of documentaries. Most of the titles are available to watch for free on YouTube, although the quality of the prints varies. June 7 Sherman’s March (1986, Ross McElwee, 158 min) Kanopy After his girlfriend leaves him, McElwee voyages along the original route followed by Gen. William Sherman. Rather than cutting a swath of destruction designed to force the Confederate South into submission, McElwee searches for love, camera in hand, “training his lens with phallic resolve on every accessible woman he meets.” Grand Jury Prize at Sundance, named one of the Top 20 docs of all time by the International Documentary Association, added to the Library of Congress National Film Registry in 2000. -
The Cemetery Artist Ed Gein: a True American Horror Story a Film by Brian Lee Tucker
The Cemetery Artist / Ed Gein: a True American Horror Story The Cemetery Artist Ed Gein: a True American Horror Story A film by Brian Lee Tucker 1 The Cemetery Artist / Ed Gein: a True American Horror Story FADE IN EXT. THE GEIN FAMILY FARM – 1922 – DAY {A sixteen year old ED GEIN is raking leaves with his brother, HENRY, in the front yard. ED stops raking and glances around, whispering to HENRY.} ED: I got a half pint of dad’s stash. HENRY: {mortified} are you nuts? What if he notices it’s missing? ED: He won’t, come on. EXT. BEHIND THE BARN {ED and HENRY are sitting on a bale of hay passing the bottle back and forth when their mother, AUGUSTA, comes sneaking around the corner, surprising them. She is carrying a long switch made from a sticker bush in one hand and a Bible in the other. She is a fervent Lutheran, always preaching to her boys about the innate immorality of the world, the evil of drinking, and the belief that all women were naturally prostitutes and instruments of the devil. She reserved time every afternoon to read to them from the Bible, usually selecting graphic verses from the Old Testament concerning death, murder, and divine retribution. Henry and Ed have remained detached from people outside of their farmstead, and had only each other for company.} 2 The Cemetery Artist / Ed Gein: a True American Horror Story AUGUSTA: Ah-ha! Gotcha! HENRY: But mama, Ed made me- AUGUSTA: Don’t bother with your lies, Henry Gein.