The Munsters' Revenge
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Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960S and Early 1970S
TV/Series 12 | 2017 Littérature et séries télévisées/Literature and TV series Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s Dennis Tredy Electronic version URL: http://journals.openedition.org/tvseries/2200 DOI: 10.4000/tvseries.2200 ISSN: 2266-0909 Publisher GRIC - Groupe de recherche Identités et Cultures Electronic reference Dennis Tredy, « Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s », TV/Series [Online], 12 | 2017, Online since 20 September 2017, connection on 01 May 2019. URL : http://journals.openedition.org/tvseries/2200 ; DOI : 10.4000/tvseries.2200 This text was automatically generated on 1 May 2019. TV/Series est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Light Shadows: Loose Adaptations of Gothic Literature in American TV Series o... 1 Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s Dennis Tredy 1 In the late 1960’s and early 1970’s, in a somewhat failed attempt to wrestle some high ratings away from the network leader CBS, ABC would produce a spate of supernatural sitcoms, soap operas and investigative dramas, adapting and borrowing heavily from major works of Gothic literature of the nineteenth and early twentieth century. The trend began in 1964, when ABC produced the sitcom The Addams Family (1964-66), based on works of cartoonist Charles Addams, and CBS countered with its own The Munsters (CBS, 1964-66) –both satirical inversions of the American ideal sitcom family in which various monsters and freaks from Gothic literature and classic horror films form a family of misfits that somehow thrive in middle-class, suburban America. -
ANTA Theater and the Proposed Designation of the Related Landmark Site (Item No
Landmarks Preservation Commission August 6, 1985; Designation List 182 l.P-1309 ANTA THFATER (originally Guild Theater, noN Virginia Theater), 243-259 West 52nd Street, Manhattan. Built 1924-25; architects, Crane & Franzheim. Landmark Site: Borough of Manhattan Tax Map Block 1024, Lot 7. On June 14 and 15, 1982, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the ANTA Theater and the proposed designation of the related Landmark Site (Item No. 5). The hearing was continued to October 19, 1982. Both hearings had been duly advertised in accordance with the provisions of law. Eighty-three witnesses spoke in favor of designation. Two witnesses spoke in opposition to designation. The owner, with his representatives, appeared at the hearing, and indicated that he had not formulated an opinion regarding designation. The Commission has received many letters and other expressions of support in favor of this designation. DESCRIPTION AND ANALYSIS The ANTA Theater survives today as one of the historic theaters that symbolize American theater for both New York and the nation. Built in the 1924-25, the ANTA was constructed for the Theater Guild as a subscription playhouse, named the Guild Theater. The fourrling Guild members, including actors, playwrights, designers, attorneys and bankers, formed the Theater Guild to present high quality plays which they believed would be artistically superior to the current offerings of the commercial Broadway houses. More than just an auditorium, however, the Guild Theater was designed to be a theater resource center, with classrooms, studios, and a library. The theater also included the rrost up-to-date staging technology. -
SVENGOOLIE and the Retro Line-Up of Metv Who Ya Gonna Call? the ORIGINAL
Are you too square to solve me? THE RUBIK'S Fall 2019 CUBE CRAZE No. 6 $8.95 The MUNSTERS’ BUTCH Tune in to PATRICK… & HORRIFIC HOTRODS SVENGOOLIE and the retro line-up of MeTV Who ya gonna call? The ORIGINAL GHOST BUSTERS Remember the Naugas? We’ve got ’em covered 2 2 7 3 0 0 “I Was a Teenage James Bond!” • The Dobie Gillis Dilemma • Pinball Wizardry & more! 8 5 6 2 Featuring Ernest Farino • Andy Mangels • Will Murray • Scott Saavedra • Scott Shaw! 8 Svengoolie © Weigel Broadcasting Co. Ghost Busters © Filmation. Naugas © Uniroyal Engineered Products, LLC. 1 The crazy cool culture we grew up with CONTENTS Issue #6 | Fall 2019 40 51 Columns and Special Features Departments 3 2 Retro Television Retrotorial Saturday Nights with 25 Svengoolie 10 RetroFad 11 Rubik’s Cube 3 Andy Mangels’ Retro Saturday Mornings 38 The Original Ghost Busters Retro Trivia Goldfinger 21 43 Oddball World of Scott Shaw! 40 The Naugas Too Much TV Quiz 25 59 Ernest Farino’s Retro Retro Toys Fantasmagoria Kenner’s Alien I Was a Teenage James Bond 21 74 43 Celebrity Crushes Scott Saavedra’s Secret Sanctum 75 Three Letters to Three Famous Retro Travel People Pinball Hall of Fame – Las Vegas, Nevada 51 65 Retro Interview 78 Growing Up Munster: RetroFanmail Butch Patrick 80 65 ReJECTED Will Murray’s 20th Century RetroFan fantasy cover by Panopticon Scott Saavedra The Dobie Gillis Dilemma 75 11 RetroFan™ #6, Fall 2019. Published quarterly by TwoMorrows Publishing, 10407 Bedfordtown Drive, Raleigh, NC 27614. Michael Eury, Editor-in-Chief. John Morrow, Publisher. -
Sky Pilot, How High Can You Fly - Not Even Past
Sky Pilot, How High Can You Fly - Not Even Past BOOKS FILMS & MEDIA THE PUBLIC HISTORIAN BLOG TEXAS OUR/STORIES STUDENTS ABOUT 15 MINUTE HISTORY "The past is never dead. It's not even past." William Faulkner NOT EVEN PAST Tweet 19 Like THE PUBLIC HISTORIAN Sky Pilot, How High Can You Fly by Nathan Stone Making History: Houston’s “Spirit of the Confederacy” I started going to camp in 1968. We were still just children, but we already had Vietnam to think about. The evening news was a body count. At camp, we didn’t see the news, but we listened to Eric Burdon and the Animals’ Sky Pilot while doing our beadwork with Father Pekarski. Pekarski looked like Grandpa from The Munsters. He was bald with a scowl and a growl, wearing shorts and an official camp tee shirt over his pot belly. The local legend was that at night, before going out to do his vampire thing, he would come in and mix up your beads so that the red ones were in the blue box, and the black ones were in the white box. Then, he would twist the thread on your bead loom a hundred and twenty times so that it would be impossible to work with the next day. And laugh. In fact, he was as nice a May 06, 2020 guy as you could ever want to know. More from The Public Historian BOOKS America for Americans: A History of Xenophobia in the United States by Erika Lee (2019) April 20, 2020 More Books The Munsters Back then, bead-craft might have seemed like a sort of “feminine” thing to be doing at a boys’ camp. -
Fracking (With) Post-Modernism, Or There's a Lil' Dr Frankenstein in All
1 Fracking (with) post-modernism, or there’s a lil’ Dr Frankenstein in all of us by Bryan Konefsky Since the dawn of (wo)mankind we humans have had the keen, pro-cinematic ability to assess our surroundings in ways not unlike the quick, rack focus of a movie camera. We move fluidly between close examination (a form of deconstruction) to a wide-angle view of the world (contextualizing the minutiae of our dailiness within deep philosophical inquiries about the nature of existence). To this end, one could easily infer that Dziga Vertov’s kino-eye might be a natural outgrowth of human evolution. However, we should be mindful of obvious and impetuous conclusions that seem to lead – superficially – to the necessity of a kino-prosthesis. In terms of a kino-prosthesis, the discomfort associated with a camera-less experience is understood, especially in a world where, as articulated so well by thinkers such as Sherry Turkle or Marita Sturken, one impulsively records information as proof of experience (see Turkle’s Alone Together: Why We Expect More From Technology and Less From Each Other and Sturken’s Practices of Looking: An Introduction to Visual Culture). The unsettling nature of a camera-less experience reminds me of visionary poet Lisa Gill (see her text Caput Nili), who once told me about a dream in which she and Orson Welles made a movie. The problem was that neither of them had a camera. Lisa is quick on her feet so her solution was simply to carve the movie into her arm. For Lisa, it is clear what the relationship is between a sharp blade and a camera, and the association abounds with metaphors and allusions to my understanding of the pro-cinematic human. -
Read Book the Monsters Monster
THE MONSTERS MONSTER PDF, EPUB, EBOOK Patrick McDonnell | 48 pages | 06 Sep 2012 | Little, Brown & Company | 9780316045476 | English | New York, United States The Monsters Monster PDF Book More filters. After throwing dozens of quinceaneras for The Thing remains one of the most tense and heart-pounding sci-fi horror films ever made, thanks largely to its premise about an alien creature that can mimic other organic beings and assume their shape, appearance, and mannerisms. McDonnell writes a cute book about three little monsters who create their own monster, hoping he'll be really scary. They decide to create the biggest monster of all, so they get their Frankenstein on and bring a new monster to life. This is a must have and must read book. While every episode includes an unusual creature from a myth or urban legend, it's the underlying themes of family, betrayal, love, envy, greed and guilt that drive home the horror. While this episode has a real monster that lurks in the woods, the story isn't really about why or how her friend disappears. A Perfectly Messed-Up Story. The Blair Witch is at its most scary when it remains unseen and is used to psychologically torture the characters because audiences don't know who or what the Blair Witch actually is, even with the knowledge of the folklore behind it. The docudrama was created in the early '70s with a low budget, meaning that the footage was poor quality. Top-Rated Episodes S1. Daily Dead. A lovely story about meeting expectations, and friendship, and manners. -
All Around Monstrous Monster Media in Their Historical Contexts
All Around Monstrous Monster Media in Their Historical Contexts Edited by Verena Bernardi Saarland University, Germany Frank Jacob Nord University, Norway Series in Critical Media Studies Copyright © 2019 Vernon Press, an imprint of Vernon Art and Science Inc, on behalf of the author. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Vernon Art and Science Inc. www.vernonpress.com In the Americas: In the rest of the world: Vernon Press Vernon Press 1000 N West Street, C/Sancti Espiritu 17, Suite 1200, Wilmington, Malaga, 29006 Delaware 19801 Spain United States Series in Critical Media Studies Library of Congress Control Number: 2019940482 ISBN: 978-1-62273-458-0 Cover design by Vernon Press. Cover image designed by Kjpargeter / Freepik. Product and company names mentioned in this work are the trademarks of their respective owners. While every care has been taken in preparing this work, neither the authors nor Vernon Art and Science Inc. may be held responsible for any loss or damage caused or alleged to be caused directly or indirectly by the information contained in it. Every effort has been made to trace all copyright holders, but if any have been inadvertently overlooked the publisher will be pleased to include any necessary credits in any subsequent reprint or edition. Table of contents Introduction: All Around Monstrous or a Critical Insight into -
Murder Mystery Tree Lab: (Due Next Thursday, Oct 29, but I Hope You Can Finish It Within the Lab Period!)
Murder Mystery Tree Lab: (Due next Thursday, Oct 29, but I hope you can finish it within the lab period!) Munster House Link: The Munsters are a well-respected family living in Transylvania. There’s Herman and Lily, the parents, and their two teenage children, Eddie and Marilyn. Grandpa Munster also lives with them. One day the police are called to their home at 1313 Mockingbird Lane to solve a murder. However, the circumstances are a bit unusual. Apparently Grandpa Munster was at a Halloween Gala, and came home to find everyone gone and an hysterical maid. In piecing together her story, Grandpa, with a sinking heart, realizes that the maid has seen one member of the family being murdered. She also saw the murderer and their accomplice wrapping the body up and throwing it over the cliff into the rocky ocean below. Apparently the 4th member of the family witnessed the whole thing through a window, and has now fled the premises in fear for their life. So, to summarize, one of the Munsters has been murdered, one Munster is the murderer, one Munster is an accomplice, and one Munster is a witness. Grandpa has figured out who each one is, but can’t bear to just turn in his family members. So to assuage his conscience, he has placed clues in various rooms throughout the Munster mansion, and each room has a key code. (Because this factors into the maid’s eye-witness account, it is important to know that Herman and Eddie habitually wear black, and Lily and Marilyn are never caught wearing anything but shades of green.) Your job, as the detective on the case, is to figure out each key code to enter each room, gather the clues, and then figure out who is the murderer, who was the accomplice, who was the witness, and who was murdered before the murderer and their accomplice flee the country! (The codes must be entered into the google form on canvas to unlock the next room and clue) Good luck. -
A Level Drama and Theatre Studies
A LEVEL DRAMA AND THEATRE STUDIES A LEVEL DRAMA AND THEATRE STUDIES SUMMARY OF ASSESSMENT Component 1: Theatre Workshop Non-exam assessment: Internally assessed, externally moderated - 20% of qualification Learners will be assessed on either acting or design. Learners participate in the creation, development and performance of a piece of theatre based on a reinterpretation of an extract from a text chosen from a list supplied by WJEC. The piece must be developed using the techniques and working methods of either an influential theatre practitioner or a recognised theatre company. Learners must produce: • a realisation of the performance or design • a creative log Component 2: Text in Action Non-exam assessment: externally assessed by a visiting examiner - 40% of qualification Learners will be assessed on either acting or design. Learners participate in the creation, development and performance of two pieces of theatre based on a stimulus supplied by WJEC: 1. a devised piece using the techniques and working methods of either an influential theatre practitioner or a recognised theatre company (a different practitioner or company to that chosen for Component 1) 2. an extract from a text in a different style chosen by the learner. Learners must realise their performance live for the visiting examiner. Learners choosing design must also give a 5-10 minute presentation of their design to the examiner. Learners produce a process and evaluation report within one week of completion of the practical work. Component 3: Text in Performance Written examination: 2 hours 30 minutes 40% of qualification Sections A and B Open book: Clean copies (no annotation) of the two complete texts chosen must be taken into the examination. -
Musicale 17-10-29 V2.Indd
About Gilbert & Sullivan The Gilbert & Sullivan comic operas were composed between 1871 and 1896 in Victorian London. Their sparkling musical Gilbert & Sullivan Austin scores by Sir Arthur Sullivan and their dazzling lyrics by Sir William S. Gilbert have kept them popular throughout the English-speaking world ever since. They’ve been called the presents “Saturday Night Live” of their day for their satiric appeal, but they have proven universal and timeless in their comic and ironic treatment of human foibles through their “airy persifl age” and “innocent merriment.” And the popular appeal of the music has endeared them to millions who cherish “laughing song and merry dance.” They are arguably the most popular “musical comedies” ever written for the stage. Our Mission Entertaining and educating Texas audiences since 1976, Gilbert and Sullivan Austin is dedicated to spreading the topsy-turvy humor and joyful music of W. S. Gilbert and Arthur Sullivan. Annual Grand Productions • Musicales • Newsletters Educational/Community Outreach • Musical Scholarships Visit our website and sign up for free email newsletters, see former productions in our photo archive, watch videos, volunteer, and much more! www.gilbertsullivan.org [email protected] PO Box 684542 / Austin, Texas / 78768-4542 / 512.472.4772 Please detach and mail this form with your check to: Gilbert & Sullivan Austin P. O. Box 684542 October 29, 2017 Austin, TX 78768-4542 Bachus Conservatory Performing Arts Center Membership Form Name _______________________________________________ Choose your membership level: Address ______________________________________________ Austin, Texas Member $30-$49 Patron $50-$99 City ____________________ State ______ Zip _____________ Grand Duke or Duchess $100-$249 Email ________________________________________________ Major General $250-$499 Pooh-Bah $500-$999 I am interested in volunteering Pirate King $1000-$2499 I am interested in being a business partner Savoyard $2500 & up Contributions to Gilbert & Sullivan Austin are tax deductible. -
$573 $419 $468 $629 $895 $398 $839
PAGE 8B Yankton Daily Press & Dakotan ■ Friday, July 23, 2010 www.yankton.net Mrs. Eynsford-Hill — Bev Musical director/conductor Properties assistant — Hansing has traveled to dozens of Larson — Sister Patricia Ann Toscano Maddie Henrickson memorabilia shows across the LADY Lord Boxington — Nick Scenic and lighting design- Backstage crew — EJ Staples ACTRESS country, posed for pictures, and Weydert er/Technical director — Stephen Spotlight operator — signed hundreds of autographs. From Page 1B Bartender — Leah Smith English Christine Lambertz From Page 4B A quick search of the auction Jamie — Dave Baumeister Stage manager — Aaron site eBAY reveals almost 2,000 auc- Harry — Gene Johnson Steward tions for Munsters memorabilia. plays Eliza Doolittle, is “delight- ORCHESTRA wait all day long for your scene. Items include DVDs, glossy pic- Chorus — Cheyenne Costumes — Roni Staples, It’s not glamorous at all.” ful” onstage. He saw her perform Schroeder, Adalya Schroeder, Einstein’s Costumes Keyboard — Jaclyn Mathison tures and even a glow-in-the-dark in musicals and plays through Keyboard/strings — Jane In spite of the long days, she wall clock. Hebda, Megan Kniefl, Jo Bryan, Choreographer — Kathryn looks back on her role as Marilyn One auction features a 12-inch high school, most recently as Weydert, Isaac Beeck, Matt Reimler Bobzin Adelaide in the YHS spring pro- Flute — Stephanie Schultz Munster as one of her favorites. Marilyn Munster doll. The doll, the Trenhaile, Mary Pistulka, Rehearsal accompanist — “We became a family, personally as 40th anniversary edition, is duction of “Guys and Dolls.” Johnson, Baumeister, Larson, Jaclyn Mathison Clarinet — Bill Magera, Liz “You can’t do this show with- well as professionally,” said dressed in a white top and blue Audry Bryan, Laura Baumeister, Dialect coach — Carol Lynn Fiedler Hansing, who worked with actors out a fair lady,” Henrickson said. -
Broken Toys 34 Is Brought to You in a Bit of a Rush by Taral Waynewayne,Wayne Who Lives at 245 Dunn Ave., Apt
Broken Toys 34 is brought to you in a bit of a rush by Taral WayneWayne,Wayne who lives at 245 Dunn Ave., Apt. 2111, Toronto, Ontario, M6K 1S6 Canada. You can e-mail me at [email protected] to loc, or download all past issues at eFanzines.com, http://www.fanac.org/fanzines/BrokenToys/ or at Fanac.org, http://efanzines.com/Taral/index.htm . This is Kiddelidivee Books & Art 293, Seasons Gleanings Christmas is a helluva thing. It sneaks up on you like the June Taylor Dancers at a state funeral, and yet you somehow never notice until there’s a spike-heel shoe in your eggnog. I had just e-mailed the last issue of Broken Toys when I realized that if I wanted the next issue out before Christmas, it was already nearly too late to start! And I still haven’t finished work on the Halloween issue! Truth be told, I’ve done very little work on it, having been distracted by other chores, including Broken Toys 33 . One unscheduled detour was a final issue of Lost Toys. Number 8 was more or or less to have been the last, but it turned out that I had a few loose ends I wanted to tie up as I left Arnie Katz’s digitral apa, TePe . So you completist collectors out there should know that Lost Toys 9 is now the real final issue. A second unplanned demand on my time can be blamed on Guy Lillian, who is editing the program book for Sasquan , the Seattle Worldcon next year.