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Vodou and the U.S. Counterculture
VODOU AND THE U.S. COUNTERCULTURE Christian Remse 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 August 2013 Committee: Maisha Wester, Advisor Katerina Ruedi Ray Graduate Faculty Representative Ellen Berry Tori Ekstrand Dalton Jones © 2013 Christian Remse All Rights Reserved iii ABSTRACT Maisha Wester, Advisor Considering the function of Vodou as subversive force against political, economic, social, and cultural injustice throughout the history of Haiti as well as the frequent transcultural exchange between the island nation and the U.S., this project applies an interpretative approach in order to examine how the contextualization of Haiti’s folk religion in the three most widespread forms of American popular culture texts – film, music, and literature – has ideologically informed the U.S. counterculture and its rebellious struggle for change between the turbulent era of the mid-1950s and the early 1970s. This particular period of the twentieth century is not only crucial to study since it presents the continuing conflict between the dominant white heteronormative society and subjugated minority cultures but, more importantly, because the Enlightenment’s libertarian ideal of individual freedom finally encouraged non-conformists of diverse backgrounds such as gender, race, and sexuality to take a collective stance against oppression. At the same time, it is important to stress that the cultural production of these popular texts emerged from and within the conditions of American culture rather than the native context of Haiti. Hence, Vodou in these American popular texts is subject to cultural appropriation, a paradigm that is broadly defined as the use of cultural practices and objects by members of another culture. -
Lacon 1 Film Program
BY WAY OF INTRODUCTION This film program represents for the most part an extremely personal selection by me, Bill Warren, with the help of Donald F. Glut. Usually convention film programs tend to show the established classics -- THINGS TO COME, METROPOLIS, WAR OF THE WORLDS, THEM - and, of course, those are good films. But they are seen so very often -- on tv, at non-sf film programs, at regional cons, and so forth -- that we decided to try to organize a program of good and/or entertaining movies that are rarely seen. We feel we have made a good selection, with films chosen for a variety of reasons. Some of the films on the program were, until quite recently, thought to be missing or impossible to view, like JUST IMAGINE, TRANSATLANTIC TUNNEL, or DR JEKYLL AND MR. HYDE. Others, since they are such glorious stinkers, have been relegated to 3 a.m. once-a-year tv showings, like VOODOO MAN or PLAN 9 FROM OUTER SPACE. Other fairly recent movies (and good ones, at that) were, we felt, seen by far too few people, either due to poor distribution by the releasing companies, or because they didn't make enough money to ensure a wide release, like TARGETS or THE DEVIL'S BRIDE. Still others are relatively obscure foreign films, a couple of which we took a sight-unseen gamble on, basing our selections on favorable reviews; this includes films like THE GLADIATORS and END OF AUGUST AT THE HOTEL OZONE. And finally, there are a number of films here which are personal favorites of Don's or mine which we want other people to like; this includes INTERNATIONAL HOUSE, MAD LOVE, NIGHT OF THE HUNTER, RADIO RANCH, and SPY SMASHER RETURNS. -
Vanguard Label Discography Was Compiled Using Our Record Collections, Schwann Catalogs from 1953 to 1982, a Phono-Log from 1963, and Various Other Sources
Discography Of The Vanguard Label Vanguard Records was established in New York City in 1947. It was owned by Maynard and Seymour Solomon. The label released classical, folk, international, jazz, pop, spoken word, rhythm and blues and blues. Vanguard had a subsidiary called Bach Guild that released classical music. The Solomon brothers started the company with a loan of $10,000 from their family and rented a small office on 80 East 11th Street. The label was started just as the 33 1/3 RPM LP was just gaining popularity and Vanguard concentrated on LP’s. Vanguard commissioned recordings of five Bach Cantatas and those were the first releases on the label. As the long play market expanded Vanguard moved into other fields of music besides classical. The famed producer John Hammond (Discoverer of Robert Johnson, Bruce Springsteen Billie Holiday, Bob Dylan and Aretha Franklin) came in to supervise a jazz series called Jazz Showcase. The Solomon brothers’ politics was left leaning and many of the artists on Vanguard were black-listed by the House Un-American Activities Committive. Vanguard ignored the black-list of performers and had success with Cisco Houston, Paul Robeson and the Weavers. The Weavers were so successful that Vanguard moved more and more into the popular field. Folk music became the main focus of the label and the home of Joan Baez, Ian and Sylvia, Rooftop Singers, Ramblin’ Jack Elliott, Doc Watson, Country Joe and the Fish and many others. During the 1950’s and early 1960’s, a folk festival was held each year in Newport Rhode Island and Vanguard recorded and issued albums from the those events. -
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CAMERAS, PROJECTORS, ACCESSORIES AND SUPPLIES . • (•- -•I• • ......... PAGES 1 TO 7, PAGE 15. 16mm. SOUND R ENTAL FILMS ... -c- · .PAGES 8 TO 12 2"x2" COLOR SLIDES . .... ......, ...... PAGES 13 TO 15. - 8mm. MOVIES . ·-· ..... •, •• . PAGES 16 TO 18, 20, 23 16mm. SOUND FILMS . ...••...• .PAGES 19 AND 20 MUSIC FOR MEN ON LP RECORDS. .PAGE 21 INFORMATION, ORDER BLANKS. PAGES 22 AND 23 K- 25 K-28 K-50 KEYSTONE K-95 750-WATT KEYSTONE CAPRI K-25 8mm. CAMERA KEYSTONE MAYFAIR K-50 8mm. PROJECTOR F'quippt d '1.Jlh t.2.S fhed rot:ui luh in inr~ rch:.;mg_eab l e l cn -, mounf 16mm. MAGAZINE CAMERA l ou'II )1..tH a britJi:,mt ,ibow "irh this 7~U-H:.itt JJl"i•~Cl<lt'. Pr«b10n-Jf~t <'. ,htle.d :1 nd '-oloc (;Offf.ctitd. t i'ndt'r ~,.,r~ni of $tenuine ,:round 0 1Hical ,tl -',"iS, Ju-.. 36-oun,:t < Ut m (nh.··t t:ilwi,- ta,.e. and perfection. N<',t- pu~IJi-buuon •,t,;. ,-ind and bt'a,_, . dit'·Ca.'i( con 0; troc1ion, mea11 rn1oc-uh, rock.-.Stt':..il,- pro~c l"~oot.1gt inflk1uor /\t'~ ;,uromarirally "l•t·n lilm is lnt;uted - ~ign:.l!i in Jtr p('1 mih r(·,::nlar- run, continuou:!t loc.:k·run (for !,(>1£-m·e, i~J Of' ~inklf lmn. Lift-o-m;Ui<" .!!" itch lurn.!t off room lir,::hts ,,ht'll ., 4 u tu111 on Iii~ t-"enr o r ncci,h.. 1lt::I jam. Threc,•W.t) 1r'i,rr.,·r control, regulur wn, (c)otinuous frame e~r>o'iUre (for .:-i top-mo11ou anim:dion>. -
Pg0144 Layout 1
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HUNGARIAN STUDIES 11. No. 1. Nemzetközi Magyar Filológiai
LUGOSI IN HOLLYWOOD: A HUNGARIAN ACTOR'S RISE AND FALL AS A MOVIE STAR KEVIN E. KELLY Gallipolis Daily Tribune, Gallipolis, Ohio, U.S.A. Béla Lugosi, the actor most identified with the role of Count Dracula, the Transylvanian vampire immortalized in Bram Stoker's novel Dracula and in countless stage and screen adaptations, fled Hungary in 1919 to escape almost certain punishment and perhaps death for his brief and somewhat naïve involvement with the socialist movement that swept the country immediately after World War I. He left Europe two years later to seek the promise of a stage career and wealth offered in the United States. Fame and fortune he did find in the late 1920s with his portrayal of Dracula in the Broadway production of the popular Hamilton Deane-John L. Balderston version of the Stoker novel, and his star rose even further when he starred in the 1931 Hollywood film drawn from the novel and the play. Unfortunately, it would be the pinnacle of his professional career, and his stardom in the American film capital, would be brief. Years of roles in atrocious films and the ever-present shadow of Dracula would follow, culminating in near-unemploya- bility in the years preceding his death in 1956. While a number of Lugosi's countrymen, such as Paul Lukas and Victor Varconi, also emigrated to Hollywood and at first received starring roles as suave Continental types, they were eventually committed to character roles for the rest of their careers. Lugosi, however found to his everlasting regret that Dracula put him in a particular niche - as a star of horror films, with the resultant typecasting barring him from the varied roles that Lukas, for example, would enjoy as a supporting player for several decades. -
HORROR FILMS Page 1 of 23
HORROR FILMS Page 1 of 23 HORROR FILMS Horror Films are unsettling films designed to frighten and panic, cause dread and alarm, and to invoke our hidden worst fears, often in a terrifying, shocking finale, while captivating and entertaining us at the same time in a cathartic experience. Horror films effectively center on the dark side of life, the forbidden, and strange and alarming events. They deal with our most primal nature and its fears: our nightmares, our vulnerability, our alienation, our revulsions, our terror of the unknown, our fear of death and dismemberment, loss of identity, or fear of sexuality. Horror films go back as far as the onset of films themselves, over a 100 years ago. From our earliest days, we use our vivid imaginations to see ghosts in shadowy shapes, to be emotionally connected to the unknown and to fear things that are improbable. Watching a horror film gives an opening into that scary world, into an outlet for the essence of fear itself, without actually being in danger. Weird as it sounds, there's a very real thrill and fun factor in being scared or watching disturbing, horrific images. Whatever dark, primitive, and revolting traits that simultaneously attract and repel us are featured in the horror genre. Horror films are often combined with science fiction when the menace or monster is related to a corruption of technology, or when Earth is threatened by aliens. The fantasy and supernatural film genres are not synonymous with the horror genre, although thriller films may have some relation when they focus on the revolting and horrible acts of the killer/madman. -
Kissinger Andtho \Ot to Meet Today
r Weekend Enjoyment Seepages 17-20 The Weather FINAL Mostly sunny with gradual Keif Hank, Freehold warming trend today and to- l-ong Branch morrow. Rain likely Sunday EDITION Monmouth County's Outstanding Home Newspaper 56 PAGES VGL95 NO. 102 ^ RED BANK, N.J. FRIDAY, NOVEMBER 24,1972 TEN CENTS wwawiBiwiiiiiiiiituiiiiiupuiiiniiiiiiiiiiMiiiiHiwiiiinwaHHiiiHinnHiiiiBiiimiiiiiiiiiHiiuHiii inHiiniHiiiiiniiiiuiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiniMiniiiiiiiimiirnmnimiiHU Kissinger andTho \ot to Meet Today PARIS (AP) -North Viet- informed in due course when tlie North Vietnamese state- longest meeting Thursday nam indicated there would be the next meeting takes ment. since the current round of se- no meeting today between place." The French news agency, cret peace negotiations be- Presidential adviser Henry A, Agence France Presse, citing gan. The White House said the Kissinger and Hanoi negotia- The spokesman declined to "reliable sources," said the talks will resume but that it tor Le Due Tho. give a reason for the inter- talks had run into "serious didn't know when. A North Vietnamese delega- ruption in the secret negotia- difficulties," but there was no The American and tho tion spokesman told news- tions. U.S. delegation spokes- confirmation of this report North Vietnamese negotiators men: "There will probably be man David Ijambertson said from either side. met for six hours on the no meeting today. You will be he could make no comment on Kissinger and Tho held their cease-fire agreement they drafted last month, but kept to their agreed news blackout on the subjects under dis- cussion. It was the fourth straight Daily Lottery Seen day of talks in a suburban vil- la 15 miles southwest of Paris. -
5Deal Page 42
pg0144_Layout 1 4/8/2016 10:24 AM Page 3 page 3 $ 5deal page 42 page 3 1–800–CHRISTIAN (1-800-247-4784) pg0203_Layout 1 4/8/2016 1:06 PM Page 2 Spring Specials Check out his music on page 35! Lecrae NEW Unashamed The road to fame was bumpyBook! for 2-time Grammy-winning rap artist Lecrae. A survivor of childhood physical and sexual abuse, he struggled with STDs, drugs, alcoholism, and sui- cidal feelings—then Jesus claimed his heart. Candidly sharing journal entries and intimate details of his life, he models how to be a faithful Chris tian in a secular age. 208 pages, hardcover from B&H. KT689123 Retail $24.99 . .CBD $15.99 Pat Boone SAVE Thank You, % Billy Graham— 71 Commemorative DVD with CD A musical tribute to a man who changed our world KTCD29618Praise & Worship Before Amen: Music A Worship Collection . .13.99 5.00 with God’s message! Lis- KTCD35649 Blessed Assurance: The New Hymns of ten in as Pat Boone, Bill Fanny Crosby . .13.99 5.00 Bright, Reba McEntire, KTCD13825 I’ve Seen Heaven . .13.99 5.00 Bono, Kenny Rogers, KTCD20110 Set Apart, Worship Central . .13.99 5.00 Faith Hill, Brad Paisley, tobyMac, LeAnn Rimes, George Strait, Charlie Daniels, Larry King, and many others celebrate Graham’s Table of Contents global ministry. Includes a booklet of historical photos. One DVD Accompaniment Tracks. 24–26 and a one-track CD. Bargains . 42, 43 KT282219 Retail $16.99 . .CBD $4.99 Collections, Remixes & Favorites . 27 Contemporary & Pop . 34–39 Gospel . -
Bela Lugosi Ç”Μå½± ĸ²È¡Œ (Ť§Å…¨)
Bela Lugosi 电影 串行 (大全) The Colonel https://zh.listvote.com/lists/film/movies/the-colonel-3631401/actors Lulu https://zh.listvote.com/lists/film/movies/lulu-6702900/actors The Leopard https://zh.listvote.com/lists/film/movies/the-leopard-7746941/actors Masked Ball https://zh.listvote.com/lists/film/movies/masked-ball-6783405/actors Lederstrumpf https://zh.listvote.com/lists/film/movies/lederstrumpf-1811608/actors Ihre Hoheit die Tänzerin https://zh.listvote.com/lists/film/movies/ihre-hoheit-die-t%C3%A4nzerin-16985618/actors The Curse of Man https://zh.listvote.com/lists/film/movies/the-curse-of-man-7728464/actors Leoni Leo https://zh.listvote.com/lists/film/movies/leoni-leo-6526313/actors Lili https://zh.listvote.com/lists/film/movies/lili-6547602/actors The Wedding Song https://zh.listvote.com/lists/film/movies/the-wedding-song-7774074/actors Nat Pinkerton in the Fight https://zh.listvote.com/lists/film/movies/nat-pinkerton-in-the-fight-6967872/actors John Hopkins the Third https://zh.listvote.com/lists/film/movies/john-hopkins-the-third-16980140/actors Hollywood on Parade No. A-8 https://zh.listvote.com/lists/film/movies/hollywood-on-parade-no.-a-8-5883086/actors Wild Company https://zh.listvote.com/lists/film/movies/wild-company-3568110/actors The Death Kiss https://zh.listvote.com/lists/film/movies/the-death-kiss-3632584/actors The Wolf Man https://zh.listvote.com/lists/film/movies/the-wolf-man-431873/actors The Black Sleep https://zh.listvote.com/lists/film/movies/the-black-sleep-1059488/actors On the Brink of Paradise https://zh.listvote.com/lists/film/movies/on-the-brink-of-paradise-759384/actors The Devil Worshippers https://zh.listvote.com/lists/film/movies/the-devil-worshippers-1216711/actors The Mysterious Mr. -
Our Glory Stories
Our Glory Stories Of God’s Miraculous Intervention & Provision By Roger & Gerri Taylor Our Glory Stories Of God’s Miraculous Intervention & Provision ©2007 by Roger & Gerri Taylor ISBN: 978-0978724627 Printed in the United States of America 1st printing 2007. Cover Photo by Roger Taylor Cover Design, Layout, & Project Management by DayBreak Publishing www.daybreakpublishing.net Script KVJ Scripture quotations marked “AMP” are taken from the Amplified Bible, Copyright © 1954, 1958, 1962, 1964, 1965, 1987 by The Lockman Foundation. Used by permission. The Message by Eugene H. Peterson, copyright (c) 1993, 1994, 1995, 1996, 2000, 2001, 2002. Used by permission of NavPress Publishing Group. All rights reserved. Scripture quotations marked (NLT or The New Living) are taken from the Holy Bible, New Living Translation, copyright © 1996. Used by permission of Tyndale House Publishers, Inc., Wheaton, Illinois 60189. All rights reserved. Published by Places In The Fathers Heart, Inc. www.placesinthefathersheart.org ALL RIGHTS RESERVED Policies for Downloading Free eBook This eBook may be downloaded free of charge, emailed to friends and associates, copied and distributed in any way that is beneficial to the Body of Christ as our gift to you. It may not be sold. Please keep the material complete in its contents and the credits as they are shown. Copying and distribution of this material indicates that you agree with our Policies for Downloading. By our Father’s promise we have life. Psalm 119:50 “My comfort in my suffering is this: Your promise preserves my life.” We are blessed with Father’s renewing our hearts and our spirits with His promises. -
A Strange Body of Work: the Cinematic Zombie Emma Dyson Ph
A Strange Body of Work: The Cinematic Zombie Emma Dyson Ph.D. 2009 Total number of pages: 325 1 Declaration While registered as a candidate for the above degree, I have not been registered for any other research award. The results and conclusions embodied in the thesis are the work of the named candidate and have not been submitted for any other academic award. Signed……………….. Date…………. 2 Abstract A Strange Body of Work: The Cinematic Zombie This thesis investigates the changing cinematic representations of a particular figure in horror culture: the Zombie. Current critical perspectives on the figure of the Zombie have yet to establish literary and cultural antecedents to the cinematic portrayal of the Zombie, preferring to position it as a mere product of American horror films of the 1930s. This study critiques this standpoint, arguing that global uses of the Zombie in differing media indicate a symbolic figure attuned to changing cultural contexts. The thesis therefore combines cultural and historical analysis with close textual readings of visual and written sources, paying close attention to the changing contexts of global film production and distribution. In order to present the cinematic Zombie as a product of historical, geographical and cultural shifts in horror film production, the thesis begins by critiquing existing accounts of Zombie film, drawing attention to the notion of generic canons of film as determined by both popular and academic film critics and draws attention to the fractured nature of genre as a method of positioning and critiquing film texts. In this, an interdisciplinary approach, drawing on the methods of cultural-historical and psycho-analytical critiques of horror film, is appraised and then applied to the texts under discussion.