DOCSLIB.ORG

Official Program

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Official Program OFFICIAL PROGRAM FILM FESTIVAL COORDINATOR: Jon Mercurio Knight (aka The Merc or Mercurio the Wasteland Messenger) SPONSORED BY: Wasteland Weekend SPECIAL THANKS TO: Karol Bartoszynski & Jared Butler, whose boundless support has allowed me to put this program together each year. Apocalypse is Coming & War Fantasies of Death and Swordplay 7:30 - Apocalypse Cal (15:36) 10:34 - Death & the Iron Maiden (Animated) (5:00) 7:45 - Over The Top (Animated) (5:55) 10:39 - Swordsmen (1:30) 7:51 - Why?! (7:30) 10:42 GO! (The Revamp) (4:07) 7:58 - Odessa (13:40) 8:10 - Dirt (6:39) Post-Apocalyptic Memories 8:16 - The Town Where Nobody Lives (22:00) 10:46 - California Dreamin’ (3:22) 8:39 - The old ones called it CHAOS (16:21) 10:49 - Havva (7:40) 8:56 - Switch Man (Animated) (3:38) 10:57 - Stolen Light (12:34) 9:00 - i’ii (Animated) (9:46) 11:10 - Albert (23:43) 11:33 - Wander (14:45) Dystopian Realities 11:48 - The Ripper (4:46) 9:10 - iNTERFACE (2:28) 11:53 - RADIO (16:04) 9:12 - employee of the day (Animated) (15:00) 12:09 - DAYS END (10:46) 9:27 - FLEXIBILITY (10:00) 12:20 - Willow Creek (3:02) 9:37 - Thinker (8:19) 9:45 - Looking for (Animated) (3:45) ENCORE BLOCK: 40 MIN 9:50 - The Grid (12:47) Did you miss a film? Here is a chance to catch 9:53 - Growing Pains (Animated) (8:17) them! Audience votes on films to play (anything from the schedule except features Off-beat Realities with Humor and special presentations) 10:01 - Papa Leone’s Pizza Show (Animated) (2:13) 10:03 - The Alpacing Dead (8:31) ENDING TIME: 1 AM 10:11 - Somebody to Save (5:01) 10:16 - The Detectives of Noir Town (7:00) THURSDAY 10:23 - Rotten Love (11:11) OFFICIAL PROGRAM FILM FESTIVAL COORDINATOR: Jon Mercurio Knight (aka The Merc or Mercurio the Wasteland Messenger) SPONSORED BY: Wasteland Weekend SPECIAL THANKS TO: Karol Bartoszynski & Jared Butler, whose boundless support has allowed me to put this program together each year. The Coming Apocalypse Strange Tales 7:30 - BAM (5:06) 10:00 - Night of the Slasher (20:00) 7:35 - Dark Side of the Earth (5:30) (with Intro and q/a) 10:20 - The Stomach (15:00) Horror & Apocalyptic Faery Tales 7:40 - We All Go the Same (3:45) Animated Poetry 7:44 - Dead Hearts (16:41) 10:35 - Atheum’s Way (Animated) (4:24) 8:00 - Dustland (16:38) 10:39 - Little Match Girl (Animated) (9:13) 8:17 - Therion (14:48) 10:48 - Apology to a Television Set (Animated) (1:05) 8:32 - HORIZON (24:00) FEATURE PRESENTATION 9:00 SPECIAL PROGRAM 1: 10:50 - Battledream Chronicle (Animated) (1:48:20) Films of Pascal Chind (1 HR) Pascal Chind Intro 12:40 ENCORE BLOCK: 50 MIN 1. Shortcut (25:00) Did you miss a film? Here is a chance to catch 2. Extreme Pinnochio (30:00) them! Audience votes on films to play Pascal Chind Q & A (anything from the schedule except features and special presentations) ENDING TIME: 1:30 AM FRIDAY OFFICIAL PROGRAM FILM FESTIVAL COORDINATOR: Jon Mercurio Knight (aka The Merc or Mercurio the Wasteland Messenger) SPONSORED BY: Wasteland Weekend SPECIAL THANKS TO: Karol Bartoszynski & Jared Butler, whose boundless support has allowed me to put this program together each year. The Apocalypse Will Be Televised 7. BFD music video (2:56) 7:30 - Among the Innocent (6:30) 8. The M Machine - Glow (2:36) 7:36 - The Moon Cried (Animated) (2:24) 9. Far Cry 3 Blood Dragon: THE MOVIE (2:45) 7:39 - Skål (15:00) 9. Creepy Japanese Furby Commercial (0:53) 7:54 - Necrotic (3:53) 10. STREET FIGHTER (SFxTK) Vega VS Jun (1:55) 7:58 - EMPTY (6:16) 11. GRRL SCOUTS (14:56) 8:04 - Avant (13:15) 12. Kill The Noise - Kill the Noise Part 1 (3:40) 8:17 - Apocalypse Rock (24:20) Mike Diva Q & A Case Studies in Weird FEATURE PRESENTATION 8:42 - Double-Blind No.1 (1:40) 10:00 - E.N.D. the movie (1:21:19) 8:44 - Double-Blind Case Study (3:20) 8:47 - Red Point (Animated) (4:43) The Final Post Apocalypse Splurge 8:52 - Tibetan Night Terrors - To Be Trusted (3:25) 11:21 - XXX (5:25) 11:26 - AFYA - Away From You All (12:00) 9:00 SPECIAL PROGRAM 2: 11:38 - Fallen Angel (Animated) (3:30) Films of Mike Diva (1 HR) 11:41 - Land of None (11:58) Mike Diva Intro 11:53 - The Edge (16:34) 1. roadkill bbq (4:10) 12:09 - Echoes (3:20) 2. Watch Dogs - Cyborg Beatdown (2:07) 12:13 - Point Zero (17:55) 3. THRESHER (7:42) 12:31 - The Lotus Gun (25:00) 4. Scorpion VS Noob Saibot (1:56) 5. “Queens & Kings” Shopping Kart Stunt Race (4:01) 12:56 ENCORE BLOCK: 34 MIN 6. Savant- Kali 47 (2:59) ENDING TIME: 1:30 AM SATURDAY OFFICIAL PROGRAM FILM FESTIVAL COORDINATOR: Jon Mercurio Knight (aka The Merc or Mercurio the Wasteland Messenger) SPONSORED BY: Wasteland Weekend SPECIAL THANKS TO: Karol Bartoszynski & Jared Butler, whose boundless support has allowed me to put this program together each year. FEATURES SPECIAL PROGRAM 1 (qualify for limited edition Wasteland Film Festival Bottlecap, 25 handed out at end) Battledream Chronicle (1:48:20, Sci-Fi, Animated): In 2100, the empire of Mortemonde colonized almost all the nations of Shortcut: This dark comedy, set in a retro-futurist, dieselpunk the Earth and reduced their populations to slavery. Every slave is forced world, tells the story of Tom, a midget in love with Francoise, a tall, to collect 1000 XP every month in Battledream, a video game where they beautiful girl with auburn hair. When Françoise humiliates Tom at the can die for real. Only those who succeed are granted the right to live until village fair, she finds herself in a sticky situation. the following month. Syanna, a young martinican slave, refuses to keep living in this condition and decides to fight for her freedom... Extreme Pinnochio: A dwarf junkie dresses up as Pinocchio to steal money from a schizophrenic psychopath who thinks he’s Geppetto. E.N.D. the movie (1:21:19, Post-Apoc): Follows the rise and progress of a zombie epidemic over several years. With a couple SPECIAL PROGRAM 2 (qualify for limited edition interesting twists and turns, prepare for the End! Wasteland Film Festival Bottlecap, 25 handed out at end) Films of Mike Diva: A mix of high octane action with cult 80s sensibilities, steampunk, horror, and everything in between, Mike continually exhibits a strong, colorful visual style throughout with an eclectic mix of video game inspired fan made films to full on, uniquely crafted music videos. film desc. film OFFICIAL PROGRAM FILM FESTIVAL COORDINATOR: Jon Mercurio Knight (aka The Merc or Mercurio the Wasteland Messenger) SPONSORED BY: Wasteland Weekend SPECIAL THANKS TO: Karol Bartoszynski & Jared Butler, whose boundless support has allowed me to put this program together each year. ANIMATED FILMS Growing Pains (8:17, Dystopian): An Orwellian nightmare told from the perspective of its most worthless citizen. Set in a time lapsed dystopia littered in endless towerblocks , one of which Apology to a Television Set (1:05): This collaborative is where our insignificant protagonist resides. Her bizarre, prompted project utilizes three art forms—fine art, animation and poetry, for the existence sees her forced into the role of motherhood, imprisoned and purposes of investigating and applying a new technique in 3D software, unable to escape. resulting in a non-traditional 3D animated style. The project features myself as animator and director; MSU student artist Ria Martinez; and world-renowned poet Frank Messina. i’ii (9:46, Post Apoc): World War 3 devastates the planet. The conflict must come to an end. Europe comes up with a weapon capable of Atheum’s Way (4:24, Post Apoc): A father must confront blocking the chemical reaction necessary for fire to ignite. The “i” bomb. an eternal storm to reunite with his daughter and learn that man must The war would be over, but humanity would be saved on one condition: tame his past before he tames his future. preserving a flame by any possible means. Death & the Iron Maiden (5:00): Death visits a small Little Match Girl (9:13): A child struggles to survive in the medieval town to abduct and murder a young Maiden. However once concrete jungle, facing hunger and cold every day of her life. She finds Death arrives at the castle where the Maiden resides, he discovers that the solace wherever she can, in the games at the local arcade, or any access Maiden is so much more than Death imagined. to fire. employee of the day (15:00, Dystopian): In a world Looking for (3:45): A satire about a puppet chasing its life goal, of mass consumption, overstimulation and performance pressure but who is not driven by personal will. Instead, a mystery force guides three people follow their day by day routine. Two of them work on an the puppet, a representation of social norms. Is there any way to break assembly line. Two of them share a secret. Two of them are part of the through this world where everything, image and morality, is black or show. Only one can become EMPLOYEE OF THE DAY. white? Fallen Angel (3:30, Post Apoc): A young woman Moon Cried, The (2:24, Apoc): Tragic events retold in the style of a Disney cartoon circa the 1930’s, featuring a special guest- film desc.
Load more

Recommended publications
  • How to Die in a Slasher Film: the Impact of Sexualization July, 2021, Vol
    Journal of Criminal Justice and Popular Culture How to Die in a Slasher Film: The Impact of Sexualization July, 2021, Vol. 21 (Issue 1): pp. 128 – 146 Wellman, Meitl, & Kinkade Copyright © 2021 Journal of Criminal Justice and Popular Culture All rights reserved. ISSN: 1070-8286 How to Die in a Slasher Film: The Impact of Sexualization, Strength, and Flaws on Characters’ Mortality Ashley Wellman Texas Christian University & Michele Bisaccia Meitl Texas Christian University & Patrick Kinkade Texas Christian University 128 Journal of Criminal Justice and Popular Culture How to Die in a Slasher Film: The Impact of Sexualization July, 2021, Vol. 21 (Issue 1): pp. 128 – 146 Wellman, Meitl, & Kinkade Abstract Popular culture has often referenced formulaic ways to predict a character’s fate in slasher films. The cliché rules have noted only virgins live, black characters die first, and drinking and drugs nearly guarantee your death, but to what extent do characters’ basic demographics and portrayal determine whether a character lives or dies? A content analysis of forty-eight of the most influential slasher films from the 1960s – 2010s was conducted to measure factors related to character mortality. From these films, gender, race, sexualization (measured via specific acts and total sexualization), strength, and flaws were coded for 504 non killer characters. Results indicate that the factors predicting death vary by gender. For male characters, those appearing weak in terms of physical strength or courage and those males who appeared morally flawed were more likely to die than males that were strong and morally sound. Predictors of death for female characters included strength and the presence of sexual behavior (including dress, flirtatious attitude, foreplay/sex, nudity, and total sexualization).
    [Show full text]
  • A Dark New World : Anatomy of Australian Horror Films
    A dark new world: Anatomy of Australian horror films Mark David Ryan Faculty of Creative Industries, Queensland University of Technology A thesis submitted in fulfillment of the degree Doctor of Philosophy (PhD), December 2008 The Films (from top left to right): Undead (2003); Cut (2000); Wolf Creek (2005); Rogue (2007); Storm Warning (2006); Black Water (2007); Demons Among Us (2006); Gabriel (2007); Feed (2005). ii KEY WORDS Australian horror films; horror films; horror genre; movie genres; globalisation of film production; internationalisation; Australian film industry; independent film; fan culture iii ABSTRACT After experimental beginnings in the 1970s, a commercial push in the 1980s, and an underground existence in the 1990s, from 2000 to 2007 contemporary Australian horror production has experienced a period of strong growth and relative commercial success unequalled throughout the past three decades of Australian film history. This study explores the rise of contemporary Australian horror production: emerging production and distribution models; the films produced; and the industrial, market and technological forces driving production. Australian horror production is a vibrant production sector comprising mainstream and underground spheres of production. Mainstream horror production is an independent, internationally oriented production sector on the margins of the Australian film industry producing titles such as Wolf Creek (2005) and Rogue (2007), while underground production is a fan-based, indie filmmaking subculture, producing credit-card films such as I know How Many Runs You Scored Last Summer (2006) and The Killbillies (2002). Overlap between these spheres of production, results in ‘high-end indie’ films such as Undead (2003) and Gabriel (2007) emerging from the underground but crossing over into the mainstream.
    [Show full text]
  • Arrow ​Gets Straight to the Point!
    FOR IMMEDIATE RELEASE London UK, xx January 2021 ARROW GETS STRAIGHT TO THE POINT! ​ THIS JANUARY ON ARROW: AN EXCLUSIVE COLLECTION OF CHILLING SHORT FILMS, CULT KITSCH IN THE LOVE WITCH, SPANISH SHOCKS IN [REC], LOVED TO ​ ​ ​ DEATH, SHORT ON TIME AND MORE! ​ ARROW is the passion-driven film platform giving film fans the opportunity to watch a curated ​ selection of movies that the Arrow Video brand is famous for. In January, ARROW are premiering a new era in short films under the ARROW Shorts banner ​ ​ ​ ​ with an exclusive collection of extraordinary Covid-era chillers that will send your mind reeling, as well as an unmissable selection of brand new additions to the channel. WATCH & SHARE THE JANUARY TRAILER HERE ​ In January ARROW presents an exclusive selection of the outstanding entries from its HORROR ​ ​ ​ ​ ​ LOCKDOWN SHORTS contest, short films delivering slick, sharp scares, delving into ​ oft-uncharted and bizarre worlds, offering a glimpse of burgeoning new talent just waiting to burst forth. The entries were judged by cult directors Justin Benson and Aaron Moorhead, who ​ ​ said the films are “better than they have any right to be”. The films include the surreal and innovative lockdown lunacy of Silent & Deadly, featuring a ​ ​ disgruntled armchair; the marvellously macabre and unexpected UnTooned; the strikingly eerie ​ ​ The Wedding Ritual; the very creepy nerve-jangler Stagnant; the mini-giallo split-screen ​ ​ ​ ​ ​ shocker A Date with Death; the almost unbearably intense and nightmarish Insecticide; the ​ ​ ​ ​ ​ ​ brilliantly chilling and atmospheric The Drawing; the mournful and moving The Garden; the ​ ​ ​ ​ unhappy playroom of Toys and the superbly realised Night Feed.
    [Show full text]
  • Read an Excerpt
    Univer�it y Pre� of Mis �is �ipp � / Jacks o� Contents u Preface: This book could be for you, depending on how you read it . ix. Acknowledgments . .xiii Chapter 1 Meet Jason Voorhees: An Autopsy . 3 Chapter 2 Jason’s Mechanical Eye . 45 Chapter 3 Hearing Cutting . .83 . Chapter 4 Have You Met Jason? . 119. Chapter 5 The Importance of Being Jason . 153 .. Appendix 1 Plot Summaries for the Friday the 13th Films . 179 Appendix 2 List and Description of Characters in the Friday the 13th Films . 185 Works Cited . 199 Index . 217. Chapter 1 u Meet Jason Voorhees: An Autopsy Sometimes the weirdest movies strike you in unexpected ways. In the winter of 1997, I attended a late-night screening of Friday the 13th (1980) at the campus theater at James Madison University in Harrisonburg, Virginia. I’d never seen the film before, but I was aware of its cultural significance. I expected a generic slasher film with extensive violence and nudity. I expected something ultimately forgettable. Having watched it seventeen years after its initial release, I found it generic; it did have violence and nudity, and was entertaining. However, I did not find it forgettable. Walking home with the first flecks of a winter snow weaving around me in the dark, I found myself thinking over it. I continually recalled images, sounds, and narrative moments that were vivid in my mind. Friday the 13th wormed into my brain, with its haunting and atmospheric style. After watching the original film several more times, I started in on the sequels, preparing myself for disappointment each time.
    [Show full text]
  • Screams on Screens: Paradigms of Horror
    Screams on Screens: Paradigms of Horror Barry Keith Grant Brock University [email protected] Abstract This paper offers a broad historical overview of the ideology and cultural roots of horror films. The genre of horror has been an important part of film history from the beginning and has never fallen from public popularity. It has also been a staple category of multiple national cinemas, and benefits from a most extensive network of extra-cinematic institutions. Horror movies aim to rudely move us out of our complacency in the quotidian world, by way of negative emotions such as horror, fear, suspense, terror, and disgust. To do so, horror addresses fears that are both universally taboo and that also respond to historically and culturally specific anxieties. The ideology of horror has shifted historically according to contemporaneous cultural anxieties, including the fear of repressed animal desires, sexual difference, nuclear warfare and mass annihilation, lurking madness and violence hiding underneath the quotidian, and bodily decay. But whatever the particular fears exploited by particular horror films, they provide viewers with vicarious but controlled thrills, and thus offer a release, a catharsis, of our collective and individual fears. Author Keywords Genre; taboo; ideology; mythology. Introduction Insofar as both film and videogames are visual forms that unfold in time, there is no question that the latter take their primary inspiration from the former. In what follows, I will focus on horror films rather than games, with the aim of introducing video game scholars and gamers to the rich history of the genre in the cinema. I will touch on several issues central to horror and, I hope, will suggest some connections to videogames as well as hints for further reflection on some of their points of convergence.
    [Show full text]
  • FLM201 Film Genre: Understanding Types of Film (Study Guide)
    Course Development Team Head of Programme : Khoo Sim Eng Course Developer(s) : Khoo Sim Eng Technical Writer : Maybel Heng, ETP © 2021 Singapore University of Social Sciences. All rights reserved. No part of this material may be reproduced in any form or by any means without permission in writing from the Educational Technology & Production, Singapore University of Social Sciences. ISBN 978-981-47-6093-5 Educational Technology & Production Singapore University of Social Sciences 463 Clementi Road Singapore 599494 How to cite this Study Guide (MLA): Khoo, Sim Eng. FLM201 Film Genre: Understanding Types of Film (Study Guide). Singapore University of Social Sciences, 2021. Release V1.8 Build S1.0.5, T1.5.21 Table of Contents Table of Contents Course Guide 1. Welcome.................................................................................................................. CG-2 2. Course Description and Aims............................................................................ CG-3 3. Learning Outcomes.............................................................................................. CG-6 4. Learning Material................................................................................................. CG-7 5. Assessment Overview.......................................................................................... CG-8 6. Course Schedule.................................................................................................. CG-10 7. Learning Mode...................................................................................................
    [Show full text]
  • Scheduled Live Screening Available on Demand for the Duration of the Festival Scheduled Live Panel Discussion / FREE I WEIRDO HUNTED DINNER in AMERICA
    INTERNATIONAL FILM FESTIVAL August 20th to September 2nd 2020 VIRTUAL EDITION FANTASIAFESTIVAL.COM Available across Canada LIST CALENDAR 12 HOUR SHIFT CHASING DREAM COME TRUE TITLE TITLE #ShakespearesShitstorm Dir. Lloyd Kaufman / USA / 94 min. / Comedy Sat. 29 Aug. at 21:30 12 Hour Shift Dir. Brea Grant / USA / 87 min. / Comedy-Horror-Thriller Sat. 22 Aug. at 21:30 | Thu. 27 Aug. at 23:30 2011 Dir. Alexandre Prieur-Grenier / Québec / 89 min. / Experimental ON DEMAND Afrofuturism: Visions of The Future from “The Other” Side Artist Talk / 90 min. / FREE Fri. 21 Aug. at 17:00 Apprenticeship of Evil: Dennison Ramalho on José Mojica Marins Artist Talk / 90 min. / FREE Wed. 2 Sep. at 17:00 Air Doll Dir. Hirokazu Kore-eda / Japan / 116 min. / Classics / Romance ON DEMAND Alone Dir. Johnny Martin / USA / 98 min. / Thriller Thu. 27 Aug. at 19:00 Anything For Jackson Dir. Justin Dyck / Canada / 96 min. / Horror Tue. 1 Sep. at 19:00 | Wed. 2 Sep. at 15:15 At Midnight I’ll Take Your Soul Dir. Jose Mojica Marins / Brazil / 84 min. / Classics / Horror ON DEMAND Baby : The Secret Diary of A Mom To Be Dir. Luk Yee-Sum / Hong Kong / 94 min. / Comedy-Romance ON DEMAND Beauty Water Dir. Cho Kyung-hun / South Korea / 85 min. / Animation ON DEMAND Bleed With Me Dir. Amelia Moses / Canada / 79 min. / Horror Wed. 26 Aug. at 19:10 | Tue. 1 Sep. at 15:00 The Block Island Sound Dir. Kevin McManus & Matthew McManus / USA / 97 min. / Horror Fri. 28 Aug. at 19:00 | Tue. 1 Sep.
    [Show full text]
  • Brown University Presents Il Cinema Ritrovato,Film Review
    Film Review: Investigation Of A Citizen Above Suspicion (1970) To follow up my previous piece about the great films showing at Il Cinema Ritrovato next week, I am reviewing another film that will be shown during the festival: Investigation Of A Citizen Above Suspicion, a fascinating, but somewhat forgotten thriller that won the best foreign film Oscar in 1971. Investigation… concerns a police detective who kills his girlfriend and leaves plenty of evidence behind to prove that he is indeed “above suspicion.” Even after the initial crime he goes out of his way to implicate himself and exonerate other suspects while slowly mentally unraveling due to the stress of not being caught. All of this is set to a backdrop of leftist protestors and widespread government spying, which is legitimized by the conservative government’s fear of the liberal left. Ultimately an expertly crafted satire, Investigation… is equal parts comedy, giallo and poliziotteschi, or for those who are unfamiliar with Italian cinema, comedy, murder mystery and investigation thriller. The writing is complex and intriguing while the acting is pitch perfect throughout, even though the tone of the film shifts from comedy to taught suspense. Fans of Italian cinema will certainly recognize two of the film’s stars Gian Maria Volonté (For A Few Dollars More, A Fistful Of Dollars) and Florinda Bolkan (A Lizard In A Woman’s Skin, Don’t Torture A Duckling). And while we’re on the subject of recognition, the score to this film was composed by none other than Ennio Moricone and is certainly one of the most memorable scores of his long and varied career.
    [Show full text]
  • Horror Genre in National Cinemas of East Slavic Countries
    Studia Filmoznawcze 35 Wroc³aw 2014 Volha Isakava University of Ottawa, Canada HORROR GENRE IN NATIONAL CINEMAS OF EAST SLAVIC COUNTRIES In this essay I would like to outline several tendencies one can observe in con- temporary horror fi lms from three former Soviet republics: Belarus, Russia and Ukraine. These observations are meant to chart the recent (2000-onwards) de- velopment of horror as a genre of mainstream cinema, and what cultural, social and political forces shape its development. Horror fi lm is of particular interest to me because it is a popular genre known for a long and interesting history in American cinema. In addition, horror is one of transnational genres that infuse Hollywood formula with particularities of national cinematic traditions (most no- table example is East Asian horror cinema, namely “J-horror,” Japanese horror). To understand the peculiarity of the newly emerged horror genre in the cinemas of East Slavic countries, I propose two venues of exploration, or two perspectives. The fi rst one could be called the global perspective: horror fi lm, as it exists today in post-Soviet space, is profoundly infl uenced by Hollywood. Domestic produc- tions compete with American fi lms at the box offi ce and strive to emulate genre structures of Hollywood to attract viewers, whose tastes are largely shaped by American fi lms. This is especially true for horror, which has almost no reference point in national cinematic traditions in question. The second vantage point is local: the local specifi city of these horror narratives, how the fi lms refl ect their own cultural condition, shaped by today’s globalized cinema market, Hollywood hegemony and local sensibilities of distinct cinematic and pop-culture traditions.
    [Show full text]
  • The Final Girl Grown Up: Representations of Women in Horror Films from 1978-2016
    Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2017 The inF al Girl Grown Up: Representations of Women in Horror Films from 1978-2016 Lauren Cupp Scripps College Recommended Citation Cupp, Lauren, "The inF al Girl Grown Up: Representations of Women in Horror Films from 1978-2016" (2017). Scripps Senior Theses. 958. http://scholarship.claremont.edu/scripps_theses/958 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. THE FINAL GIRL GROWN UP: REPRESENTATIONS OF WOMEN IN HORROR FILMS FROM 1978-2016 by LAUREN J. CUPP SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS PROFESSOR TRAN PROFESSOR MACKO DECEMBER 9, 2016 Cupp 2 I was a highly sensitive kid growing up. I was terrified of any horror movie I saw in the video store, I refused to dress up as anything but a Disney princess for Halloween, and to this day I hate haunted houses. I never took an interest in horror until I took a class abroad in London about horror films, and what peaked my interest is that horror is much more than a few cheap jump scares in a ghost movie. Horror films serve as an exploration into our deepest physical and psychological fears and boundaries, not only on a personal level, but also within our culture. Of course cultures shift focus depending on the decade, and horror films in the United States in particular reflect this change, whether the monsters were ghosts, vampires, zombies, or aliens.
    [Show full text]
  • University of Southampton Research Repository Eprints Soton
    University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Film Studies Hong Kong Cinema Since 1997: The Response of Filmmakers Following the Political Handover from Britain to the People’s Republic of China by Sherry Xiaorui Xu Thesis for the degree of Doctor of Philosophy December 2012 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES Film Studies Doctor of Philosophy HONG KONG CINEMA SINCE 1997: THE RESPONSE OF FILMMAKERS FOLLOWING THE POLITICAL HANDOVER FROM BRITAIN TO THE PEOPLE’S REPUBLIC OF CHINA by Sherry Xiaorui Xu This thesis was instigated through a consideration of the views held by many film scholars who predicted that the political handover that took place on the July 1 1997, whereby Hong Kong was returned to the sovereignty of the People’s Republic of China (PRC) from British colonial rule, would result in the “end” of Hong Kong cinema.
    [Show full text]
  • Iywm Schedule
    GUEST/PRESENTER BIOGRAPHIES PANELS AND EVENTS Amy Acosta is an acquisition and production editor at Entangled Publishing. She is interested in diversity-rich YA, NA, and Adult fiction in the genres of Contemporary Romance, Historical (Regency/Victorian), Fantasy, and Science Fiction. One of her main goals is to help LGBTQIA+ and POC voices become mainstream and bring diversity into the publishing world. Amy lives in Puerto Rico with three very bossy rescue cats, and she ardently believes that love has no boundaries, that representation matters, and that spaceships are very cool. Find her on Twitter @AmarilysWrites Editor/pitches Linda D. Addison is an award-winning author of five collections, including How To Recognize A Demon Has Become Your Friend, and the first African- American recipient of the HWA Bram Stoker Award®. She is a recipient of the HWA Lifetime Achievement Award, HWA Mentor of the Year and SFPA Grand Master. Addison has published over 360 poems, stories and articles and is a member of CITH, HWA, SFWA and SFPA. She is a co-editor of Sycorax’s Daughters, an anthology of horror fiction/poetry by African-American women. Catch her work in Black Panther: Tales of Wakanda, The Magazine of Fantasy & Science Fiction (May/June), Weird Tales Magazine #364 and Don’t Turn Out the Lights. Women Writing Dark Fantasy and Horror 7/10 6PM, Carla E. Anderton is Editor-in-Chief of Mon Valley Vistas, an online publication that covers the arts, entertainment, education, lifestyle, health and wellness, and other areas of interest in the Mon Valley and surrounding areas, with a particular focus on people of color, people with disabilities, and members of the LGBTQ+ community.
    [Show full text]