Super ACRONYM 2 - Round 6
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Excesss Karaoke Master by Artist
XS Master by ARTIST Artist Song Title Artist Song Title (hed) Planet Earth Bartender TOOTIMETOOTIMETOOTIM ? & The Mysterians 96 Tears E 10 Years Beautiful UGH! Wasteland 1999 Man United Squad Lift It High (All About 10,000 Maniacs Candy Everybody Wants Belief) More Than This 2 Chainz Bigger Than You (feat. Drake & Quavo) [clean] Trouble Me I'm Different 100 Proof Aged In Soul Somebody's Been Sleeping I'm Different (explicit) 10cc Donna 2 Chainz & Chris Brown Countdown Dreadlock Holiday 2 Chainz & Kendrick Fuckin' Problems I'm Mandy Fly Me Lamar I'm Not In Love 2 Chainz & Pharrell Feds Watching (explicit) Rubber Bullets 2 Chainz feat Drake No Lie (explicit) Things We Do For Love, 2 Chainz feat Kanye West Birthday Song (explicit) The 2 Evisa Oh La La La Wall Street Shuffle 2 Live Crew Do Wah Diddy Diddy 112 Dance With Me Me So Horny It's Over Now We Want Some Pussy Peaches & Cream 2 Pac California Love U Already Know Changes 112 feat Mase Puff Daddy Only You & Notorious B.I.G. Dear Mama 12 Gauge Dunkie Butt I Get Around 12 Stones We Are One Thugz Mansion 1910 Fruitgum Co. Simon Says Until The End Of Time 1975, The Chocolate 2 Pistols & Ray J You Know Me City, The 2 Pistols & T-Pain & Tay She Got It Dizm Girls (clean) 2 Unlimited No Limits If You're Too Shy (Let Me Know) 20 Fingers Short Dick Man If You're Too Shy (Let Me 21 Savage & Offset &Metro Ghostface Killers Know) Boomin & Travis Scott It's Not Living (If It's Not 21st Century Girls 21st Century Girls With You 2am Club Too Fucked Up To Call It's Not Living (If It's Not 2AM Club Not -
© Film Education TEACHERS' NOTES This Study Guide Is Aimed At
TEACHERS’ NOTES This study guide is aimed at students of GCSE Media Studies, A’Level Media Studies, ALevel Film Studies and GNVQ Media: Communication and Production (Intermediate and Advanced). The guide looks at Alfred Hitchcock as a director and producer; narrative structure; characterisation; the use of music, motits and irony; promotion of the film and problems of censorship. Psycho: Certificate 15. Running Time 109 minutes. MAJOR CREDITS FOR PSYCHO Psycho 1960 (Paramount) Producer: Alfred Hitchcock Director: Alfred Hitchcock Screenplay: Joseph Stefano L)irector of Photography: John L. Russell Editor: George Tomasini Music: Bernard Herrmann Art Directors: Joseph Hurley Robert Clatworthy Cast: Anthony Perkins Janet Leigh Vera Miles John Gavin Martin Balsam John Meintire Oscar Nominations 1960: Best Director Best Supporting Actress (Janet Leigh) Best B/W Cinematography Best B/W Art Direction © Film Education 1 INTRODUCTION BY DEREK MALCOLM Many filmmakers would say that there’s no such thing as a movie capable of shaking the world. But some still attempt to make them. Those who succeed are rare, and the strange thing is that even the lucky ones don’t appear to know they are doing it at the time. In fact, it sometimes takes years to realise what really is a great film or what may have looked wonderful at the time but was just a momentary flourish. Most of the films on this particular list didn’t so much shake the world as become memorable because, when you look back on them, they seem so much better than we may have thought at the time. But memories are short and the opportunity to see the full flowering of cinema history is denied to all but a few. -
^^>Edean (^Fz.Hool (SA) 2008 ./J Ot Fare Well, Ut Fare Forward
^^>edean (^fz.hool (SA) 2008 ./J ot fare well, ut fare forward, voyagers.' T.S. Eliot: Four Quartets ROEDEAN SCHOOL (SA) GUIDING PRINCIPLES Values Truth, Honour, Courtesy, Freedom Academic Excellence Achieve the highest academic standards Develop and sustain an excellen t work ethic Monastic School Provide the optimum, all-girl environment in which the potential to bec ome a successful, independent young woman is nurtured Christian School A school which is based on Christian principles and beliefs and which obs erves the Anglican faith Progressive Curriculum Develop an individual independence of thought that enables pupils to make sound judgements and face challenges Develop an ethos of community-service and partnership integrated into the curriculum Counsel, guide, and nurture each girl, caring for her emotion al well-being Provide abundant opportunities to express creative talejvt. across the curriculum, including art, drama, and music Successfully South African Develop pupils to become leading women in touch with the broader issues and community in both a South African and global context Sustain our div erse and integrated cultural community Link the traditions of Roedea n's past with the cha I lenges of the future Teachers Develop and sustain a complement of remarkable teachers Strive to creat e opportunities for the development of leadership, fostering a climate of empowerment and participation Sport Provide opportunities for full participation for all Eguip pupils with the sk ills to enhance their achievements Ensure that the guality of coaching and fa cilities is of the highest calibre Facilities Treasure the heritage of the school buildings, set in serene grounds and b eautiful gardens Continue to build world-class facilities linked to the pr ogressive curriculum School Community To foster a sense of community spirit, interdependence, and respect tha t serves as a model for and has impact upon the wider community PI IRLISHED BY HOT TOMATO COMMUNICATIONS: www.hottomato.co .za 1 If you have a garden and a library, you have everything you need. -
Distribution Agreement in Presenting This Thesis As A
Distribution Agreement In presenting this thesis as a partial fulfillment of the requirements for a degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis in whole or in part in all forms of media, now or hereafter now, including display on the World Wide Web. I understand that I may select some access restrictions as part of the online submission of this thesis. I retain all ownership rights to the copyright of the thesis. I also retain the right to use in future works (such as articles or books) all or part of this thesis. Maron Tate March 6, 2019 Maternity and the Aging Female Body in Postmodern Hollywood Horror Film by Maron Tate Michele Schreiber Adviser Media Studies Michele Schreiber Adviser Tanine Allison Committee Member Amy Aidman Committee Member Joseph Skibell Committee Member 2019 Maternity and the Aging Female Body in Postmodern Hollywood Horror Film By Maron Tate Michele Schreiber Adviser An abstract of a thesis submitted to the Faculty of Emory College of Arts and Sciences of Emory University in partial fulfillment of the requirements of the degree of Bachelor of Arts with Honors Media Studies 2019 Abstract Maternity and the Aging Female Body in Postmodern Hollywood Horror Film By Maron Tate Beginning in the 1960s and progressing rapidly with the closure of the classical period in 1968, Hollywood departed from the supernatural “thing” theme of the horror genre and became fascinated with the familiar, and specifically, the familial. An era of maternity-coded films emerged, specifically with the debut of Psycho (1960), progressing to where Hollywood horror cinema stands now: a conglomeration of remakes, reinventions, and revisitations to recognizable themes entrenched in white (and often female) victimhood, paranormal visits, inexplicably violent strangers, and disease. -
Activity Worksheets LEVEL 3 Teacher Support Programme
PENGUIN READERS Activity worksheets LEVEL 3 Teacher Support Programme Psycho Photocopiable While reading a ‘I’m sorry I wasn’t in the office.’ Chapters 1–3 ……………………………………………… 1 Answer these questions about Marion Crane. b ‘What an amusing young man.’ a How old is she? ……………………………………………… ……………………………………………… c ‘You can’t bring strange young girls up to this b What kind of work does she do? house.’ ……………………………………………… ……………………………………………… c Is she married? d ‘I made trouble for you. I’m sorry.’ ……………………………………………… ……………………………………………… d Is she a happy woman? Why? / Why not? e ‘A boy’s best friend is his mother.’ ……………………………………………… ……………………………………………… e Does she have any brothers or sisters? f ‘If you love someone, you don’t leave them.’ ……………………………………………… ……………………………………………… 2 Complete the sentences with the names from g ‘I made a bad mistake.’ the box. ……………………………………………… 5 Choose the right answer. Tommy Cassidy Marion Crane a Why does Marion stop at the motel? … Sam Loomis Mr Lowery the policeman 1 Because she doesn’t want to see the a ………………… wants to marry her policeman again. boyfriend. 2 Because she is tired and hungry. b ………………… needs $11,000 to pay his 3 Because she wants to call Sam. debts. b Why does Marion write the wrong name in c ………………… is late to work after lunch the visitor’s book? … but her boss is having lunch with a customer. 1 Because she and Sam meet secretly. d ………………… is an unpleasant man with 2 Because she always does. lots of money. 3 Because she doesn’t want the police to find e ………………… leaves work with $40,000. her. f ………………… sees Marion Crane in her c Where does Marion hide the money? … car at some traffic lights. -
The Horror Within the Genre
Alfred Hitchcock shocked the world with his film Psycho (Alfred Hitchcock, 1960), once he killed off Marion Crane (Janet Leigh) half way through the film. Her sister, Lila Crane (Vera Miles), would remain untouched even after Norman Bates (Anthony Perkins) attacked her and her sisters lover. Unlike her sister, Lila did not partake in premarital sex, and unlike her sister, she survived the film. Almost 20 years later audiences saw a very similar fate play out in Halloween (John Carpenter, 1978). Laurie Strode (Jamie Lee Curtis) managed to outlive her three friends on Halloween night. Once she slashed her way through Michael Myers (Nick Castle), Laurie would remain the lone survivor just as she was the lone virgin. Both Lila and Laurie have a common thread: they are both conventionally beautiful, smart virgins, that are capable of taking down their tormentors. Both of these women also survived a male murder and did so by fighting back. Not isolated to their specific films, these women transcend their characters to represent more than just Lila Crane or Laurie Strode—but the idea of a final girl, establishing a trope within the genre. More importantly, final girls like Crane and Strode identified key characteristics that contemporary audiences wanted out of women including appearance, morality, sexual prowess, and even femininity. While their films are dark and bloodstained, these women are good and pure, at least until the gruesome third act fight. The final girl is the constant within the slasher genre, since its beginning with films like Psycho and Peeping Tom (Michael Powell, 1960). -
FROM BATES to BUSH the NEW SLASHER FILM By
FROM BATES TO BUSH THE NEW SLASHER FILM By JAMES FENIMORE COOPER II Bachelor of Arts in Film Studies University of Oklahoma Norman, Oklahoma 2007 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of MASTER OFARTS July, 2011 FROM BATES TO BUSH THE NEW SLASHER FILM Thesis Approved: Dr. Stacy Takacs - Thesis Adviser Dr. Jeffrey Walker Dr. John Kinder Dr. Mark E. Payton - Dean of the Graduate College ACKNOWLEDGMENTS Firstly, I am forever in the debt of Drs. Stacy Takacs, John Kinder, and Jeffrey Walker for their willingness to read through multiple drafts of a project on murder and mayhem. I owe a special “Thank You” to Dr. Takacs for being such a helpful guide in what seemed the darkest of hours; her advice, understanding, and counsel proved much too invaluable when the burdens of coursework, teaching, research, and writing weighed on me the most and anxiety loomed the largest. This essay owes much to her stewardship and to our conversations on film and culture. Moreover, I’d like to sincerely thank the following people for their varying influence on this project: Dr. Brian Price, for introducing me to Richard Rorty, for being such a thoughtful and patient man, and for convincing me to study at OSU; Dr. Carol Mason, for guiding me through the wonderful world of Michel Foucault and for making me feel like I had the whole world ahead of me; Dr. Ron Brooks, for teaching me how to teach and for his passion for students; Dr. -
Theories and Methods in Japanese Studies: Current State and Future Developments
Hans Dieter Ölschleger (ed.) Theories and Methods in Japanese Studies: Current State and Future Developments Papers in Honor of Josef Kreiner V&R unipress Bonn University Press Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.des abrufbar. ISBN 978-3-89971-355-8 Veröffentlichungen der Bonn University Press erscheinen im Verlag V&R unipress GmbH. © 2008, V&R unipress in Göttingen / www.vr-unipress.de Alle Rechte vorbehalten. Das Werk und seine Teile sind urheberrechtlich geschützt. Jede Verwertung in anderen als den gesetzlich zugelassenen Fällen bedarf der vorherigen schriftlichen Einwilligung des Verlages. Hinweis zu § 52a UrhG: Weder das Werk noch seine Teile dürfen ohne vorherige schriftliche Einwilligung des Verlages öffentlich zugänglich gemacht werden. Dies gilt auch bei einer entsprechenden Nutzung für Lehr- und Unterrichtszwecke. Printed in Germany. Gedruckt auf alterungsbeständigem Papier. Table of Contents PREFACE...........................................................................................................7 Ronald DORE Japan – Sixty Years of Modernization? .........................................................11 KUWAYAMA Takami Japanese Anthropology and Folklore Studies................................................25 ITŌ Abito The Distinctiveness and Marginality of Japanese Culture.............................43 FUKUTA AJIO -
Psychose D'hitchcock
Psychose d'Hitchcock Le film Hitchcock sort actuellement sur les écrans. C'est l'occasion de revoir Psycho : rarement film fut aussi achevé dans sa structure et riche dans sa thématique. Il suffit, pour s’en persuader, d’interroger ce chef-d’oeuvre à travers le réseau interactif qui relie mise en images, décor, musique, personnages et dialogues. Analyse du film d'Alfred Hitchcock, Psycho/Psychose (USA, 1960), par Henri Philibert- Caillat. La licence de ce document figure en bas du texte. 1. Analyse Le propre de tout chef-d’œuvre artistique est, dit-on, de proposer de multiples significations et d’influencer les créateurs à venir par son aspect novateur. Pour ce qui ©http://libresavoir.org/index.php?title=Psychose_d’27Hitchcock Page 1 sur 26 est du cinéma moderne, on pourrait dire, paraphrasant une phrase célèbre, qu’au début il y eut Citizen Kane (1941) d’Orson Welles ; puis vint Psycho (1960) de Hitchcock, l’un des films fondateurs du cinéma moderne, qui marque encore les mémoires des cinéphiles et inspire toujours les réalisateurs et les critiques plus de quarante années après sa sortie sur les écrans. Qu’il s’agisse des thèmes, de l’atmosphère, du décor ou de la réalisation, citons, entre autres auteurs influencés, Claude Chabrol (1968 : La Femme infidèle [1] et 1969 : Le Boucher [2]), Dario Argento (1970 : L’Oiseau au plumage de cristal), Brian de palma (1980 : Pulsions ), David Lynch (1986 : Blue velvet [3]), David Cronenberg (1988 : Faux-semblants), M. Mann (1986 : Manhunter), J. Demme (1991 : Le silence des agneaux), David Fincher (1995 : Seven [4]) voire, plus récemment, Dominik Moll (2000 : Harry, un ami qui vous veut du bien), A. -
Alfred Hitchcock's Psycho
UNIVERSIDADE DA CORUÑA FACULTADE DE FILOLOXÍA INGLESA GRAO EN INGLÉS: ESTUDOS LINGÜÍSTICOS E LITERARIOS Alfred Hitchcock’s Psycho: A Gender Studies Perspective Student: Carlota Ares Carrero Advisor: Carolina Núñez Puente Year 2017 Table of Contents Abstract………………………………………..……………………..…….….….......…3 Introduction………….………………………….…….…………………..……..…....…4 1. Understanding Alfred Hitchcock and his Psycho........................................................7 1.1. Hitchcock, the biographical drama film………………...…………..….....……8 1.2. Alfred Hitchcock’s relationships with women………….……….…….....…...12 1.3. Hitchcock in interviews and film studies……………………..………......…..15 2. Hitchcock’s Psycho………………...…………….………………….…..…...……..17 2.1. Gendered characters……………………………………………….………….18 2.2. Gendered themes…………………………………………….…….…..….......25 2.3. Form and gender……………………………………………...…….......……..29 Conclusion……………………………………….…………………………………......35 Works Cited………………………………….…………………………………....……37 Appendix ………………………………………..……………………………....….….40 2 Abstract This undergraduate thesis pursues a gender study of the renowned Alfred Hitchcock’s film Psycho (1960), the masterpiece of his filmography. The personality of the director will also be analyzed due to his turbulent relationships, especially with actresses, which highly affected his way of working. To pursue this objective, Laura Mulvey’s theory about the male gaze will be used, together with other theories from Gender Studies (e.g. Tania Modleski’s and Camille Paglia’s), as will be the biography of the director written by François Truffaut. After presenting a general overview of Hitchcock’s world, I will explore his methods of working, paying attention to the production of Psycho and to the film itself in relation to gender issues over the course of the different sections of the dissertation. The object of this analysis is not to discredit Alfred Hitchcock’s prestige, since his work is exceptional, but instead to ascertain whether Psycho is indeed as misogynist as his filmmaker’s reputation. -
Psycho INDIANA UNIVERSITY PRESS FILMGUIDE SERIES Harry Geduld and Ronald Gottesman, General Editors Filmguide to Psycho
Filmguide. to Psycho INDIANA UNIVERSITY PRESS FILMGUIDE SERIES Harry Geduld and Ronald Gottesman, General Editors Filmguide to Psycho JAMES NAREMORE INDIANA UNIVERSITY PRESS Bloomington London Copyright© 1973 by Indiana University Press All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The Association of American University Presses Resolution on Permissions constitutes the only exception to this prohibition. Published in Canada by Fitzhenry & Whiteside Limited, Don Mills, Ontario Library of Congress catalog card number: 72-88636 ISBN: 0-253-39307-8 cl. 0-253-39308-6 pa. Manufactured in. the United States of America 2 3 4 5 6 80 79 78 77 76 For Jay, who likes horror movies I would like to thank Harry Geduld and Ron Gottesman for giving me this opportunity. My thanks also to Murray Sperber and Charles Eckert, who spent hours talking with me about Psycho. J,N, contents 1 Credits 3 2 Outline 5 3 Aesthetics of Repression 9 4 The Production 19 5 Analysis 25 6 Summary Critique 72 A Hitchcock Filmography 81 Selected Bibliography 83 Rental Sources 87 vii -- Filmguide to Psycho ---- 1 . credits PSYCHO Paramount Pictures, 1960 Producer: Alfred Hitchcock Direction Alfred Hitchcock Screenplay Joseph Stephano, from the novel by Robert Bloch Photography John L. Russell, A.s.c. Special EfJects Clarence Champagne Art Direction Joseph Hurley, Robert Clatworthy Sets George Milo Music Bernard Herrmann Sound Engineering Waldon Watson, William Russell Title Design Saul Bass Editing George Tomasini Assistant Director Hilton Green Costumes Helen Colvig Time 109 minutes Filmed in Hollywood, partly on the lots of the old Universal Stu dios. -
Psycho Photocopiable
LEVEL 3 Activity worksheets Teacher Support Programme Psycho Photocopiable While reading a ‘I’m sorry I wasn’t in the office.’ EASYSTARTS Chapters 1–3 ……………………………………………… 1 Answer these questions about Marion Crane. b ‘What an amusing young man.’ a How old is she? ……………………………………………… ……………………………………………… c ‘You can’t bring strange young girls up to this LEVEL 2 b What kind of work does she do? house.’ ……………………………………………… ……………………………………………… c Is she married? d ‘I made trouble for you. I’m sorry.’ LEVEL 3 ……………………………………………… ……………………………………………… d Is she a happy woman? Why? / Why not? e ‘A boy’s best friend is his mother.’ ……………………………………………… ……………………………………………… LEVEL 4 e Does she have any brothers or sisters? f ‘If you love someone, you don’t leave them.’ ……………………………………………… ……………………………………………… ‘I made a bad mistake.’ 2 Complete the sentences with the names from g LEVEL 5 ……………………………………………… the box. 5 Choose the right answer. Tommy Cassidy Marion Crane a Why does Marion stop at the motel? … Sam Loomis Mr Lowery the policeman LEVEL 6 1 Because she doesn’t want to see the a ………………… wants to marry her policeman again. boyfriend. 2 Because she is tired and hungry. b ………………… needs $11,000 to pay his 3 Because she wants to call Sam. debts. b Why does Marion write the wrong name in c ………………… is late to work after lunch the visitor’s book? … but her boss is having lunch with a customer. 1 Because she and Sam meet secretly. d ………………… is an unpleasant man with 2 Because she always does. lots of money. 3 Because she doesn’t want the police to e ………………… leaves work with $40,000.