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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). -
Un Secolo Di Cinema Firmato Bava – 2003
UN SECOLO DI CINEMA FIRMATO BAVA di Renato Venturelli La leggenda dei Bava, al cinema, dura ormai da quasi un secolo. Di padre in figlio, di figlio in nipote, è già arrivata alla quarta generazione: prima Eugenio (Francesco) Bava, eccentrica figura di inventore e mago degli effetti speciali fin dagli anni della Belle Epoque poi Mario, geniale direttore della fotografia e regista, oggetto di culto in tutto il mondo; quindi Lamberto, che cominciò lavorando al fianco del padre negli anni Sessanta diventando poi autore cinematografico e televisivo. E adesso Roy, che ha iniziato da qualche anno la sua carriera. Tutto era cominciato all’inizio del Novecento, quando nonno Eugenio (1886-1966) ricevette il primo incarico da parte del cinema: la costruzione di un caminetto per un film Pathé. All’epoca, aveva appena compiuto vent’anni, essendo nato a Sanremo nel 1886, e secondo il figlio Mario era il prototipo dell’artista bohémien. «Cravatta e fiocco rivoluzionario, basco alla Raffaello) era un artista - disse in un famoso intervento del 1976- era pittore, scultore,fotografo, chimico, elettricista, medium, inventore; perse anni a studiare il moto perpetuo. Verso il 1908 per una succosa storia, purtroppo troppo lunga da raccontare, conobbe il cinema. Si “incimiciò”, dette un calcio al passato, e si gettò a capofitto nella Nuova Arte, diventando operatore: all’epoca non si diceva direttore della fotografia.. «E non si chiamava nemmeno Eugenio — aggiunge Lamberto— ma Francesco: è il nome scritto anche sulla sua tomba». Negli anni Dieci, il capostipite dei Bava lavorò nella sua città, fondando anche la “San Remo Film”, poi passò all’Ambrosio di Torino, quindi si stabilì a Roma, responsabile del Reparto Animazione e Trucchi dell’istituto Luce, escogitando trucchi ed effetti speciali fin quasi alla morte, avvenuta nel 1966,quando aveva ottant’anni. -
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. -
Alfred Hitchcock Kao Redatelj I Kao Filmska Referenca
Alfred Hitchcock kao redatelj i kao filmska referenca Kaselj, Marko Master's thesis / Diplomski rad 2018 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: Josip Juraj Strossmayer University of Osijek, Academy of Arts and Culture in Osijek / Sveučilište Josipa Jurja Strossmayera u Osijeku, Akademija za umjetnost i kulturu u Osijeku Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:251:371417 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-09-26 Repository / Repozitorij: Repository of the Academy of Arts and Culture in Osijek SVEUČILIŠTE JOSIPA JURJA STROSSMAYERA U OSIJEKU AKADEMIJA ZA UMJETNOST I KULTURU DIPLOMSKI RAD Osijek, lipanj 2018. Marko Kaselj SVEUČILIŠTE JOSIPA JURJA STROSSMAYERA U OSIJEKU AKADEMIJA ZA UMJETNOST I KULTURU DIPLOMSKI RAD ALFRED HITCHCOCK KAO REDATELJ I KAO FILMSKA REFERENCA Marko Kaselj Osijek, lipanj 2018. ____________________ SVEUČILIŠTE JOSIPA JURJA STROSSMAYERA U OSIJEKU AKADEMIJA ZA UMJETNOST I KULTURU TEMA: Alfred Hitchcock kao redatelj i kao filmska referenca PRISTUPNIK: Marko Kaselj TEKST ZADATKA: Tema ovog rada jest prikaz karijere velikog britanskog filmskog redatelja Alfreda Hitchcocka te svih redatelja filmskog medija na koje je on svojim tehnikama i motivima utjecao. Osijek, lipanj 2018. Mentor: Predsjednik Odbora za završne i diplomske ispit Doc. dr. sc. Vladimir Rismondo Izv. prof. dr. sc. Ivo Džinić _______________________________ _______________________________ AKADEMIJA ZA UMJETNOST I KULTURU DIPLOMSKI RAD Znanstveno područje: Humanističke znanosti Znanstveno polje: Interdisciplinarne humanističke znanosti Znanstvena grana: - Prilog: Izrađeno: Primljeno: Mj: Broj priloga: Mentor: Doc. dr. sc. Vladimir Rismondo Pristupnik: Marko Kaselj Sažetak Ovaj rad, pod naslovom Alfred Hitchcock kao redatelj i kao filmska referenca, opisuje redateljsku karijeru slavnog britanskog filmskog režisera Alfreda Hitchcocka te prikazuje ogroman utjecaj koji je spomenuti redatelj imao na cjelokupnu filmsku industriju. -
Genre, Gender, Giallo: the Disturbed Dreams of Dario Argento
GENRE, GENDER, GIALLO: THE DISTURBED DREAMS OF DARIO ARGENTO COLETTE JANE BALMAIN A thesis submitted in partial fulfilment of the requirements of the University of Greenwich For the Degree of Doctor of Philosophy JANUARY 2004 ACKNOWLEDGEMENTS This thesis is dedicated to my parents, Oavid Balmain, and Peggy Balmain, and my sister, Louise Balmain, without whose emotional and financial support and belief in me, it would not have been possible. I am extremely grateful to a wide number of people who have supported, encouraged and enabled me to produce this work. My special thanks go to my supervisor, Carolyn Brown, for her time and effort and unstinting encouragement during the process of writing. I also thank my ex-colleagues at Greenwich University who all contributed in some way to the intellectual space of this thesis - in particular: Oavid Pattie; John Williams; Oenise Leggett; Peter Humm; Susan Rowlands and Ann Cormack. I am also particularly grateful to Ann Battison and Mavis lames for helping me negotiate the administrative backdrop to the final production of this thesis. My colleagues at Buckinghamshire Chilterns University College have also played a part in enabling me to complete - Ruth Gunstone; Lois Orawmer; Alison Tedman; John Mercer and Andy Butler in particular. Also thanks to Lorna Scott for her help with proofreading and printing. Finally special thanks must go to my examiners: Professor Sue Golding (Greenwich University); Or Simon O'Sullivan (Goldsmith's College, University of London) and Or Jenny Bavidge (University of Greenwich). Or Colette Balmain January 2004 - Ill - ABSTRACT This thesis presents an examination of the giallo films of Dario Argento from his directorial debut The Bird with the Crystal Plumage (1970) to The Stendhal Syndrome ( 1996). -
Video Nasties’: Economics, Marketing
RETHINKING THE ‘VIDEO NASTIES’: ECONOMICS, MARKETING, AND DISTRIBUTION MARK MCKENNA A thesis submitted in partial fulfilment of the requirements of the University of Sunderland for the degree of Doctor of Philosophy October 2017 February 2017 2 CONTENTS ABBREVIATIONS _________________________________________________________ 4 LIST OF ILLUSTRATIONS __________________________________________________ 5 ACKNOWLEDGEMENTS ___________________________________________________ 6 ABSTRACT _______________________________________________________________ 9 INTRODUCTION: A VERY ‘NASTY BUSINESS’ _____________________________ 10 PART ONE: RATIONALE AND CONTEXT __________________________________ 16 1 HISTORICAL OVERVIEW: INTRODUCTION ___________________________ 17 1.1 The Established History of the Campaign _________________________________ 17 1.2 Complicating the Established Narrative __________________________________ 27 2. LITERATURE REVIEW _______________________________________________ 37 3. METHODOLOGICAL APPROACHES: INTRODUCTION _________________ 51 3.1 The New Film History ________________________________________________ 52 3.2 Production Studies ___________________________________________________ 54 3.3 Beyond the Text_____________________________________________________ 56 3.4 The Old Film History ________________________________________________ 57 3.5 Summation _________________________________________________________ 58 4. TECHNOLOGY AND POWER _________________________________________ 63 4.1 Introduction ________________________________________________________ -
Alfred Hitchcock Kao Redatelj I Kao Filmska Referenca
Alfred Hitchcock kao redatelj i kao filmska referenca Kaselj, Marko Master's thesis / Diplomski rad 2018 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: Josip Juraj Strossmayer University of Osijek, Academy of Arts and Culture in Osijek / Sveučilište Josipa Jurja Strossmayera u Osijeku, Akademija za umjetnost i kulturu u Osijeku Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:251:371417 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-10-05 Repository / Repozitorij: Repository of the Academy of Arts and Culture in Osijek SVEUČILIŠTE JOSIPA JURJA STROSSMAYERA U OSIJEKU AKADEMIJA ZA UMJETNOST I KULTURU DIPLOMSKI RAD Osijek, lipanj 2018. Marko Kaselj SVEUČILIŠTE JOSIPA JURJA STROSSMAYERA U OSIJEKU AKADEMIJA ZA UMJETNOST I KULTURU DIPLOMSKI RAD ALFRED HITCHCOCK KAO REDATELJ I KAO FILMSKA REFERENCA Marko Kaselj Osijek, lipanj 2018. ____________________ SVEUČILIŠTE JOSIPA JURJA STROSSMAYERA U OSIJEKU AKADEMIJA ZA UMJETNOST I KULTURU TEMA: Alfred Hitchcock kao redatelj i kao filmska referenca PRISTUPNIK: Marko Kaselj TEKST ZADATKA: Tema ovog rada jest prikaz karijere velikog britanskog filmskog redatelja Alfreda Hitchcocka te svih redatelja filmskog medija na koje je on svojim tehnikama i motivima utjecao. Osijek, lipanj 2018. Mentor: Predsjednik Odbora za završne i diplomske ispit Doc. dr. sc. Vladimir Rismondo Izv. prof. dr. sc. Ivo Džinić _______________________________ _______________________________ AKADEMIJA ZA UMJETNOST I KULTURU DIPLOMSKI RAD Znanstveno područje: Humanističke znanosti Znanstveno polje: Interdisciplinarne humanističke znanosti Znanstvena grana: - Prilog: Izrađeno: Primljeno: Mj: Broj priloga: Mentor: Doc. dr. sc. Vladimir Rismondo Pristupnik: Marko Kaselj Sažetak Ovaj rad, pod naslovom Alfred Hitchcock kao redatelj i kao filmska referenca, opisuje redateljsku karijeru slavnog britanskog filmskog režisera Alfreda Hitchcocka te prikazuje ogroman utjecaj koji je spomenuti redatelj imao na cjelokupnu filmsku industriju. -
Si Les Gants Noirs Portaient Des Pancartes... Le Giallo Face À La Politique
Belphégor Adrien Clerc Si les gants noirs portaient des pancartes... Le giallo face à la politique En juin 2009 Dario Argento a présenté au festival du film d’Édimbourg son nouveau film dont le titre, Giallo, faisait depuis de longs mois fantasmer ses admirateurs, qui spéculaient sur la nature du retour du réalisateur italien à ses premières amours. L’accueil, partagé, fut à la mesure de la volonté de l’auteur de revenir sur le passé proche de tout un pan du cinéma italien pour en offrir une dernière reprise. Le terme giallo a en effet une histoire importante, renvoyant à la fois à un genre littéraire et à son pendant cinématographique. Il provient d’une collection de romans policiers bon marché éditée par Mondadori, aux couvertures d’un jaune vif (giallo) contrastant avec l’encre noire des titres. Les auteurs majeurs des premiers titres étaient Edgar Wallace et Agatha Christie, dont les whodunit furent le modèle pour une foule de romans s’ingéniant à reproduire des intrigues complexes tournant autour de scènes de meurtres inexpliqués et de la figure du tueur mystérieux, dont il s’agit de découvrir l’identité avant que le narrateur-enquêteur ne le fasse. Le passage au cinéma du genre transforme le récit-type du giallo, introduisant des éléments visuels et thématiques directement issus de l’époque de création, du contexte de production (films à petits budget) et d’un jeu avec la censure encore fortement présente (la surenchère, en érotisme et en violence, en est une résultante directe). Entre 1969 et 1974, durant l’âge d’or du giallo au cinéma, plus d’une centaine de films sortent sur les écrans italiens (Needham 1), suivant de prés le raz-de-marée du western spaghetti des années précédentes. -
Eg Phd, Mphil, Dclinpsychol
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • 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 author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Deleuzean Hybridity in the Films of Leone and Argento Keith Hennessey Brown PhD Film Studies University of Edinburgh 2012 Acknowledgements I would first like to thank my supervisors, Professor Martine Beugnet, Dr Daniel Yacavone, and the late Professor John Orr. I would then like to thank my parents, Alex and Mary Brown; all my friends, but especially Li-hsin Hsu, John Neilson and Tracey Rosenberg; and my cats, Bebert and Lucia. Table of Contents Introduction ..................................................................................................... 5-20 Theory ............................................................................................................. 21-62 -
Gender, Genre and Sociocultural Change in the Giallo: 1970-1975
Mackenzie, Michael (2013) Gender, ge nre and sociocultural change in the giallo: 1970-1975. PhD http://theses.gla.ac.uk/4730/ Copyright and moral rights for this thesis are retained by the author 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 Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] Gender, Genre and Sociocultural Change in the Giallo: 1970-1975 Michael Mackenzie MA, MLitt Submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy Department of Theatre, Film and Television Studies School of Culture and Creative Arts University of Glasgow August 2013 2 Abstract This thesis examines representations of gender in the Italian giallo, a short-lived but tremendously popular, lucrative and prolific body of films in the murder-mystery thriller tradition that enjoyed their heyday in the early-to-mid 1970s. Traditionally, both academic and populist responses to these films have focused on the output of a small number of maverick directors that have been elevated critically above their peers. Conversely, this thesis aligns itself with a more recent trend towards eschewing auteurist readings in favour of examining the giallo as a broad ‘filone’ (cycle) defined by shared iconography, narrative conventions and underlying anxieties. -
Black Sunday Black Sunday Martyn Conterio Martyn Conterio DEVIL’S ADVOCATES Is a Series Devoted to Exploring the Classics of Horror Cinema
Devil’s Advocates Devil’s Advocates Devil’s Advocates Black Sunday Black Sunday Martyn Conterio Martyn Conterio DEVIL’S ADVOCATES is a series devoted to exploring the classics of horror cinema. Contributors to Devil’s Advocates come from the worlds of teaching, academia, journalism and fiction, but all have one thing in common: a passion for the horror film and for sharing that passion. Sunday Black Despite its reputation as one of the greatest and most influential of all horror films, there is surprisingly little written about Mario Bava’s Black Sunday (1960), and this Devil’s Advocates is the first single book dedicated to it. Martyn Conterio places the film in the historical context of being one of the first sound Italian horror films and how its success kick-started both the Italian horror boom and Bava’s directorial career. The author considers the particularly Italian perspective on the Gothic that the film pioneered and its fresh and pioneering approach to horror tropes such as the vampire and the witch, and considers how the casting of British ‘Scream Queen’ Barbara Steele was crucial to the film’s effectiveness and success. He also discusses the sometimes confusing history of a film known under many different titles which was first released in the UK in a censored version after a ban of several years. Martyn Conterio is a critic and editor specialising in horror cinema who contributes to Little White Lies, Grolsch Canvas, Total Film, Scene 360 amongst many other publications. Martyn Conterio Auteur Publishing www.auteur.co.uk ISBN 978-1-906733-83-4 DevilsAdvocatesbooks DevilsAdBooks ISBN: 978-1-906733-83-4 Cover photograph: © Galatea Film / Jolly Film 9 7 8 1 9 0 6 7 3 3 8 3 4 Devil’s Advocates DEVIL’S ADVOCATES is a series of books devoted to exploring the classics of horror cinema. -
World Horror Cinema and the US: Bringing It All Back Home
1 Media in Transition 2: Globalization and Convergence May 10-12, 2002 at MIT, Cambridge, Massachusetts, USA World Horror Cinema and the US: Bringing it all back home By Steven Jay Schneider Until fairly recently, analysis of the horror genre tended to concentrate on entries from the Western world, whether the American horror film, British examples such as Hammer Studios horror, or the Italian giallo tradition of Mario Bava and Dario Argento. Although this may appear to reflect Western prejudice (which, to a certain extent, it does) the main reason for this restricted focus has been difficulties accessing films from other parts of the globe, as well as the relative—though hardly total—lack of interest shown by several national cinemas in this genre until the last decade or so. Certainly, up to the mid-1960s it was possible for most critics and scholars to claim a knowledge of world horror cinema based upon the admittedly limited theatrical distribution of various examples in the art or popular entertainment fields (chief among these being George Franju’s Les Yeux sans viasage/Eyes Without a Face [France, 1959], Mario Bava’s La Maschera del demonio/Black Sunday [Italy, 1960], Michael Powell’s Peeping Tom [UK, 1960], Kaneto Shindo’s Onibaba [Japan, 1964], Roman Polanski’s Repulsion [UK, 1965], and of course Germany’s silent horror classics, Das Kabinett des Doktor Caligari/The Cabinet of Dr. Caligari [1920] and Nosferatu, eine Symphonie des Grauens/Nosferatu, a Symphony of Terror [1922]). Thus it was left to marginal publications such as Oriental Cinema, Video Watchdog, Fangoria, Cinefantastique, Asian Cult Cinema (formerly Asian Trash Cinema), and Necronomicon, along with developing video distributors and specialized mail-order houses like Midnight Video, Sinister Cinema, Something Weird Video, and Video Search of Miami to furnish and champion hard-to-come-by examples for those enthusiastic explorers seeking something different from what was then provided by the restricted distribution venues.