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The Terminator by John Wills
The Terminator By John Wills “The Terminator” is a cult time-travel story pitting hu- mans against machines. Authored and directed by James Cameron, the movie features Arnold Schwarzenegger, Linda Hamilton and Michael Biehn in leading roles. It launched Cameron as a major film di- rector, and, along with “Conan the Barbarian” (1982), established Schwarzenegger as a box office star. James Cameron directed his first movie “Xenogenesis” in 1978. A 12-minute long, $20,000 picture, “Xenogenesis” depicted a young man and woman trapped in a spaceship dominated by power- ful and hostile robots. It introduced what would be- come enduring Cameron themes: space exploration, machine sentience and epic scale. In the early 1980s, Cameron worked with Roger Corman on a number of film projects, assisting with special effects and the design of sets, before directing “Piranha II” (1981) as his debut feature. Cameron then turned to writing a science fiction movie script based around a cyborg from 2029AD travelling through time to con- Artwork from the cover of the film’s DVD release by MGM temporary Los Angeles to kill a waitress whose as Home Entertainment. The Library of Congress Collection. yet unborn son is destined to lead a resistance movement against a future cyborg army. With the input of friend Bill Wisher along with producer Gale weeks. However, critical reception hinted at longer- Anne Hurd (Hurd and Cameron had both worked for lasting appeal. “Variety” enthused over the picture: Roger Corman), Cameron finished a draft script in “a blazing, cinematic comic book, full of virtuoso May 1982. After some trouble finding industry back- moviemaking, terrific momentum, solid performances ers, Orion agreed to distribute the picture with and a compelling story.” Janet Maslin for the “New Hemdale Pictures financing it. -
Spectacle, Masculinity, and Music in Blaxploitation Cinema
Spectacle, Masculinity, and Music in Blaxploitation Cinema Author Howell, Amanda Published 2005 Journal Title Screening the Past Copyright Statement © The Author(s) 2005. The attached file is posted here with permission of the copyright owner for your personal use only. No further distribution permitted. Please refer to the journal's website for access to the definitive, published version. Downloaded from http://hdl.handle.net/10072/4130 Link to published version http://www.latrobe.edu.au/screeningthepast/ Griffith Research Online https://research-repository.griffith.edu.au Spectacle, masculinity, and music in blaxploitation cinema Spectacle, masculinity, and music in blaxploitation cinema Amanda Howell "Blaxploitation" was a brief cycle of action films made specifically for black audiences in both the mainstream and independent sectors of the U.S. film industry during the early 1970s. Offering overblown fantasies of black power and heroism filmed on the sites of race rebellions of the late 1960s, blaxploitation films were objects of fierce debate among social leaders and commentators for the image of blackness they projected, in both its aesthetic character and its social and political utility. After some time spent as the "bad object" of African-American cinema history,[1] critical and theoretical interest in blaxploitation resurfaced in the 1990s, in part due to the way that its images-- and sounds--recirculated in contemporary film and music cultures. Since the early 1990s, a new generation of African-American filmmakers has focused -
Riccardo Freda’S I Vampiri (1957) and the Birth of Italian Horror
Northumbria Research Link Citation: Guarneri, Michael (2017) The Gothic bet: Riccardo Freda’s I vampiri (1957) and the birth of Italian horror cinema from an industrial perspective. Palgrave Communications, 3 (1). p. 29. ISSN 2055-1045 Published by: Palgrave Macmillan URL: https://doi.org/10.1057/s41599-017-0030-3 <https://doi.org/10.1057/s41599-017- 0030-3> This version was downloaded from Northumbria Research Link: http://nrl.northumbria.ac.uk/id/eprint/32602/ Northumbria University has developed Northumbria Research Link (NRL) to enable users to access the University’s research output. Copyright © and moral rights for items on NRL are retained by the individual author(s) and/or other copyright owners. Single copies of full items can be reproduced, displayed or performed, and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided the authors, title and full bibliographic details are given, as well as a hyperlink and/or URL to the original metadata page. The content must not be changed in any way. Full items must not be sold commercially in any format or medium without formal permission of the copyright holder. The full policy is available online: http://nrl.northumbria.ac.uk/policies.html This document may differ from the final, published version of the research and has been made available online in accordance with publisher policies. To read and/or cite from the published version of the research, please visit the publisher’s website (a subscription may be required.) ARTICLE DOI: 10.1057/s41599-017-0030-3 OPEN The Gothic bet: Riccardo Freda’s I vampiri (1957) and the birth of Italian horror cinema from an industrial perspective Michael Guarneri1 ABSTRACT Scholars tend to agree on Riccardo Freda’s I vampiri (1957) being the first Italian horror film. -
Bamcinématek Presents Joe Dante at the Movies, 18 Days of 40 Genre-Busting Films, Aug 5—24
BAMcinématek presents Joe Dante at the Movies, 18 days of 40 genre-busting films, Aug 5—24 “One of the undisputed masters of modern genre cinema.” —Tom Huddleston, Time Out London Dante to appear in person at select screenings Aug 5—Aug 7 The Wall Street Journal is the title sponsor for BAMcinématek and BAM Rose Cinemas. Jul 18, 2016/Brooklyn, NY—From Friday, August 5, through Wednesday, August 24, BAMcinématek presents Joe Dante at the Movies, a sprawling collection of Dante’s essential film and television work along with offbeat favorites hand-picked by the director. Additionally, Dante will appear in person at the August 5 screening of Gremlins (1984), August 6 screening of Matinee (1990), and the August 7 free screening of rarely seen The Movie Orgy (1968). Original and unapologetically entertaining, the films of Joe Dante both celebrate and skewer American culture. Dante got his start working for Roger Corman, and an appreciation for unpretentious, low-budget ingenuity runs throughout his films. The series kicks off with the essential box-office sensation Gremlins (1984—Aug 5, 8 & 20), with Zach Galligan and Phoebe Cates. Billy (Galligan) finds out the hard way what happens when you feed a Mogwai after midnight and mini terrors take over his all-American town. Continuing the necessary viewing is the “uninhibited and uproarious monster bash,” (Michael Sragow, New Yorker) Gremlins 2: The New Batch (1990—Aug 6 & 20). Dante’s sequel to his commercial hit plays like a spoof of the original, with occasional bursts of horror and celebrity cameos. In The Howling (1981), a news anchor finds herself the target of a shape-shifting serial killer in Dante’s take on the werewolf genre. -
Piranha 3DD (Original Motion Picture Score) - Soundtrack Review
Piranha 3DD (Original Motion Picture Score) - Soundtrack review http://www.reviewgraveyard.com/00_revs/r2012/music/12-06-... Click here to return to the main site. SOUNDTRACK REVIEW Piranha 3DD (Original Motion Picture Score) Composer: Elia Cmiral Lakeshore Records RRP: £13.99 Available 19 June 2012 After the terror unleashed on Lake Victoria in Piranha 3D, the pre-historic school of bloodthirsty piranhas are back. This time, no one is safe from the flesh eating fish as they sink their razor sharp teeth into the visitors of summer’s best attraction, The Big Wet Water Park. Christopher Lloyd (Back to the Future) reprises his role as the eccentric piranha expert with survivor Paul Scheer and a partially devoured Ving Rhames back for more fish frenzy. David Hasselhoff trades in the sandy beaches of Baywatch to be a celebrity lifeguard at the racy water park... I openly admit that I wasn't expecting much from this score. I mean, come on, the last thing that a follow-up to a spoof monster flick is going to spend time on is its soundtrack. Was I ever wrong. Elia Cmiral has approached this project as a serious film (for the most part). His music stands up incredibly well and is wonderful as a stand alone project. While there's the odd bit of filler material, on the whole this album is full of great little moments and incredible themes. The album, which is made up of 18 tracks, lasts for 44 min, 12 sec. Personal favourite tracks include 'Return of the Piranhas'; 'Trident Aria' (which is a beautiful aria); 'Kiss of Life' (which starts off beautifully before transforming into a track that almost doesn't work. -
Introduction 1 the Good Mother
Notes Introduction 1. By ‘motherhood’ I am referring to the character of the mother and the practice of motherhood on screen. By the ‘maternal’ I am referring to the characteristics and symbolism which evoke motherhood. 2. This is not to suggest that the figure of the mother is entirely absent from pre-1960s cinema, rather that a range of socio-economic factors led to a development in the horror genre. For the purposes of clarity I wish to focus on post-Classical horror cinema. 3. This is not to suggest that no debates about motherhood existed prior to this, rather that discussions of the mother in film increased greatly after these years. 4. The woman’s film centres on a female protagonist, deals with specifically ‘female’ issues (such as motherhood or domesticity) and is aimed at a female audience. For Doane, the maternal melodrama is a sub-category of the woman’s film. While the maternal melodrama is more readily asso- ciated with films of the Classical Hollywood period, it remains a popular sub-genre of modern mainstream cinema. The maternal melodrama, as the name suggests, deals with the figure of the mother and the impact of motherhood on her life or that of the child. 5. This is not to suggest that discussion of the mother/maternal is limited to these genres, simply that they seem to have provoked the most interest. 6. For example, see Alien and the various studies by Creed, Bundtzen or Rosemary’s Baby as discussed by Fischer or Kuhn. 7. See Mulvey (2000); De Lauretis, Teresa, Alice Doesn’t: Feminism, Semiotics, Cinema, Bloomington: Indiana University Press, 1984. -
RICCARDO FREDA, UN MAESTRO DI CINEMA POPOLARE Riccardo Freda, Master of Popular Cinema
RICCARDO FREDA, UN MAESTRO DI CINEMA POPOLARE Riccardo Freda, Master of Popular Cinema Programma e note a cura di / Programme and notes curated by Emiliano Morreale 244 La grande stagione di Riccardo Freda comincia nell’imme- Riccardo Freda’s great period began immediately after the war diato dopoguerra, con i film d’avventura girati per la Lux di with the adventure films he made for Riccardo Gualino’s Lux Riccardo Gualino, e termina negli anni Sessanta inoltrati, and ended in the 1960s with Lo spettro. During that time the diciamo con Lo spettro. Anni in cui il regista si muove tra director worked on high-end productions and second-rate ones produzioni più ricche e altre di serie B, ma sempre secondo but always according to his creed of energy and speed. Film is un suo credo di energia e velocità. Il cinema è un’arte che si an art to be done in a hurry, as the director often said: “When fa in fretta: “Quando la lavorazione di un film dura troppo the production of a film takes too long, enthusiasm drags, and si perde d’entusiasmo, e il ritmo del film ne risente. L’ideale the film’s rhythm is affected by it. Ideally, you put a reel in the sarebbe di mettere la bobina nella macchina da presa, dare il camera, call action and never stop”. via all’azione, e non fermarsi più”. Averse to the quintessential Italian film genre, comedy, and a Lontano dal genere fondamentale del cinema italiano, sworn enemy of Neorealism, Freda always presented himself as la commedia, nemico giurato del neorealismo, Freda si è an ‘American-style’ director, a master of action movies, a creator sempre presentato come regista ‘all’americana’, maestro del of grand melodramas and even a pioneer of Italian horror film. -
The Thousand and One Days of Aristide (2018) by Stephen Thrower
ARROW VIDEO ARROW VIDEO 1 ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO 1 CONTENTS ARROW VIDEO ARROW VIDEO 5 Cast and Crew 7 The Thousand and One Days of Aristide (2018) by Stephen Thrower 21 The Angel Ends Where the Devil Begins: Shooting Death Smiles on a Murderer (2018) ARROW VIDEO ARROW VIDEO by Roberto Curti 31 An Interview with Romano Scandariato (1995) 42 About the Transfer ARROW VIDEO2 ARROW VIDEO 3 ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO CAST Ewa Aulin Greta von Holstein Klaus Kinski Dr. Sturges Angela Bo Eva von Ravensbrück Sergio Doria Walter von Ravensbrück Giacomo Rossi Stuart Dr. von Ravensbrück Luciano Rossi Franz, Greta’s brother Attilio Dottesio Inspector Dannick Marco Mariani Simeon, the butler ARROW VIDEO ARROW VIDEO CREW Directed by Aristide Massaccesi Story by Aristide Massaccesi Screenplay by A. Massaccesi, R. Scandariato and C. Bernabei Assistant Director Romano Scandariato Director of Photography Aristide Massaccesi Cameraman Guglielmo Vincioni Assistant Cameraman Gianlorenzo Battaglia ARROW VIDEO ARROW VIDEO Editors Piera Bruni and Gianfranco Simoncelli Musical Score by Berto Pisano Production Manager Oscar Santaniello (as Oskar Santaniello) Production Assistants Massimo Alberini and Sergio Rosa Sets and Costumes Claudio Bernabei Make-up Maria Grazia Nardi ARROW VIDEO4 ARROW VIDEO 5 ARROW VIDEO ARROW VIDEO ARROW VIDEO ARROW VIDEO THE THOUSAND AND ONE DAYS OF ARISTIDE by Stephen Thrower Aristide Massaccesi, better known by his most frequent pseudonym ‘Joe D’Amato’, was an astoundingly prolific filmmaker who shot nearly two hundred films across 26 years. He began directing in the early 1970s, just as censorship was being relaxed in the major film markets. -
Unseen Horrors: the Unmade Films of Hammer
Unseen Horrors: The Unmade Films of Hammer Thesis submitted by Kieran Foster In partial fulfilment of the requirements for the award of Doctor of Philosophy De Montfort University, March 2019 Abstract This doctoral thesis is an industrial study of Hammer Film Productions, focusing specifically on the period of 1955-2000, and foregrounding the company’s unmade projects as primary case studies throughout. It represents a significant academic intervention by being the first sustained industry study to primarily utilise unmade projects. The study uses these projects to examine the evolving production strategies of Hammer throughout this period, and to demonstrate the methodological benefits of utilising unmade case studies in production histories. Chapter 1 introduces the study, and sets out the scope, context and structure of the work. Chapter 2 reviews the relevant literature, considering unmade films relation to studies in adaptation, screenwriting, directing and producing, as well as existing works on Hammer Films. Chapter 3 begins the chronological study of Hammer, with the company attempting to capitalise on recent successes in the mid-1950s with three ambitious projects that ultimately failed to make it into production – Milton Subotsky’s Frankenstein, the would-be television series Tales of Frankenstein and Richard Matheson’s The Night Creatures. Chapter 4 examines Hammer’s attempt to revitalise one of its most reliable franchises – Dracula, in response to declining American interest in the company. Notably, with a project entitled Kali Devil Bride of Dracula. Chapter 5 examines the unmade project Nessie, and how it demonstrates Hammer’s shift in production strategy in the late 1970s, as it moved away from a reliance on American finance and towards a more internationalised, piece-meal approach to funding. -
American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE -
Riccardo Freda’S I Vampiri (1957) and the Birth of Italian Horror
Northumbria Research Link Citation: Guarneri, Michael (2017) The Gothic bet : Riccardo Freda’s I vampiri (1957) and the birth of Italian horror cinema from an industrial perspective. Palgrave Communications, 3 (1): 29. ISSN 2055- 1045 Published by: UNSPECIFIED URL: This version was downloaded from Northumbria Research Link: http://northumbria-test.eprints- hosting.org/id/eprint/50060/ Northumbria University has developed Northumbria Research Link (NRL) to enable users to access the University’s research output. Copyright © and moral rights for items on NRL are retained by the individual author(s) and/or other copyright owners. Single copies of full items can be reproduced, displayed or performed, and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided the authors, title and full bibliographic details are given, as well as a hyperlink and/or URL to the original metadata page. The content must not be changed in any way. Full items must not be sold commercially in any format or medium without formal permission of the copyright holder. The full policy is available online: http://nrl.northumbria.ac.uk/pol i cies.html This document may differ from the final, published version of the research and has been made available online in accordance with publisher policies. To read and/or cite from the published version of the research, please visit the publisher’s website (a subscription may be required.) ARTICLE DOI: 10.1057/s41599-017-0030-3 OPEN The Gothic bet: Riccardo Freda’s I vampiri (1957) and the birth of Italian horror cinema from an industrial perspective Michael Guarneri1 ABSTRACT Scholars tend to agree on Riccardo Freda’s I vampiri (1957) being the first Italian horror film. -
The Problem of Female Antagonisms in Blaxploitation Cinema Melissa
1 Who’s Got the “Reel” Power? The Problem of Female Antagonisms in Blaxploitation Cinema Melissa DeAnn Seifert, University of Wisconsin-Milwaukee Abstract: Between 1973 and 1975, films starring Pam Grier and Tamara Dobson such as Cleopatra Jones (Jack Starrett, 1973), Coffy (Jack Hill, 1973) and Foxy Brown (Hill, 1974) introduced leading black women into the predominantly male blaxploitation scene as aggressive action heroines. Within the cinematic spaces of blaxploitation films which featured women as active agents, a racial and sexual divide exists. These films positioned women either inside or outside of gender tolerability by utilising binary constructions of identity based on race, sex and elementary constructions of good and evil, black and white, straight and gay, and feminine and butch. Popular representations of lesbianism and sisterhood within blaxploitation cinema reflect a dominant social view of American lesbianism as white while straight women are consistently represented as black. However, these spaces also constricted black and white female identities by limiting sexuality and morality to racial boundaries. This article seeks to question the unique solitude of these female heroines and interrogate a patriarchal cinematic world where sisterhood is often prohibited and lesbianism demonised. I don’t believe in [women’s lib] for black people … we’re trying to free our black men … I like being a woman. I have been discriminated against, but not because I’m a woman. It’s because I am black … before [people] see me as being female, they see me as being black. The stigma that’s been placed on you because you’re black gives you enough kill to get you through the woman thing … it’s much tougher being black than being a woman.