DOCSLIB.ORG

Special Issue from the Team Behind Contents

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Special Issue from the Team Behind Contents SPECIAL ISSUE FROM THE TEAM BEHIND CONTENTS IN THIS ISSUE A LOOK BACK AT FROM BEYOND WITH CREATING BRUNDLEFLY: OSCAR- 03 BARBARA CRAMPTON 18 WINNING ARTIST CHRIS WALAS DISCUSSES HIS WORK ON DAVID CRONENBERG’S THE FLY STEPHEN KING’S MAXIMUM RESURRECTING A MONSTER: 12 OVERDRIVE: HIGHWAY TO HELL 22 WRITER/DIRECTOR TOM MCLOUGHLIN ON BRINGING JASON BACK TO LIFE FOR FRIDAY THE 13TH PART VI WILL THE REAL TOBE HOOPER PLEASE 15 STAND UP? DEADLYMAGAZINE.COM ISSUE #13 1 - JULY 2016 - Jonathan James Editor-in-Chief Heather Wixson Managing Editor Jordan Smith Creative Director Derek Anderson News Editor Patrick Bromley Kalyn Corrigan Scott Drebit Joseph Maddrey Scott Weinberg Contributing Writers James Scott Copy Editor DEADLY Horror & Sci-Fi Magazine #13 © 2016 DEADLY Horror & Sci-Fi Magazine All rights reserved. DEADLY Horror & Sci-Fi Magazine does not read or accept unsolicited ideas, stories, or artwork. 2 DEADLYMAGAZINE.COM ISSUE #13 A LOOK BACK AT FROM BEYOND WITH BARBARA CRAMPTON by Scott Weinberg When you think of fi lms based on H.P. Lovecraft’s mid-1980s horror fame. Horror scholars will horror stories (and I’m not necessarily saying debate for ages over which fi lm is better, but you should), your brain probably focuses what’s more important is that Re-Animator on Stuart Gordon’s 1985 masterpiece, Re- and From Beyond still exist as an automatic Animator—and yes, I did say “masterpiece”— double feature. They’re both based (loosely but that’s far from the fi lmmaker’s only foray yet impressively) on Lovecraft stories; they into Lovecraft adaptations. Over the course both share much of the same cast and crew; of his career, Mr. Gordon would direct new and they both hold up after three decades as renditions of HPL’s “The Outsider”, “Dagon”, well-crafted, creative, and resoundingly gory and “The Dreams in the Witch House”—but horror fi lms that benefi t from a strong sense it was the man’s immediate follow-up to Re- of humor. Animator that still stands as one of the weirdest, wildest, and most wildly satisfying Lovecraft So in honor of one of 1986’s most underrated adaptations under the sun. horror fi lms (not to mention one of its best), we sat down with leading lady Barbara Crampton From Beyond didn’t make as much noise for a quick chat. as Re-Animator did upon its festival run and initial release, but it’s safe to say that both From Beyond was sort of a fast reunion movies have found their place in the hall of for the Re-Animator team. Director Stuart DEADLYMAGAZINE.COM ISSUE #13 3 BARBARA CRAMPTON ON FROM BEYOND Gordon, screenwriter Dennis Paoli, producer and had time for sightseeing. I was treated to Brian Yuzna, and lead actors Jeff rey Combs a gorgeous rooftop garden apartment while and yourself all returned for another spin staying in Rome and had the cast and some on the Lovecraft wheel. How did you get of the crew over for Sunday brunches. involved in the second fi lm? Were you familiar with Lovecraft’s stories Barbara Crampton: We all worked fantastically before working on these two films? Mr. well together on Re-Animator and the fi lm was Paoli used the source material as more of well-received upon its release. Stuart wanted a “jumping-off point,” yet both movies are to give me a bit more to do in our second fi lm still considered excellent adaptations of and also perhaps to pay me back for what he very well-regarded Lovecraft tales. Did you had put me through on the fi rst! We had fi ve ever worry that fans of the original stories times the budget and much more freedom would be unhappy with the changes? than we did on Re-Animator. Stuart’s intention was to make a fi lm that was truly disturbing Barbara Crampton: I was not familiar with and wasn’t funny. He wanted a serious horror Lovecraft before working with Stuart. From fi lm. I did feel sad, however, that they didn’t Beyond is a very short story and I believe my work Bruce Abbott into the story. I thought character, Katherine, and Bubba (Ken Foree) he did a fi ne job as Dan Cain, although it was were a split of the narrator in the original tale. clear from the beginning that this was Jeff rey Dennis Paoli wanted to make a more active Combs’ movie. movie and created a psychiatrist and a detective to investigate the original happenings. From Beyond was a luxurious and exotic experience for me. The Italian crew we shot A few key things were greatly enhanced: the with (in Rome at the old Dino De Laurentiis resonator and its effect upon people; the studios) was very attentive on set and full of squishy things one could see in the beyond; laughter and camaraderie at our long, wine- and the pineal gland. Lovecraft didn’t find fi lled lunches. It was the fi rst time I was out use for many women in his stories, so at fi rst of the country. We had time to enjoy our long I was concerned that people would fi nd my shooting schedule—I think it was six weeks— presence a distraction. The sexual feelings 4 DEADLYMAGAZINE.COM ISSUE #13 BARBARA CRAMPTON ON FROM BEYOND that the resonator instilled were a fabrication, as was the crazed character of Dr. Pretorius (Ted Sorel), who turned into a hideous monster at the end. Stuart and Dennis are now famous for taking Lovecraft’s stories and embellishing upon them with more action and characters. They stay true to the feeling and tone that Lovecraft conveyed, but their stories are really their own. Do some take issue with this? Probably. But I dare say that these guys are responsible for bringing interest in Lovecraft to the modern reader more than any other team of fi lmmakers. On another note, Stuart wanted to feature the pineal gland prominently and Dennis wanted me to bite it off . They have a fun and twisted side, which is part of this fi lm’s charm. How do you think From Beyond holds up in comparison to Re-Animator? I’ve always considered it as sort of a “bonus” movie, in that once a horror fan discovers the fi rst fi lm, they generally discover the second one. Does From Beyond boast an asset or two that Re-Animator does not? Barbara Crampton: Honestly, I can’t tell you if it holds up. I’m too close to the fi lm. What I do know is that Stuart wanted to follow Re-Animator with something that was truly depraved, disturbing, and shocking. He chose to have no humor in the movie and wanted to use a lot of slime in lieu of blood, which the ratings board had a hard time with on his fi rst fi lm. I believe they found the slime off ensive, too. Oh well. Most horror fans have seen Re-Animator. Word of mouth on that film is pretty good. From Beyond is usually one that people seek out because they are curious to see Stuart’s follow- up. It was probably wise to do something diff erent. It’s hard to repeat yourself and have the magic happen again. That was really so unexpected on Re-Animator. From Beyond is a more serious horror fi lm. It has a robust story, chilling visuals, and spectacular special eff ects. Many of the giants in that fi eld were just starting out and worked on From Beyond. The Pretorius suit at the end still gives me the creeps. I remember (not too fondly) how slippery it was DEADLYMAGAZINE.COM ISSUE #13 5 BARBARA CRAMPTON ON FROM BEYOND close to my body, how cold it was, and how You’ve had a big comeback in recent years maniacal Ted Sorel played those scenes at with You’re Next, We Are Still Here, Tales of the end. Not only did his entire body look like Halloween, Road Games, and the upcoming a giant phallus, but the pineal gland sticking Sun Choke. Is your career as much fun now out on his slimy forehead seemed like a tiny as it was back in the 1980s? but eager extension, searching to absorb and control his prey with his mind and body... pretty Barbara Crampton: More fun. I’m much disturbing stuff . We had a lot of zombies (yes, happier in my life now. I hope I’m wiser. I’m they are zombies) on Re-Animator and pretty enjoying the work. I’m being offered some standard stuff for makeup, but From Beyond terrific roles. Aging does wonders for your has Pretorius. perspective. I have a sense of peace and gratitude. As for me, in From Beyond I’m more than just the “bubble-headed co-ed” they called me in Note of awesomeness: Ms. Crampton Re-Animator. I’m a doctor, then a sex-crazed earned a lifetime achievement award from fiend, then a heroine. What more could an Fangoria while this interview took place. actress ask for in a role? Feel free to congratulate her on Twitter: @barbaracrampton. Where does From Beyond rank among the fans you run into? Re-Animator probably gets the top spot, but what other fi lms do fans gush about when they meet you? Barbara Crampton: It really runs the gamut, which is great. There are many fl avors for horror fans. Some like the more serious, thoughtful fare like From Beyond, or the more gory and less-seen Castle Freak.
Load more

Recommended publications
  • Mels Resume:Update2020
    Melissa Street Makeup Artist Film/Television/Theater/Live Events cell: (858) 344-7201 email: [email protected] FILM: 2020 MAKEUP DEPARTMENT HEAD - GIGI - Director: Drew Sackheim. 2018 MAKEUP ARTIST - TOP GUN MAVERICK - PARAMOUNT - Director: Joseph Kosinski - Starring: Tom Cruise, Jennifer Connelly, Jon Hamm, Val Kilmer, Miles Teller. 2016 MAKEUP DEPARTMENT HEAD - THE RIDE - 100 ACRE FILMS - SHORT FILM - Director: Eric Addison 2014 MAKEUP DEPARTMENT HEAD - WALTER - ZERO GRAVITY Director: Anna Mastro - Starring: Andrew J. West, Virginia Madsen, William H. Macy, Leven Rambin, Peter Facinelli, Neve Campbell, Brian White, Jim Gaffigan, Justin Kirk, Milo Ventimiglia. Personal artist to: Virginia Madsen, William H. Macy, Andrew J. West, Peter Facinelli, Neve Campbell, Brian White. 2013 MAKEUP DEPARTMENT HEAD - SUPER ATHLETE - WHITE NIGHT PRODUC- TIONS Director: John Comrie - Starring: Tony Sirico, Christopher Lloyd, Faran Tahir, Cameron Rodriguez, Larry Van- Buren Jr. Personal artist to: Tony Sirico, Christopher Lloyd, Faran Tahir. 2011 KEY MAKEUP ARTIST - WHEN YOU FIND ME - SHORT FILM - PROJECT IMAG- IN8TION/FREESTYLE Director: Bryce Dallas-Howard - Starring: Marianna Palka, Erin Way, Jacy King, Karley Scott Collins, Devon Woods, Zachary James Rukavina. 2010 MAKEUP DEPARTMENT HEAD - THE HEIRESS LETHAL - SHORT FILM - EYE- FULL STUDIOS Director: Michael Brueggemeyer - Starring: Merrick McCartha, Cristyn Chandler, Ron Christopher Jones, Theresa Layne. 2003 MAKEUP DEPARTMENT HEAD - CARROT TOP ROCKS LAS VEGAS - DELTA EN- TERTAINMENT Director: Steve Hanft - Starring: Scott “Carrot Top” Thompson, Penn Jillette, Teller. 1986 UNCREDITED MAKEUP ASSISTANT - INVADERS FROM MARS - CANNON PIC- TURES Director: Tobe Hooper - Starring: Karen Black, Hunter Carson, Timothy Bottoms, James Karen, Laraine Newman. Makeup Assistant to Stan Winston F/X lab team.
    [Show full text]
  • Tales from Beyond the Pale Is Back!
    TALES FROM BEYOND THE PALE IS BACK! GLASS EYE PIX’s Acclaimed Genre Audio Dramas “TALES FROM BEYOND THE PALE” Presented by Glenn McQuaid and Larry Fessenden Returns With SEASON THREE, Launching Nationwide on Black Friday, November 27th INDIEWIRE to Host Exclusive Free Streaming Sessions Following the Release, plus Filmmaker Interviews and More (NEW YORK, NY—October 30, 2015) — Glass Eye Pix, the maverick prolific production company responsible for a vast slate of captivating independent genre movies including THE LAST WINTER, I SELL THE DEAD, LATE PHASES, THE HOUSE OF THE DEVIL, STAKE LAND, THE INNKEEPERS, and the upcoming DARLING, announces the wide release of the highly anticipated third season of their sensory rich genre audio dramas TALES FROM BEYOND THE PALE. Larry Fessenden and Glenn McQuaid's audio drama series is back with ten new tales to keep you awake at night. After taking the live show on the road and performing in New York, LA, Colorado and Montreal, Season 3 is a return to the studio with an exciting new roster of talent. The lineup is: THE HOUND directed by Stuart Gordon and written by Dennis Paoli (RE-ANIMATOR, FROM BEYOND) JUNK SCIENCE written and directed by Brahm Revel (GUERILLAS, THE LAST WINTER comic) THE RIPPLE AT CEDAR LAKE written and directed by Glenn McQuaid (I SELL THE DEAD, V/H/S) FOOD CHAIN written by April Snellings (Rue Morgue) and directed by Larry Fessenden (UNTIL DAWN, THE LAST WINTER) TRIBUNAL OF MINOS written and directed by James Felix McKenney (SATAN HATES YOU, AUTOMATONS) THE CHAMBERS TAPE written
    [Show full text]
  • Film Reviews
    Page 117 FILM REVIEWS Year of the Remake: The Omen 666 and The Wicker Man Jenny McDonnell The current trend for remakes of 1970s horror movies continued throughout 2006, with the release on 6 June of John Moore’s The Omen 666 (a scene­for­scene reconstruction of Richard Donner’s 1976 The Omen) and the release on 1 September of Neil LaBute’s The Wicker Man (a re­imagining of Robin Hardy’s 1973 film of the same name). In addition, audiences were treated to remakes of The Hills Have Eyes, Black Christmas (due Christmas 2006) and When a Stranger Calls (a film that had previously been ‘remade’ as the opening sequence of Scream). Finally, there was Pulse, a remake of the Japanese film Kairo, and another addition to the body of remakes of non­English language horror films such as The Ring, The Grudge and Dark Water. Unsurprisingly, this slew of remakes has raised eyebrows and questions alike about Hollywood’s apparent inability to produce innovative material. As the remakes have mounted in recent years, from Planet of the Apes to King Kong, the cries have grown ever louder: Hollywood, it would appear, has run out of fresh ideas and has contributed to its ever­growing bank balance by quarrying the classics. Amid these accusations of Hollywood’s imaginative and moral bankruptcy to commercial ends in tampering with the films on which generations of cinephiles have been reared, it can prove difficult to keep a level head when viewing films like The Omen 666 and The Wicker Man.
    [Show full text]
  • Download the Complete Issue PDF 550 KB
    Media Watch ... 9 September 2019 Edition | Issue # 630 is intended as an advocacy, re- search and teaching tool. The weekly report is international in scope and distribution – to col- leagues who are active or have a special interest in hospice and palliative care , and in the quality of end-of-life care in general – to help keep them abreast of current, emerging and related issues – Compilation of Media Watch 2008 -2019 © and, to inform discussion and en- courage further inquiry. Compiled & Annotated by Barry R. As hpole Nearly one-third of children’s hospitals [in the U.S.] do not have formalized palliative care service and advance care discussions tend to occur during relapses and treatment failures rather then at initial diagnosis. ‘Lack of equality in end-of-life care for children ’ (p.11), Pediatric Critical Care Medicine , 2019;20(9):897 -898. Canada Cancer overtakes heart disease as biggest killer in wealthy countries CBC NEWS | Online – 3 September 2019 – million were due to cardiovascular disease – a Cancer has overtaken heart disease as the lea d- group of conditions that includes heart failure, ing cause of death in wealthy count ries and angina, heart attack and stro ke. Countries ana- could become the world’ s biggest killer within lyzed included Argentina, Bangladesh, Br a- just a few decades if current tre nds perspersist... zil, Canada, Chile, China, Colombia, India, Iran, Publishing the findings of two large studies … Malaysia, Pakistan, Palestine, Philippines, Po l- scientists said they showed evi dence of a new and, Saudi Arabia, South Africa, Sweden, Ta n- global “epidemiologic transition” between diffe r- zania, Turkey, United Arab Emirates and Zi m- ent types of chronic disease.
    [Show full text]
  • A Dangerous Method
    A David Cronenberg Film A DANGEROUS METHOD Starring Keira Knightley Viggo Mortensen Michael Fassbender Sarah Gadon and Vincent Cassel Directed by David Cronenberg Screenplay by Christopher Hampton Based on the stage play “The Talking Cure” by Christopher Hampton Based on the book “A Most Dangerous Method” by John Kerr Official Selection 2011 Venice Film Festival 2011 Toronto International Film Festival, Gala Presentation 2011 New York Film Festival, Gala Presentation www.adangerousmethodfilm.com 99min | Rated R | Release Date (NY & LA): 11/23/11 East Coast Publicity West Coast Publicity Distributor Donna Daniels PR Block Korenbrot Sony Pictures Classics Donna Daniels Ziggy Kozlowski Carmelo Pirrone 77 Park Ave, #12A Jennifer Malone Lindsay Macik New York, NY 10016 Rebecca Fisher 550 Madison Ave 347-254-7054, ext 101 110 S. Fairfax Ave, #310 New York, NY 10022 Los Angeles, CA 90036 212-833-8833 tel 323-634-7001 tel 212-833-8844 fax 323-634-7030 fax A DANGEROUS METHOD Directed by David Cronenberg Produced by Jeremy Thomas Co-Produced by Marco Mehlitz Martin Katz Screenplay by Christopher Hampton Based on the stage play “The Talking Cure” by Christopher Hampton Based on the book “A Most Dangerous Method” by John Kerr Executive Producers Thomas Sterchi Matthias Zimmermann Karl Spoerri Stephan Mallmann Peter Watson Associate Producer Richard Mansell Tiana Alexandra-Silliphant Director of Photography Peter Suschitzky, ASC Edited by Ronald Sanders, CCE, ACE Production Designer James McAteer Costume Designer Denise Cronenberg Music Composed and Adapted by Howard Shore Supervising Sound Editors Wayne Griffin Michael O’Farrell Casting by Deirdre Bowen 2 CAST Sabina Spielrein Keira Knightley Sigmund Freud Viggo Mortensen Carl Jung Michael Fassbender Otto Gross Vincent Cassel Emma Jung Sarah Gadon Professor Eugen Bleuler André M.
    [Show full text]
  • The Emergence and Development of the Sentient Zombie: Zombie
    The Emergence and Development of the Sentient Zombie: Zombie Monstrosity in Postmodern and Posthuman Gothic Kelly Gardner Submitted in partial fulfilment of the requirements for the award of Doctor of Philosophy Division of Literature and Languages University of Stirling 31st October 2015 1 Abstract “If you’ve never woken up from a car accident to discover that your wife is dead and you’re an animated rotting corpse, then you probably won’t understand.” (S. G. Browne, Breathers: A Zombie’s Lament) The zombie narrative has seen an increasing trend towards the emergence of a zombie sentience. The intention of this thesis is to examine the cultural framework that has informed the contemporary figure of the zombie, with specific attention directed towards the role of the thinking, conscious or sentient zombie. This examination will include an exploration of the zombie’s folkloric origin, prior to the naming of the figure in 1819, as well as the Haitian appropriation and reproduction of the figure as a representation of Haitian identity. The destructive nature of the zombie, this thesis argues, sees itself intrinsically linked to the notion of apocalypse; however, through a consideration of Frank Kermode’s A Sense of an Ending, the second chapter of this thesis will propose that the zombie need not represent an apocalypse that brings devastation upon humanity, but rather one that functions to alter perceptions of ‘humanity’ itself. The third chapter of this thesis explores the use of the term “braaaaiiinnss” as the epitomised zombie voice in the figure’s development as an effective threat within zombie-themed videogames.
    [Show full text]
  • Leading the Walking Dead: Portrayals of Power and Authority
    LEADING THE WALKING DEAD: PORTRAYALS OF POWER AND AUTHORITY IN THE POST-APOCALYPTIC TELEVISION SHOW by Laura Hudgens A Thesis Submitted to the Faculty of the Graduate School at Middle Tennessee State University in Partial Fulfillment of the Requirements for the Degree of Master of Science in Mass Communication August 2016 Thesis Committee: Dr. Katherine Foss, Chair Dr. Jane Marcellus Dr. Jason Reineke ii ABSTRACT This multi-method analysis examines how power and authority are portrayed through the characters in The Walking Dead. Five seasons of the show were analyzed to determine the characteristics of those in power. Dialogue is important in understanding how the leaders came to power and how they interact with the people in the group who have no authority. The physical characteristics of the leaders were also examined to better understand who was likely to be in a position of power. In the episodes in the sample, leaders fit into a specific demographic. Most who are portrayed as having authority over the others are Caucasian, middle-aged men, though other characters often show equivalent leadership potential. Women are depicted as incompetent leaders and vulnerable, and traditional gender roles are largely maintained. Findings show that male conformity was most prevalent overall, though instances did decrease over the course of five seasons. Instances of female nonconformity increased over time, while female conformity and male nonconformity remained relatively level throughout. ii iii TABLE OF CONTENTS LIST OF TABLES ..............................................................................................................v
    [Show full text]
  • Exploring Films About Ethical Leadership: Can Lessons Be Learned?
    EXPLORING FILMS ABOUT ETHICAL LEADERSHIP: CAN LESSONS BE LEARNED? By Richard J. Stillman II University of Colorado at Denver and Health Sciences Center Public Administration and Management Volume Eleven, Number 3, pp. 103-305 2006 104 DEDICATED TO THOSE ETHICAL LEADERS WHO LOST THEIR LIVES IN THE 9/11 TERROIST ATTACKS — MAY THEIR HEORISM BE REMEMBERED 105 TABLE OF CONTENTS Preface 106 Advancing Our Understanding of Ethical Leadership through Films 108 Notes on Selecting Films about Ethical Leadership 142 Index by Subject 301 106 PREFACE In his preface to James M cG regor B urns‘ Pulitzer–prizewinning book, Leadership (1978), the author w rote that ―… an im m ense reservoir of data and analysis and theories have developed,‖ but ―w e have no school of leadership.‖ R ather, ―… scholars have worked in separate disciplines and sub-disciplines in pursuit of different and often related questions and problem s.‖ (p.3) B urns argued that the tim e w as ripe to draw together this vast accumulation of research and analysis from humanities and social sciences in order to arrive at a conceptual synthesis, even an intellectual breakthrough for understanding of this critically important subject. Of course, that was the aim of his magisterial scholarly work, and while unquestionably impressive, his tome turned out to be by no means the last word on the topic. Indeed over the intervening quarter century, quite to the contrary, we witnessed a continuously increasing outpouring of specialized political science, historical, philosophical, psychological, and other disciplinary studies with clearly ―no school of leadership‖with a single unifying theory emerging.
    [Show full text]
  • Behind the Scenes: Uncovering Violence, Gender, and Powerful Pedagogy
    Behind the Scenes: Uncovering Violence, Gender, and Powerful Pedagogy Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy Volume 5, Issue 3 | October 2018 | www.journaldialogue.org e Interdisciplinary Journal of Popular Culture and Pedagogy INTRODUCTION AND SCOPE Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy is an open-access, peer-reviewed journal focused on the intersection of popular culture and pedagogy. While some open-access journals charge a publication fee for authors to submit, Dialogue is committed to creating and maintaining a scholarly journal that is accessible to all —meaning that there is no charge for either the author or the reader. The Journal is interested in contributions that offer theoretical, practical, pedagogical, and historical examinations of popular culture, including interdisciplinary discussions and those which examine the connections between American and international cultures. In addition to analyses provided by contributed articles, the Journal also encourages submissions for guest editions, interviews, and reviews of books, films, conferences, music, and technology. For more information and to submit manuscripts, please visit www.journaldialogue.org or email the editors, A. S. CohenMiller, Editor-in-Chief, or Kurt Depner, Managing Editor at [email protected]. All papers in Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy are published under a Creative Commons Attribution-Non-Commercial-Share- Alike License. For details please go to: http://creativecommons.org/licenses/by-nc-sa/3.0/us/. Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy EDITORIAL TEAM A. S. CohenMiller, PhD, Editor-in-Chief, Founding Editor Anna S. CohenMiller is a qualitative methodologist who examines pedagogical practices from preK – higher education, arts-based methods and popular culture representations.
    [Show full text]
  • Pleasure, Popularity and the Soap Opera by Michelle C. De Montigny, B.A. Graduate Program in Communications Mcgiii University, M
    1 1 i 1 Pleasure, Popularity and the Soap Opera by Michelle C. de Montigny, B.A. Graduate Program in Communications McGiII University, Montréal .' . January, 1992 J '., " A THESIS SUBMITIED TO the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts " . " © Michelle C. de Montigny 1992 Ail Rights Reserved ...... ......f ... '1ç'l.. ,~\ . "', , -. 1 t 1-: ~ ~BSTRACT This thesis uses the concept of pleasure as it has been applied to cultural artefacts ln order to give a description of vancus characterisitics of the soap opera genre. The concept of pleasure is applied to soap opera narrative, characters, visual style and vlewmg attitudes. Three soap operas, The Young and the Restless, General Hospital, and Another World, are descnbod in dola Il according 10 Ihese various types of pleasures. The Young and the RostltJss is a soap that rolles largely on visual pleasures and melodrama. General HospJtafs slrongesl pleasures are related ta ils character developmenl and use of humour. Another World, the mos! tradllional of the three soaps, is best al slimulatmg tlle pleasures associated wlth talk. Through analysls of viewer commentary supplied by letters sent to $oap Opera Weeklyand $oap Opera Updato and Nielsen ratlngs, it can be concluded that the pleasures Ihal most soap opera vlewers seom 10 value the most are related to visual style, romance and a delicato balélnco bolwoon roahsllc characters and fantasy in narrative. ".,.1 ... " .... • ~. '!, \f • ~ • • .. • J :.,.': _:.:';:f..!i:·~t ... _.,-.' ... _:.I~";"'" 1 1 1 Conten1s 1 1 Introd uctlon 1 Chapter One 5 1 Soap Operas as Popular Culture 1 Notes 1 7 Chapter Two 1 8 1 Plew.ure.
    [Show full text]
  • Human' Jaspects of Aaonsí F*Oshv ÍK\ Tke Pilrns Ana /Movéis ÍK\ É^ of the 1980S and 1990S
    DOCTORAL Sara MarHn .Alegre -Human than "Human' jAspects of AAonsí F*osHv ÍK\ tke Pilrns ana /Movéis ÍK\ é^ of the 1980s and 1990s Dirigida per: Dr. Departement de Pilologia jA^glesa i de oermanisfica/ T-acwIfat de Uetres/ AUTÓNOMA D^ BARCELONA/ Bellaterra, 1990. - Aldiss, Brian. BilBon Year Spree. London: Corgi, 1973. - Aldridge, Alexandra. 77» Scientific World View in Dystopia. Ann Arbor, Michigan: UMI Research Press, 1978 (1984). - Alexander, Garth. "Hollywood Dream Turns to Nightmare for Sony", in 77» Sunday Times, 20 November 1994, section 2 Business: 7. - Amis, Martin. 77» Moronic Inferno (1986). HarmorKlsworth: Penguin, 1987. - Andrews, Nigel. "Nightmares and Nasties" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney: Ruto Press, 1984:39 - 47. - Ashley, Bob. 77» Study of Popidar Fiction: A Source Book. London: Pinter Publishers, 1989. - Attebery, Brian. Strategies of Fantasy. Bloomington and Indianapolis: Indiana University Press, 1992. - Bahar, Saba. "Monstrosity, Historicity and Frankenstein" in 77» European English Messenger, vol. IV, no. 2, Autumn 1995:12 -15. - Baldick, Chris. In Frankenstein's Shadow: Myth, Monstrosity, and Nineteenth-Century Writing. Oxford: Oxford Clarendon Press, 1987. - Baring, Anne and Cashford, Jutes. 77» Myth of the Goddess: Evolution of an Image (1991). Harmondsworth: Penguin - Arkana, 1993. - Barker, Martin. 'Introduction" to Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Media. London and Sydney: Ruto Press, 1984(a): 1-6. "Nasties': Problems of Identification" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney. Ruto Press, 1984(b): 104 - 118. »Nasty Politics or Video Nasties?' in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Medß.
    [Show full text]
  • Starlog Magazine Issue
    'ne Interview Mel 1 THE SCIENCE FICTION UNIVERSE Brooks UGUST INNERSPACE #121 Joe Dante's fantastic voyage with Steven Spielberg 08 John Lithgow Peter Weller '71896H9112 1 ALIENS -v> The Motion Picture GROUP, ! CANNON INC.*sra ,GOLAN-GLOBUS..K?mEDWARO R. PRESSMAN FILM CORPORATION .GARY G0D0ARO™ DOLPH LUNOGREN • PRANK fANGELLA MASTERS OF THE UNIVERSE the MOTION ORE ™»COURTENEY COX • JAMES TOIKAN • CHRISTINA PICKLES,* MEG FOSTERS V "SBILL CONTIgS JULIE WEISS Z ANNE V. COATES, ACE. SK RICHARD EDLUND7K WILLIAM STOUT SMNIA BAER B EDWARD R PRESSMAN»™,„ ELLIOT SCHICK -S DAVID ODEll^MENAHEM GOUNJfOMM GLOBUS^TGARY GOODARD *B«xw*H<*-*mm i;-* poiBYsriniol CANNON HJ I COMING TO EARTH THIS AUGUST AUGUST 1987 NUMBER 121 THE SCIENCE FICTION UNIVERSE Christopher Reeve—Page 37 beJohn Uthgow—Page 16 Galaxy Rangers—Page 65 MEL BROOKS SPACEBALLS: THE DIRECTOR The master of genre spoofs cant even give the "Star wars" saga an even break Karen Allen—Page 23 Peter weller—Page 45 14 DAVID CERROLD'S GENERATIONS A view from the bridge at those 37 CHRISTOPHER REEVE who serve behind "Star Trek: The THE MAN INSIDE Next Generation" "SUPERMAN IV" 16 ACTING! GENIUS! in this fourth film flight, the Man JOHN LITHGOW! of Steel regains his humanity Planet 10's favorite loony is 45 PETER WELLER just wild about "Harry & the CODENAME: ROBOCOP Hendersons" The "Buckaroo Banzai" star strikes 20 OF SHARKS & "STAR TREK" back as a cyborg centurion in search of heart "Corbomite Maneuver" & a "Colossus" director Joseph 50 TRIBUTE Sargent puts the bite on Remembering Ray Bolger, "Jaws:
    [Show full text]