This Week in the Susquehanna River Valley April 17-27, 2019 This Is Just a Sampling of Events This Week
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Chapter 1 Chapter 2
Notes Chapter 1 1. Jeffrey Mirel, “The Traditional High School: Historical Debates over Its Nature and Function,” Education Next 6 (2006): 14–21. 2. US Census Bureau, “Education Summary––High School Gradu- ates, and College Enrollment and Degrees: 1900 to 2001,” His- torical Statistics Table HS-21, http://www.census.gov/statab/ hist/HS-21.pdf. 3. Andrew Monument, dir., Nightmares in Red, White, and Blue: The Evolution of American Horror Film (Lux Digital Pictures, 2009). 4. Monument, Nightmares in Red. Chapter 2 1. David J. Skal, Screams of Reason: Mad Science and Modern Cul- ture (New York: Norton, 1998), 18–19. For a discussion of this more complex image of the mad scientist within the context of postwar film science fiction comedies, see also Sevan Terzian and Andrew Grunzke, “Scrambled Eggheads: Ambivalent Represen- tations of Scientists in Six Hollywood Film Comedies from 1961 to 1965,” Public Understanding of Science 16 (October 2007): 407–419. 2. Esther Schor, “Frankenstein and Film,” in The Cambridge Com- panion to Mary Shelley (Cambridge: Cambridge University Press, 2003), 63; James A. W. Heffernan, “Looking at the Monster: Frankenstein and Film,” Critical Inquiry 24, no. 1 (Autumn 1997): 136. 3. Russell Jacoby, The Last Intellectuals: American Culture in the Age of Academe (New York: Basic Books, 1987). 4. Richard Hofstadter, Anti-Intellectualism and American Life (New York: Knopf, 1963); Craig Howley, Aimee Howley, and Edwine D. Pendarvis, Out of Our Minds: Anti-Intellectualism and Talent 178 Notes Development in American Schooling (New York: Teachers Col- lege Press: 1995); Merle Curti, “Intellectuals and Other People,” American Historical Review 60 (1955): 259–282. -
Frankenstein Au Cinéma
La Revue du Ciné-club universitaire, 2016, no 3 It’s alive! Frankenstein au cinéma Ciné-club UniversitaireACTIVITÉS CULTURELLES Illustration Sommaire 1ère de couverture: Frankenstein, James Whale, 1931 Histoire d’une créature fictionnelle Groupe de travail du Ciné-club universitaire Julien Dumoulin, Emilien Gür, Michel Porret et Julien Dumoulin, Emilien Gür, Cerise Dumont, Michel Porret, Olinda Testori ..................................................................... 3 Olinda Testori, Thibault Zanoni, Francisco Marzoa, Jeanne Richard Survie de la créature au cinéma Activités culturelles de l’Université Emilien Gür .........................................................................13 responsable: Ambroise Barras coordination: Christophe Campergue édition et graphisme: Véronique Wild et Julien Jespersen Quelques réflexions sur les films de Whale Julien Dumoulin ...............................................................25 L’acteur derrière le masque du monstre Francisco Marzoa .............................................................35 Le moment Hammer Michel Porret .................................................................... 41 Le laboratoire à la croisée des mondes Cerise Dumont ...................................................................59 Monstre, qui es-tu? Jeanne Richard ..................................................................65 Abnormal brain: «l’âme» déformée de la créature Thibault Zanoni ................................................................ 73 «Frankenstein» et «The Curse»: -
Feature Films
Libraries FEATURE FILMS The Media and Reserve Library, located in the lower level of the west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 0.5mm DVD-8746 2012 DVD-4759 10 Things I Hate About You DVD-0812 21 Grams DVD-8358 1000 Eyes of Dr. Mabuse DVD-0048 21 Up South Africa DVD-3691 10th Victim DVD-5591 24 Hour Party People DVD-8359 12 DVD-1200 24 Season 1 (Discs 1-3) DVD-2780 Discs 12 and Holding DVD-5110 25th Hour DVD-2291 12 Angry Men DVD-0850 25th Hour c.2 DVD-2291 c.2 12 Monkeys DVD-8358 25th Hour c.3 DVD-2291 c.3 DVD-3375 27 Dresses DVD-8204 12 Years a Slave DVD-7691 28 Days Later DVD-4333 13 Going on 30 DVD-8704 28 Days Later c.2 DVD-4333 c.2 1776 DVD-0397 28 Days Later c.3 DVD-4333 c.3 1900 DVD-4443 28 Weeks Later c.2 DVD-4805 c.2 1984 (Hurt) DVD-6795 3 Days of the Condor DVD-8360 DVD-4640 3 Women DVD-4850 1984 (O'Brien) DVD-6971 3 Worlds of Gulliver DVD-4239 2 Autumns, 3 Summers DVD-7930 3:10 to Yuma DVD-4340 2 or 3 Things I Know About Her DVD-6091 30 Days of Night DVD-4812 20 Million Miles to Earth DVD-3608 300 DVD-9078 20,000 Leagues Under the Sea DVD-8356 DVD-6064 2001: A Space Odyssey DVD-8357 300: Rise of the Empire DVD-9092 DVD-0260 35 Shots of Rum DVD-4729 2010: The Year We Make Contact DVD-3418 36th Chamber of Shaolin DVD-9181 1/25/2018 39 Steps DVD-0337 About Last Night DVD-0928 39 Steps c.2 DVD-0337 c.2 Abraham (Bible Collection) DVD-0602 4 Films by Virgil Wildrich DVD-8361 Absence of Malice DVD-8243 -
Cult Adaptations: a One-Day Symposium
Cult Adaptations: A one-day symposium Wednesday 25 November 2009 10.00 am – 6.00 pm Centre for Adaptations Campus Centre 2.01, De Montfort University, Leicester Cult Adaptations Symposium Programme Wednesday 25 November 2009 10.00am – 6.00pm Campus Centre 2.01 / 2.02 Registration from 9.30 in CC 2.01 10.00 – 11.30: Panel one (CC 2.01) ‘Rosemary’s Baby: an artistic dynasty’ Alexandre Tylski (University of Toulouse) ‘Fanpires: the utilization of the fan culture in the translation of Twilight from text to screen and beyond’ Maggie Parke (Bangor University) ‘All her inside is out!’: the female monster in film adaptations of Mary Shelley’s Frankenstein’ Devon Sherman (Rutgers University) 11.30 – 12.00: Coffee (CC 2.02) 12.00 – 1.00: Panel two (CC 2.01) ‘Bringing day to Night: the resurrection of The Night of the Hunter’ Thomas A. Schwenn (New York University) ‘Myths of sacrifice: 300, Sparta and the ‘cult’ of democracy’ Stuart Price (De Montfort University) ‘“We’re trying to get back to normal here’: a case-study of David Cronenberg’s A History of Violence’ David Bishop (Edinburgh Napier University) 1.00 – 2.00: lunch (CC 2.02) 2.00 – 3.30: Panel three (CC 2.01) ‘Who will watch The Watchmen: towards a sequential hermeneutic chain analysis’ John Quinn (University of the West of Scotland) ‘Spectacle fantastique: audio-visual technologies and early adaptations of Verne’s De la terre a la lune’ Brooke McCorkle (University of Pennsylviania) ‘The Quatermass Transformation: Monstrous Hybrids and National Identity in the Quatermass Films of the 1950s’ -
Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room. -
Presentation Dates and Topics
English 498: Adapting Texts Presentation Dates and Potential Topics Hamlet Date Presentation Type and Topic Options 4/11 Context Presentations 1) Shakespeare Biography: Life and Career Events Surrounding Hamlet’s Composition 2) Editions of Hamlet 3) Elizabeth I and the Question of Succession 4/13 Context Presentations 1) Elizabethan Concepts of the Self 2) Elizabethan Gender Roles 4/18 Context Presentations 1) The Meaning of Madness in the Elizabethan Era 4/20 Context Presentations 1) The Revenge Tragedy 4/27 Group Adaptation Presentations 1) Textual Options: v Lamb, Charles and Mary: “Hamlet, Prince of Denmark” (from Tales from Shakespeare, 1807) v Stoppard, Tom: Dogg’s Hamlet (1979) or Rosencrantz and Guildenstern are Dead (1967) v Updike, John: Gertrude and Claudius (2000) 2) Film Options: v Hamlet parodies (The Simpsons, Monty Python, Hamlet for the Leet) v Almeryda, Michael: Hamlet (2000) v Branagh, Kenneth: William Shakespeare’s Hamlet (1996) v Coronado, Celestino: Hamlet (1976) v Gade, Sven: Hamlet (1920) v Kurosawa, Akira: The Bad Sleep Well (1960) v Olivier, Laurence: Hamlet (1948) v Stoppard, Tom: Rosencrantz & Guildenstern are Dead (1990) v Zefferelli, Franco: Hamlet (1990) 3) Music Options: v Berlioz, Hector: Marche Funèbre, Op. 18, No. 3: Pour la Dernière Scène d'Hamlet (1844), La Mort d'Ophélie (1842) v MacDowell, Edward: Hamlet and Ophelia (1885) v Shostakovich, Dmitrii Dmitrievich: Hamlet Suite (1932) v Thomas, Ambroise: Hamlet (1868) 4) Art Options: v Hamlet paintings v Ophelia paintings not discussed in class v Delacroix -
FLESH for FRANKENSTEIN by Paul Morissey
FLESH FOR FRANKENSTEIN by Paul Morissey Prima proiezione ANDY WARHOL americana presents JOE DALLESANDRO, MONIQUE VAN VOOREN, UDO KIER 28 marzo 1974 in FLESH FOR FRANKENSTEIN introducing ARNO JUERGING, DALILA DI LAZZARO, SRDJAN ZELENOVIC with NICOLETTA ELMI, MARCO LIOFREDI LIU BOSISIO, FIORELLA MASSELLI CRISTINA GAIONI, ROSITA TOROSH CARLA MANCINI, IMELDE MARANI protography LUIGI KUVEILLER production designer ENRICO JOB production manager MARA BLASETTI a.o.d.c. music composed and conducted by CLAUDIO GIZZI Recorded and published by (add RCA trademark) editors FRANCA SILVI, JED JOHNSON made in CINECITTÀ STUDIOS sound INTERNATIONAL RECORDING STUDIOS, ROME processing LV by LUCIANO VITTORI La baronessa “Il barone Frankenstein vuole dare vita a una razza perfetta facendo accop- “Baron Frankenstein wants to give life to a perfect race by making two of his piare due sue creature, che però non ne vogliono sapere. Umorismo macabro creations mate, but they don’t want to know. Macabre humour and a taste for the e gusto dell’assurdo in scenografie art-decò” (Dizionario dei film, a cura di absurd in an Art Deco set” (Dizionario dei film, ed. Paolo Mereghetti, Baldini e Paolo Mereghetti, Baldini e Castoldi, 1993). Castoldi, 1993). “Il professor Frankenstein ha costruito una donna con alcuni resti umani e si “Professor Frankenstein has constructed a woman from some human remains, and ripromette di generare con lo stesso metodo un uomo che si dovrà accoppia- he proposes to generate a man using the same method, who will mate with her to re con lei per dare inizio a una nuova specie. L’esperimento riesce, ma la testa give rise to a new species.The experiment is a success, but the monster’s head is that del mostro appartiene a un uomo con aspirazioni religiose che invece di far of a man with religious aspirations who, instead of making love, kills his creators” l’amore uccide i suoi creatori” (Dizionario dei film, a cura di Pino Farinotti, (Dizionario dei Film, ed. -
Frankenstein and the Inoculated Reader Frankenstein; Or the Modern Prometheus
FRANKENSTEIN AND THE INOCULATED READER FRANKENSTEIN; OR THE MODERN PROMETHEUS AND THE INOCULATED READER By JANE L. DROVER, B.A., M.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Doctor of Philosophy McMaster University (c) Copyright by Jane L. Drover, June 1990 DOCTOR OF PHILOSOPHY (1990) MCMASTER UNIVERSITY (English) Hamilton, Ontario TITLE: Frankenstein; Or The Modern Prometheus and The Inoculated Reader AUTHOR: Jane Drover, B.A. (McMaster University) M.A. (McMaster University) SUPERVISOR: Dr. Joan Coldwell NUMBER OF PAGES: vii, 337 ii Abstract My thesis examines the relationship between Mary Shelley's novel Frankenstein; or, The Modern Prometheus and the Frankenstein myth as it has come to be known because of film. I propose that present-day readers, in addition to having a repository of literary knowledge, also have a reservoir of f ilmic memories on which to draw when they read. These visual 'texts' can function, I argue, not only as inter-texts but also as signs, indicating to us how to read certain written texts. Building on reader-response criticism, I include these visual signs in my analysis of the reading experience of Frankenstein. After outlining a brief history of visualizations of the novel on stage and in film and commenting on the contributions these adaptations gave to the story, I focus on the James Whale classics of 1931 and 1935. It is to. these films that we owe the figures of the Karloffian monster, the hunchbacked assistant, the 'mad' scientist, and the monster's grotesque 'bride.' Having imitated the common order of our exposure to the myth -- that is we know or know of Frankenstein films before we arrive at the novel I define and explain the iii theoretical concepts of narrative and filmic afterimages. -
Broadway Buzz- Young Frankenstein
Broadway Buzz- Young Frankenstein IT'S ALIVE AND HEADED FOR CLEVELAND "If you're blue and you don't know where to go to, why don't you go" to the KeyBank Broadway Series opener THE NEW MEL BROOKS MUSICAL YOUNG FRANKENSTEIN at PlayhouseSquare October 13-25, 2009. This is "the Broadway musical at its dizziest, glitziest and funniest," according to the late Clive Barnes of The New York Post. Michael Kuchwara of the Associated Press declares, "You can't help having fun," and for this National Tour, Roger Bart and Shuler Hensley reprise their Broadway roles of Doctor Frankenstein and the Monster. "It's alive!" Awards YOUNG FRANKENSTEIN received the Outer Critic's Circle Best Broadway Musical Award and five Audience Awards by Broadway.com. Original Broadway Cast. Photo: Paul Kolnik Have you read the classic Read More... novel Frankenstein by Mary Shelley? Yes No Buzz Extra is a publication of the Community Engagement & Education Department at PlayhouseSquare Vice President of Theatricals: Gina Vernaci Video Previews of Young Frankenstein Director of Community Engagement & Education: Young Frankenstein Downloads Colleen Porter Young Frankenstein on Facebook Director of Ticket Sales & Marketing: Autumn Kiser Editors: Linda Jackson, Cindi Szymanski Writer: Robin Pease Home Photos: http://www.playhousesquare.org/buzzextra/young-frankenstein/[10/9/2009 2:28:50 PM] Broadway Buzz- Young Frankenstein Paul Kolnik and Andrew Eccles It's Alive and Headed For Cleveland Science or Musical Comedy? Frankenstein and Pop Culture Download and read the printable version of the Mary or Mel? Buzz (535Kb in PDF format) here Talking with Roger Bart Young Frankenstein Enrich Your Experience: Broadway Buzz Events Recommended Reading from We welcome your feedback and suggestions for the Cleveland Public Library Buzz Extra. -
La Actriz Itziar Castro Se Convierte En La Novia De Frankenstein En El
ITZIAR CASTRO ANTZEZLEA DA FRANKENSTEINEN NESKA-LAGUNA 2018 BELDURREZKO ASTEAREN KARTELEAN Mary Shelleyk sortutako pertsonaiari eskainitako ziklo bat eta David Ajaren eta Sandra Arteagaren erakusketak aurtengo programazioan Itziar Castro da urriaren 27tik azaroaren 2ra arte izango den Donostiako Fantasiazko eta Beldurrezko 29. Zinemaren Astearen kartelaren protagonista. Hala, Frankenstein munstroaren neska-lagun bihurtu da, 1935ean Universal ekoiztetxeak sortutako pertsonaia jatorrizko filmaren jarraipenean: Bride of Frankenstein (1935), aurrenekoa bezala James Whalek zuzendua. 2018an betetzen dira 200 urte Mary Wollstonecraft Shelleyren Frankenstein edo Prometeo modernoa nobela argitaratu zenetik, bi urte lehenago behin baino gehiagotan zinean eta literaturan birsortu izandako Villa Diodati etxeko gaueko elkarraldi famatuan zirriborratua. Hala, kartelarekin eta atzera begirako ziklo batekin egin nahi izan dio omenaldi Asteak beldurraren mito horri. Pelikulan Elsa Lanchesterrek antzeztutako pertsonaia da kartelean Itziar Castro; Frankenstein doktoreak sortutako laguna, Boris Karloffek hezurmamitutako izakiarentzat. Pedro Usabiaga argazkilariak egin du argazkia Añarbeko Uren Hondakin Uren Ponpaketa Estazioan, Saguesen. 1977an Bartzelonan jaioa, Itziar Castro aurkezle, antzezle eta abeslariak zenbait antzerki ikuskizunetan parte hartu izan du ‒Ball de titelles, Taboo edo Pals, besteak beste‒ baita telesailetan ere ‒Vis a vis (2018)‒. Joan den urtean protagonista izan zen Astean proiektatutako Pintó & Caye-ren Matar a Dios (2017) filmean, -
“I HAVE FOUND IT!” Mary Shelley Remembered Thinking When She Awoke from a Fateful Nightmare in the Summer of 1816 with a Thunderclap of Inspiration
Maccarone New York | Los Angeles ALEX DA CORTE "Why Frankenstein's Monster Haunts Queer Art" By Charlie Fox The New York Times, October 13, 2017 “I HAVE FOUND IT!” Mary Shelley remembered thinking when she awoke from a fateful nightmare in the summer of 1816 with a thunderclap of inspiration. “What terrified me will terrify others.” These terrors provided the raw material for “Frankenstein,” which she composed at 19 and published anonymously in London two years later, unleashing one of the great ogres of the imagination into the world. “I saw the hideous phantasm of a man stretched out,” she wrote, “and then, on the working of some powerful engine, show signs of life.” To quote the mad doctor responsible for him in the 1931 Universal Pictures film: “It’s alive!” Now, as the 200th birthday of Shelley’s Monster — or, really, her monstrous allegory — fast approaches, he remains at large. Maccarone New York | Los Angeles But a monstrous allegory for what, exactly? Like all great myths, Shelley’s tale shape-shifts to suit any number of freaky interpretations without sacrificing the original’s hellacious powers. It could be a 19th-century premonition about the dangers of biotechnology, or a fable about the possibilities of male birth and all the horror such transgressions of the so-called natural invoke. Though “Frankenstein” also remains one of the most savage tales about father-son dysfunction, the Monster is a daddy, too, responsible in some ways for fantastic creations including Marilyn Manson; “The Rise of the Planet of the Apes” (2011), which turns, like Shelley’s tale, on the education of an “uncivilized” beast; and Rei Kawakubo’s “bump” dresses (1997), recently on view at the Met, which distort the bodies of their wearers to throw monstrous shadows. -
FM 240 Frankenstein's Heirs: Mary Shelley's Novel and Film Adaptations
FM 240 Frankenstein’s Heirs: Mary Shelley‘s Novel and Film Adaptations Seminar Leader: Matthias Hurst Advanced Module: Artists, Genres, Movements Course Times: Monday 10.45-12.15; Wednesday 10.45-12.15; weekly film screening Monday 19.30-22.00 Email: [email protected] Office Hours: Tuesday, 13.30 - 15.00 Course Description This course is dedicated to Mary Shelley’s novel Frankenstein, or The Modern Prometheus(1818) and its cultural repercussions, particularly as charted by the numerous adaptations of the book in film. The story of an ambitious scientist who, like God himself, creates life, but then fails to take responsibility for his creation, stands as a landmark in the tradition of Gothic fiction and is seen by many scholars as the first modern science fiction novel. The idea of the “mad scientist” and the human inclination to hubris, inspired by Frankenstein and his transgressive experiment, has become a pivotal motif in fantastic literature and film. As an imaginative (Romantic) response to the darker sides of enlightenment rationality, Shelley’s novel features ideas that are still relevant in our contemporary moment, namely the inherent potential dangers represented by human accomplishments in technology and the natural sciences as well as the need to conduct scientific research and experiments with due respect to ethical values. Seen from another perspective, the novel also presents the story of Frankenstein’s creature (the “monster") as a Bildungsroman: the existential drama of a sentient being left alone in a hostile world, a world deserted by God or any source of spiritual guidance.