Something Is out There 1977
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Kvarterakademisk
kvarter Volume 07 • 2013 akademiskacademic quarter Blockbuster Remakes Constantine Verevis Ph.D., Associate Professor in Film and Television Studies at Monash University, Melbourne. He is author of Film Remakes (Edinburgh UP, 2006) and co-author of Australian Film Theory and Criti- cism, Vol. I: Critical Positions (Intellect, 2013). His co-edited vol- umes include: Second Takes: Critical Approaches to the Film Sequel (SUNY P, 2010), After Taste: Cultural Value and the Moving Image (Routledge, 2011), Film Trilogies: New Critical Approaches (Palgrave-Macmillan, 2012), Film Remakes, Adap- tations and Fan Productions: Remake/Remodel (Palgrave- Macmillan, 2012), and B Is for Bad Cinema: Aesthetics, Politics and Cultural Value (SUNY P, 2014). Abstract Like the term “blockbuster,” the phrase “blockbuster remake” can mean different things. Typically, blockbuster remake is an industrial term, one that refers to the production of large-scale movies adapted from previously filmed properties. In this definition, modest (cult) properties – such as, Planet of the Apes (1968, 2001), King Kong (1933, 1976, 2005), and War of the Worlds (1954, 2005) – are revived through massive production budgets as cultural juggernauts, with strong marketing campaigns and merchandising tie-ins. Less typical is a description that accounts for the way in which a blockbuster movie is itself remade: that is, a definition in which a blockbuster becomes the cornerstone for the entire architecture of a blockbuster cycle. This article explores the idea of a blockbuster remake, and blockbuster initiated cycle, in and through a case study of the prototype of all modern blockbusters: Steven Spielberg’s Jaws (1975). Specifically, the article interrogates the way in which “Bruce,” the great white shark of Jaws, initiated a rogue animal cycle consisting in the first instance of the Jaws franchise – Jaws 2 (1978), Jaws 3-D (1983) and Jaws 4: The Revenge (1987) – and also a series of replicas that included Grizzly (1976), Orca (1977), and Piranha (1978). -
Cultural Borrowings: Appropriation, Reworking, Transformation
Blank Page A Scope e-Book Cultural Borrowings: Appropriation, Reworking, Transformation Edited by Iain Robert Smith Published by: Scope: An Online Journal of Film and Television Studies, 2009 Copyright: Scope: An Online Journal of Film and Television Studies ISBN 978-0-9564641-0-1 Cover Design: Iain Robert Smith Photo Credits: Benjamin Miller and Bart Everson Table of Contents Notes on Contributors .................................................................................. i Acknowledgements ................................................................................... iv Foreword: Scope‘s Tenth Anniversary ........................................................... v Mark Gallagher and Julian Stringer Introduction .............................................................................................. 1 Iain Robert Smith 1 Part I: Hollywood Cinema and Artistic Imitation Exploitation as Adaptation ........................................................................... 8 I.Q. Hunter The Character-Oriented Franchise: Promotion and Exploitation of pre-sold characters in American film, 1913-1950 ...................................................... 34 Jason Scott Novelty through Repetition: Exploring the Success of Artistic Imitation in the Contemporary Film Industry, 1983-2007 .................................................... 56 Stijn Joye Part II: Found Footage and Remix Culture A Taxonomy of Digital Video Remixing: Contemporary Found Footage Practice on the Internet ........................................................................................... -
Forbidden Planet Catalogue
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CHALLENGER No
SUMMER 2016 CHALLENGER no. FORTY CHALLENGER #40 SUMMER 2016 Guy & Rose-Marie Lillian 1390 Holly Avenue, Merritt Island FL 32529 318/218-2345 * [email protected] COVER BY … ? CONTENTS Editorial: A Paean to a Press GHLIII 2 SF and Family John Purcell 4 Living on the Lesser Light … Gregory Benford 6 A Chorus Line Joseph Major 10 Attack of the Amazing Colossal Monsters 2 Jim Ivers 11 OctoJoker Joe Major 21 The Challenger Tribute Guy Lillian 25 How to Kill a DeepSouthCon M. Lee Rogers 26 The 16th Collie Mike Resnick 33 Another Chorus Line Rich Dengrove 35 Phobias Mike Estabrook 37 Citadel GHLIII 42 Pluto Now, Then On … Gregory Benford 48 The 2nd Rock from the Sun Tom Rasely 50 Not All Corvettes Are Red Taral Wayne 54 Another Asimov Story Gregory Benford 59 Richard Lupoff: A Life in the Zines Gregory Benford 60 Robin Goodfellow Rose-Marie & Guy Lillian 62 Challenger #40 is GHLIII Press Publication #1200. © 2016 by Guy H. Lillian III. All individual copyrights return to contributors upon first print/web publication. 1 The Challenger editorial … A PAEAN TO A PRESS GHLIII Press Publication #1200. That’s the mark established by this issue of Challenger. 1200 fanzines … And it only took me a sliver shy of 47 years to do it. Actually, not all of my 1200 publications were fanzines, per se. Maybe 30 were newsletters or such for the co-op dorms where I lived at the University of California. One I recall was an attempt to sell a couch. A couple were flyers for wandered cats. -
At the Mercy of Gaia Deep Ecological Unrest and America's Fall As
At the Mercy of Gaia Deep Ecological Unrest and America’s fall as Nature’s Nation in Kingdom of the Spiders By Jacob Lillemose & Karsten Wind Meyhoff Abstract This paper looks as the animal horror genre as a way to discuss current notions of ecology in relation to a specific American idea of being "Nature's Nation". The central work for the discussion is the movie Kingdom of the Spiders (1977) by John Cardos, which depicts how a small Arizona town is taken over by a "swarm" of tarantulas. Without any obvious explanation the spiders slowly but steadily invade the town and start killing both other animals and humans until they have completely covered the town in their web. The paper connects the movie to a long tradition of fiction describing how nature turns on humans and reverses the power relation be- tween man and nature that is fundamental to modernity. Moreover, the paper con- nects the movie to Maurice Maeterlincks ideas of swarm communities as mani- fested by ants and termites to argue that these communities are ecologically superior to the the communities of man-made civilisation. Finally, the paper discusses King- dom of the Spiders and animal horror in general in relation to recent ideas of non- human ecologies and critiques of anthropocentrism and makes the point that these works of fiction serve as both dramatic and philosophical visions of a world without humans. Keywords: Gaia, dark ecology, animal horror, Maurice Maeterlinck, nature's na- tion. Lillemose, Jacob & Karsten Wind Meyhoff “At the Mercy of Gaia: Deep Ecologial Unrest and America’s fall as Nature’s Nation in Kingdom of the Spiders”, Culture Unbound, Volume 7, 2015: 386-410.