Starts the Same Way Even Ssame Knife Block Facebook…..Stalker

Total Page:16

File Type:pdf, Size:1020Kb

Starts the Same Way Even Ssame Knife Block Facebook…..Stalker Starts the same way Even ssame knife block Facebook…..stalker…….move on with technology…at the time Scream was cutting edge…she calls police on a computer by typing…DVD rentals…watching a DVD at home….moved with the times… Channing Tatum….you’ve been punked….direct reference….phone call Scene from Scream 1 It’s a joke…..same scene in Scream Same looking house….as 1 Film in a film…Stab - self reflexive…..draws attention to its own construction…. Bunch of articulate teens sit around deconstructing horror movies……referring to the fans who watching 4 too… Recycling the same shit……. Death of horror…done to death…..something real about a guy with a knife….. Stab 7….another film in a film in a film….. Twilight Zone – its illogical….. Weird noise…goes to check…. This is the last person you are going to see alive…….again… Lights out…phone on the floor..you know you really should direct horror films…i.e. convnetions….. App on your phone……talk like ghostface…referencing another scream movie….self reflexive….. You’re in my movie…….You are the dumb blonde with the big tits……. Garage door death…direct pastiche to Scream 1 – the death of the whore….self reflexive…..quotation……pastiche…parody…. Cousin of Sidney…..girl from 1…jenny randall… What’s your favourite scarey movie… Wow that was original… One generations tragedy is the next one’s joke… Stab movies based on the scream films…….the wodsboro murders……self reflexive…. Reinvent myself……sign of the times…?????? 10th anniversasry….. What is your favourite scarey movie…line from Stab 1…….quotation…. Media circus……..focus on tragedy…. It is all over the internet……. Is It a bad thing…..checking the rules with the cops…. Murders resemble……Woodsboro….orignal….stab 1 = scream 1 Policemans sister was the whore…… Sidney had a visit from the killer boyfriend too who came through the window.. Watching shaun of the dead…..another postmodern horror zombie movie…parody All double bluf….no one is sure who anyone is anymore……postmodern….what is original, true? Psycho….watch a murder through a window….witness it… This isn’t a movie…it will be……comment on real life stories becoming films….in other words not original stories…. The angel of death…. QUITE ENJOY THE REFERENCING NOW…..BECOMING A FAN….CULTURALLY COMPETENENT…. LIVE VIDEO BLOGGING….. She;s the star……star from tragedy…..what can make you famous? I hate underground car parks……. Resemble pattern of original Woodsboro murders……..stab 1 scream 1 Town curfew again…….same old plot… Posters….quotation….his own films….. The new new version…the killer should be filming the murders…natural next step…..makes your art as immortal as you…….. Who do you think….switch to seeing it through his eyes…what did he just say? Shriekqual and Screamake…. Watching her watching herself…. Pastiche of the scream rules from Scream 1… Modern audiences get savvy to the rules of the original…. You do a remake to outdo the original……….better or the same but different……not necessarily better..how many sequals have failed…??? Stabathon…..fan conventions…… Pub drinking games….. Gale planted a camera just like she did in Scream 1 You do a remake to out do the original….thats what the kid says…. How meta can you get……narrative…meta narrative….big stories……..how watta can you get? Such an in joke…. Psycho shower….girls resembles Drew Barrymore from Scream 1……self reflesive…pastiche…. Reminds us SR that is it is movie…constructed….. He’s behind you….. This time he is making the movie…….film matching real life……. He’s recording the movie…. Movie cop rule…it sucks to be a copy…direct quotation…. Watch the teaser…. Watching stab 7 that we watched earlier….. IS POSTMODERN…..DELIBERATELY SCATHING ABOUT ITSELF? OR POSTMODERN AND IT DOESN’T Police funny Remake of patio Quiz – experts…… Ground breaking….audience in killers pov….peeping tom… She lists millions….. I win…..I win……only to be stabbed…she beats the conventions….but doesn’t…the whore survives…not. Doesn’t happen as fast as it does in the movies…..i know… The reveal……jilll……virgin and the nerd….. This is the part where the cameras turn off….. Boyfriend who dumped you at least made you famous…… Ready for Act 3……..real life mimics film…..makes them more creative…. Trevor is Billy LOmez We are the innocent victims…..Sidney and Randy……. They are going to see it….they just heard about it with you…… No one reads any more….need images…..that’s all…. You’re going to know fame…..like you never even dreamed of……. This time Randy gets the girl……Randy was the nerd in last one…… Well now I am the special one…. There’s a sole survivor….the virgin….. I need fans…..not friends….comment on stardom..celebrity…. 15 minutes of fame….. You don’t have to acehive anything…… DID HE SET OUT TO CREATE A FRANCHISE? DID IT MORPH WITH THE TIMES AND COMMENT ON CELEBRITY?...is it postmodern because it is commenting, reflective, borrows, She gets her celebrity…… First rule of remakes….don’t fuck with the original……. Recap of end scene of Scream 1 when in the hospital….. Woodsboro massacre reboot….. An American hero right out of the movies……when do movies mimic real life or vice versa? .
Recommended publications
  • 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).
    [Show full text]
  • ABSTRACT Title of Document: COMMUNICATING FEAR in FILM
    ABSTRACT Title of Document: COMMUNICATING FEAR IN FILM MUSIC: A SOCIOPHOBIC ANALYSIS OF ZOMBIE FILM SOUNDTRACKS Pedro Gonzalez-Fernandez Master of Arts, 2014 Directed By: Dr. Patrick Warfield, Musicology The horror film soundtrack is a complex web of narratological, ethnographic, and semiological factors all related to the social tensions intimated by a film. This study examines four major periods in the zombie’s film career—the Voodoo zombie of the 1930s and 1940s, the invasion narratives of the late 1960s, the post-apocalyptic survivalist fantasies of the 1970s and 1980s, and the modern post-9/11 zombie—to track how certain musical sounds and styles are indexed with the content of zombie films. Two main musical threads link the individual films’ characterization of the zombie and the setting: Othering via different types of musical exoticism, and the use of sonic excess to pronounce sociophobic themes. COMMUNICATING FEAR IN FILM MUSIC: A SOCIOPHOBIC ANALYSIS OF ZOMBIE FILM SOUNDTRACKS by Pedro Gonzalez-Fernandez Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Master of Arts 2014 Advisory Committee: Professor Patrick Warfield, Chair Professor Richard King Professor John Lawrence Witzleben ©Copyright by Pedro Gonzalez-Fernandez 2014 Table of Contents TABLE OF CONTENTS II INTRODUCTION AND LITERATURE REVIEW 1 Introduction 1 Why Zombies? 2 Zombie Taxonomy 6 Literature Review 8 Film Music Scholarship 8 Horror Film Music Scholarship
    [Show full text]
  • The Zombie in Popular Culture from "Night of the Living Dead" to "Shaun of the Dead"
    Brigham Young University BYU ScholarsArchive Theses and Dissertations 2010-03-17 Ghouls, Hell and Transcendence: The Zombie in Popular Culture from "Night of the Living Dead" to "Shaun of the Dead" Jasie Stokes Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Classics Commons, and the Comparative Literature Commons BYU ScholarsArchive Citation Stokes, Jasie, "Ghouls, Hell and Transcendence: The Zombie in Popular Culture from "Night of the Living Dead" to "Shaun of the Dead"" (2010). Theses and Dissertations. 2103. https://scholarsarchive.byu.edu/etd/2103 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Ghouls, Hell and Transcendence: the Zombie in Popular Culture from Night of the Living Dead to Shaun of the Dead Jasie Stokes A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Carl Sederholm Charlotte Stanford Kerry Soper Department of Humanities, Classics and Comparative Literature Brigham Young University April 2010 Copyright © 2010 Jasie Stokes All Rights Reserved ABSTRACT Ghouls, Hell and Transcendence: the Zombie in Popular Culture from Night of the Living Dead to Shaun of the Dead Jasie Stokes Department of Humanities, Classics and Comparative Literature Master of Arts Considering the amount of media created around the zombie and the sustained interest in its role in our society, we can clearly see that a cultural phenomenon is underway, and it is important for us to question this phenomenon in order to gain some understanding of how and why its appeal has stretched so far.
    [Show full text]
  • California State University, Northridge the Impact of the Silent Scream As A
    CALIFORNIA STATE UNIVERSITY, NORTHRIDGE THE IMPACT OF THE SILENT SCREAM AS A HEALTH EDUCATION INTERVENTION A thesis submitted in partial satisfaction of the requirements for the degree of Master of Public Health by Jacqueline M. Changala January, 1987 (\ . The Thesis of Jacqueline M. Changala is approved: Mary C. ~afker, R.N., M.S. i i ©1986 Jacqueline M. Changala All Rights Reserved ; ; i ACKNOWLEDGEMENTS I wish to acknowledge and thank several individuals and organizations that contributed to this research study. I am grateful to the college instructors who permitted me to enter their classrooms to conduct my research; and to the National Right to Life Committee, Washington, DC; American Portrait Films of Anaheim, California, the production company of The Silent Scream; and The Life Education Center of Santa Ana, California, for their time and expertise. A heartfelt thank you goes to James Fleming, Director of the Computer Center, California State University, Northridge for his countless hours of guidance and programming. I am in deep appreciation to my committee members: to Goteti Krishnamurty, a true educator, for his constant support and direction to "discover"; to Mike Kline for his professional and much-respected advice; and to Mitzi Parker, for her uplifting attitude and encour­ agement. iv TABLE OF CONTENTS ACKNOWLEDGEMENTS iv LIST OF TABLES vi ABSTRACT . • . vii CHAPTER 1 INTRODUCTION • . 1 Background . 1 The Abortion Debate •. 1 The Court Decision 2 Abortion Statistics .. 3 Purpose . 3 Problem Statement .. 3 Null Hypotheses .... 4 Three Student Groups . 4 Comparison of Three Student Groups 4 Review of the Literature ..... 5 Public Opinion of Abortion 5 Factors Affecting Public Opinion 7 Pro-Life Shift in Public Opinion 9 Pro-Life Education Activities .• 14 The Advent of The Silent Scream .
    [Show full text]
  • From Voodoo to Viruses: the Evolution of the Zombie in Twentieth Century Popular Culture
    From Voodoo to Viruses: The Evolution of the Zombie in Twentieth Century Popular Culture By Margaret Twohy Adviser: Dr. Bernice Murphy A thesis submitted in partial fulfilment of the Degree of Master’s of Philosophy in Popular Literature Trinity College Dublin Dublin, Ireland October 2008 2 Abstract The purpose of this thesis is to explore the evolutionary path the zombie has followed in 20th Century popular culture. Additionally, this thesis will examine the defining characteristics of the zombie as they have changed through its history. Over the course of the last century and edging into the 21st Century, the zombie has grown in popularity in film, videogames, and more recently in novels. The zombie genre has become a self-inspiring force in pop culture media today. Films inspired a number of videogames, which in turn, supplied the film industry with a resurgence of inspirations and ideas. Combined, these media have brought the zombie to a position of greater prominence in popular literature. Additionally, within the growing zombie culture today there is an over-arcing viral theme associated with the zombie. In many films, games, and novels there is a viral cause for a zombie outbreak. Meanwhile, the growing popularity of zombies and its widening reach throughout popular culture makes the genre somewhat viral-like as well. Filmmakers, authors and game designers are all gathering ideas from one another causing the some amount of self- cannibalisation within the genre. 3 Table of Contents Introduction 4 Chapter One 7 Evolution of the Dead Chapter Two 21 Contaminants, Viruses, and Possessions—Oh my! Chapter Three 34 Dawn of the (Digital) Dead Chapter Four 45 Rise of the Literary Zombie Conclusion 58 Bibliography 61 4 Introduction There are perhaps few, if any fictional monsters that can rival the versatility of the humble zombie (or zombi)1.
    [Show full text]
  • Taylor Doctoralthesis Complete
    21st Century Zombies: New Media, Cinema, and Performance By Joanne Marie Taylor A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Performance Studies and the Designated Emphasis in Film Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Peter Glazer, Chair Professor Brandi Wilkins Catanese Professor Kristen Whissel Fall 2011 21st Century Zombies: New Media, Cinema, and Performance © 2011 by Joanne Marie Taylor Abstract 21st Century Zombies: New Media, Cinema, and Performance by Joanne Marie Taylor Doctor of Philosophy in Performance Studies and a Designated Emphasis in Film Studies University of California, Berkeley Professor Peter Glazer, Chair This project began with a desire to define and articulate what I have termed cinematic performance, which itself emerged from an examination of how liveness, as a privileged performance studies concept, functions in the 21st century. Given the relative youth of the discipline, performance studies has remained steadfast in delimiting its objects as those that are live—shared air performance—and not bound by textuality; only recently has the discipline considered the mediated, but still solely within the circumscription of shared air performance. The cinema, as cultural object, permeates our lives—it is pervasive and ubiquitous—it sets the bar for quality acting, and shapes our expectations and ideologies. The cinema, and the cinematic text, is a complex performance whose individual components combine to produce a sum greater than the total of its parts. The cinema itself is a performance—not just the acting—participating in a cultural dialogue, continually reshaping and challenging notions of liveness, made more urgent with the ever-increasing use of digital technologies that seem to further segregate what is generally considered real performance from the final, constructed cinematic text.
    [Show full text]
  • Production Notes
    PUBLICITY CONTACTS LA NATIONAL Karen Paul Anya Christiansen Chris Garcia – 42 West (310) 575-7033 (310) 575-7028 (424) 901-8743 [email protected] [email protected] [email protected] NY NATIONAL Sara Groves – 42 West Tom Piechura – 42 West Jordan Lawrence – 42 West (212) 774-3685 (212) 277-7552 (646) 254-6020 [email protected] [email protected] [email protected] REGIONAL Gillian Fischer Linda Colangelo (310) 575-7032 (310) 575-7037 [email protected] [email protected] DIGITAL Matt Gilhooley Grey Munford (310) 575-7024 (310) 575-7425 [email protected] [email protected] Release Date: May 31, 2013 (Limited) Run Time: 92 Minutes For all approved publicity materials, visit www.cbsfilmspublicity.com THE KINGS OF SUMMER Preliminary Production Notes Synopsis Premiering to rave reviews at the 2013 Sundance Film Festival, THE KINGS OF SUMMER is a unique coming-of-age comedy about three teenage friends – Joe (Nick Robinson), Patrick (Gabriel Basso) and the eccentric and unpredictable Biaggio (Moises Arias) - who, in the ultimate act of independence, decide to spend their summer building a house in the woods and living off the land. Free from their parents’ rules, their idyllic summer quickly becomes a test of friendship as each boy learns to appreciate the fact that family - whether it is the one you’re born into or the one you create – is something you can't run away from. ABOUT THE PRODUCTION The Kings of Summer began in the imagination of writer Chris Galletta, who penned his script during his off hours while he was working in the music department of “The Late Show with David Letterman.” After some false starts in screenwriting, Galletta shunned his impulse to write a high-concept tentpole feature and craft something more character-driven and personal.
    [Show full text]
  • The Impact of Social Media on a Movie's Financial Performance
    Undergraduate Economic Review Volume 9 Issue 1 Article 10 2012 Turning Followers into Dollars: The Impact of Social Media on a Movie’s Financial Performance Joshua J. Kaplan State University of New York at Geneseo, [email protected] Follow this and additional works at: https://digitalcommons.iwu.edu/uer Part of the Economics Commons, and the Film and Media Studies Commons Recommended Citation Kaplan, Joshua J. (2012) "Turning Followers into Dollars: The Impact of Social Media on a Movie’s Financial Performance," Undergraduate Economic Review: Vol. 9 : Iss. 1 , Article 10. Available at: https://digitalcommons.iwu.edu/uer/vol9/iss1/10 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Commons @ IWU with permission from the rights-holder(s). You are free to use this material in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This material has been accepted for inclusion by faculty at Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the author of this document. Turning Followers into Dollars: The Impact of Social Media on a Movie’s Financial Performance Abstract This paper examines the impact of social media, specifically witterT , on the domestic gross box office revenue of 207 films released in the United States between 2009 and 2011.
    [Show full text]
  • Introduction
    INTRODUCTION Having picked this book off the shelf, you’re probably asking yourself, “How could there be a neuroscience of zombies?” While yes, zombies do have brains (you have to destroy their brains in order “kill” them, or so the myth goes), we would be hard pressed to make a case that “zombie neuroscience” qualifies as its own field of study. Neuroscience— the study of the brain, particularly its relationship to behavior and cognition—already has its fair share of perhaps silly and fantastical “specialty” subfields; why add to the list? Well, did you know that we neuroscientists have the answer to every thing? Regular readers of the Opinion page of the New York Times or other popular media outlets will already know that neuroscience can explain why you are in love with your iPhone, why lying to your kids about Santa is a neurologically sound form of parenting, and why inducing a coma leads to proof of heaven. You see, by filtering all of human existence through our very muddy lens we can answer all of life’s questions. By our estimates, an fMRI study explaining the meaning of life should be coming out by sometime early 2015 (hint: it involves 42 brain regions). We hate to break it to our colleagues in the fields of philosophy, religion, and physics, but thanks to a few fancy brain imaging machines and a couple of decades of pretty hard think- ing about stuff, we neuroscientists now can understand every- thing, so they’ll probably need to seek employment elsewhere. If neuroscience is the panacea and explanation for everything else, why not the zombie apocalypse? There’s a market for that, right? Verstynen.indb 1 7/24/2014 8:15:00 AM 2 | Introduction Let’s return to the book you are holding in your hands.
    [Show full text]
  • Genre Hybridization in Shaun of the Dead
    Angles New Perspectives on the Anglophone World 1 | 2015 Brevity is the soul of wit Things Are Going to Change: Genre Hybridization in Shaun of the Dead Jean-François Baillon and Nicolas Labarre Electronic version URL: http://journals.openedition.org/angles/2150 DOI: 10.4000/angles.2150 ISSN: 2274-2042 Publisher Société des Anglicistes de l'Enseignement Supérieur Electronic reference Jean-François Baillon and Nicolas Labarre, « Things Are Going to Change: Genre Hybridization in Shaun of the Dead », Angles [Online], 1 | 2015, Online since 01 November 2015, connection on 02 September 2020. URL : http://journals.openedition.org/angles/2150 ; DOI : https://doi.org/10.4000/ angles.2150 This text was automatically generated on 2 September 2020. Angles. New Perspectives on the Anglophone World is licensed under a Creative Commons Attribution- NonCommercial-ShareAlike 4.0 International License. Things Are Going to Change: Genre Hybridization in Shaun of the Dead 1 Things Are Going to Change: Genre Hybridization in Shaun of the Dead Jean-François Baillon and Nicolas Labarre Page 1: ‘Things are going to change’: Genre hybridization in Shaun of the Dead Credits: Jean-François Baillon and Nicolas Labarre. Angles, 1 | 2015 Things Are Going to Change: Genre Hybridization in Shaun of the Dead 2 Page 2: ‘Things are going to change’: Genre hybridization in Shaun of the Dead Credits: Jean-François Baillon and Nicolas Labarre. Page 3: ‘Things are going to change’: Genre hybridization in Shaun of the Dead Credits: Jean-François Baillon and Nicolas Labarre. Angles, 1 | 2015 Things Are Going to Change: Genre Hybridization in Shaun of the Dead 3 Page 4: ‘Things are going to change’: Genre hybridization in Shaun of the Dead Credits: Jean-François Baillon and Nicolas Labarre.
    [Show full text]
  • Scream If You Like His Movies Kevin Williamson’S Strange Ride
    spring 2012 EastThe Magazine of easT Carolina UniversiTy erber g scream if you . s like his movies Kevin Williamson’s strange ride Copyright 2011 by Max by 2011 Copyright from Dawson’s Creek to hollywood vieWfinDer spring 2012 EastThe Magazine of easT Carolina UniversiTy Construction worker Willie Joyner Jr. is part of the renovation of Tyler residence Hall, one of the older dorms on College Hill. Opened as a men’s residence in 1969, it was switched to all women in FEATUrEs 1972 and remained so for 20 30 years. it was named for sCreaM if YOU liKe his MOVIES Arthur Lynwood Tyler, a 2 0 His TV series became former university trustee. By David Menconi Dawson’s Creek Photograph by Forrest Croce iconic, then Kevin Williamson ’87 became king of the scary movie genre and now his scripts about teenage vampires fill primetime TV. He’s had hits and some misses, so now he’s hoping to find an elusive balance in his creative and personal lives. “I’m not good at highs and lows,” he says. hearT Throb 3 0 Professor Sam Sears, a leading 30 authorityBy Spaine onStephens the psychology of living with what are called implantable cardioverter defibrillators (ICDs), helps patients adjust to living with the constant worry that the device will deliver a 700-volt punch. “It’s a modern-day paradox of safety and fear,” he says. “I see more courage on a daily basis than anyone.” genTle gianT 3 6 For 24 years, Dean of Students James TuckerBy Steve laid Tuttle down ’09 the law on campus, from the time of the Big Yellow House Incident through the protests over the 36 Vietnam War.
    [Show full text]
  • BFI Film Quiz – September 2015
    BFI Film Quiz – September 2015 General Knowledge 1 Name the 1950 American drama film which remains the only recipient of four female acting Oscar nominations: two for Best Actress and two for Best Supporting Actress. 2 Which actor links the films The Big Chill, Chaplin and French Kiss? 3 So far in 2015, Universal has become the first studio to have three films grossing $1billion dollars or more worldwide in a single year. Name the films. 4 Which director of films such as Adventures of a Dentist and Come & See, is the only Russian to have received a prestigious BFI Fellowship to date, being so honoured in 1987? 5 The 1986 French period drama Jean de Florette was nominated for ten BAFTA Awards, winning four, including Best Film. But who portrayed the film’s eponymous hero? Taiwanese Cinema 1 For which martial arts film, set in the ninth century, did Hou Hsiao-Hsien win the Best Director Award at this year’s Cannes Film Festival? 2 Hou is also an acclaimed actor, appearing in several films including the lead role in 1984’s Taipei Story, directed by which fellow Taiwanese filmmaker? 3 Which other 1984 film is the first in Hou’s coming-of-age trilogy, followed by The Time to Love and the Time to Die and Dust in the Wind? The film was named in Asia Weekly’s “100 Greatest Chinese Films of the 20th Century”. 4 Winner of the Jury Prize at the 1993 Cannes Film Festival, which Hou film is based on the memoirs of Li Tian-lu, and was voted by Sight & Sound magazine as one of the greatest films ever made? 5 Which 1989 film, directed by Hou and dealing with the so-called White Terror inflicted on the Taiwanese people in the 1940s, won the Golden Lion at the Venice Film Festival? Wes Craven 1 Wes Craven’s feature debut as a director was the 1972 exploitation-horror The Last House on the Left, in- spired by which 1960 Ingmar Bergman film? 2 Perhaps Craven’s most famous creation is Freddy Kreuger, villain of the Nightmare on Elm Street franchise.
    [Show full text]