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Un Film Di Darren Lynn Bousman
LIONSGATE e TWISTED PICTURES Presentano una produzione BURG/KOULES/HOFFMAN un film di Darren Lynn Bousman Con Tobin Bell Shawnee Smith Donnie Wahlberg Angus Macfayden Bahar Soomekh Dina Meyer Un’esclusiva per l’Italia Rai Cinema Distribuzione Uscita: 9 marzo 2007 Durata : 107’ SAW III CAST ARTISTICO JIGSAW TOBIN BELL AMANDA SHAWNEE SMITH JEFF ANGUS MACFAYDEN ERIC MATTHEWS DONNIE WAHLBERG LYNN BAHAR SOOMEKH KERRY DINA MEYER CAST TECNICO REGIA DARREN LYNN BOUSMAN SCENEGGIATURA LEIGH WHANNELL SOGGETTO LEIGH WHANNELL AND JAMES WAN PRODUTTORI GREGG HOFFMAN OREN KOULES MARK BURG COPRODUTTORE GREG COPELAND PRODUTTORI ESECUTIVI DANIEL JASON HEFFNER JAMES WAN LEIGH WHANNELL STACY TESTRO PETER BLOCK JASON CONSTANTINE DIRETTORE DELLA FOTOGRAFIA DAVID A. ARMSTRONG SCENOGRAFIE DAVID HACKL COSTUMI ALEX KAVANAUGH COORDINATORE EFFETTI SPECIALI TIM GOOD MONTAGGIO KEVIN GREUTERT MUSICHE CHARLIE CLOUSER CASTING STEPHANIE GORIN, C.S.A., C.D.C. - 2 - SAW III SINOSSI Assieme alla sua nuova apprendista Amanda (Shawnee Smith), l’Enigmista, il burattinaio che si cela dietro i giochi crudeli e contorti che hanno terrorizzato un’intera comunità e sconcertato la polizia, è riuscito ancora una volta ad evitare la cattura e a svanire nel nulla. Mentre gli agenti locali si danno da fare per trovarlo, la dottoressa Lynn Denlon (Bahar Soomekh) e Jeff (Angus Macfayden) non sanno che stanno per diventare le ultime pedine della sua perversa scacchiera. Dalla Twisted Pictures e dalla Lionsgate arriva il capitolo più inquietante e psicologicamente intenso di questa serie horror. Saw III vede protagonisti Shawnee Smith e Tobin Bell. Il film è diretto da Darren Lynn Bousman (Saw II), da un soggetto dei creatori originali della serie Leigh Whannell e James Wan (Saw, Saw II), mentre la sceneggiatura è affidata a Whannell. -
A Dark New World : Anatomy of Australian Horror Films
A dark new world: Anatomy of Australian horror films Mark David Ryan Faculty of Creative Industries, Queensland University of Technology A thesis submitted in fulfillment of the degree Doctor of Philosophy (PhD), December 2008 The Films (from top left to right): Undead (2003); Cut (2000); Wolf Creek (2005); Rogue (2007); Storm Warning (2006); Black Water (2007); Demons Among Us (2006); Gabriel (2007); Feed (2005). ii KEY WORDS Australian horror films; horror films; horror genre; movie genres; globalisation of film production; internationalisation; Australian film industry; independent film; fan culture iii ABSTRACT After experimental beginnings in the 1970s, a commercial push in the 1980s, and an underground existence in the 1990s, from 2000 to 2007 contemporary Australian horror production has experienced a period of strong growth and relative commercial success unequalled throughout the past three decades of Australian film history. This study explores the rise of contemporary Australian horror production: emerging production and distribution models; the films produced; and the industrial, market and technological forces driving production. Australian horror production is a vibrant production sector comprising mainstream and underground spheres of production. Mainstream horror production is an independent, internationally oriented production sector on the margins of the Australian film industry producing titles such as Wolf Creek (2005) and Rogue (2007), while underground production is a fan-based, indie filmmaking subculture, producing credit-card films such as I know How Many Runs You Scored Last Summer (2006) and The Killbillies (2002). Overlap between these spheres of production, results in ‘high-end indie’ films such as Undead (2003) and Gabriel (2007) emerging from the underground but crossing over into the mainstream. -
THE ASMSU October 25, 2007 • Vol
THE ASMSU October 25, 2007 • Vol. 102, Issue 10 BLACK BOX THE ELLEN 5 MUSIC VENUE? MSU COUNSELING NEW TO MSU v1u mav •• ellglllle fer a cllnlcal researeh studV sp1ns1red 11v • •h1rm1ceut1cal cem11anv. HEY YOU! Qualified participants must: Have a 6 month history of pusistent asthma YEAH YOU ... • Be 12 years or older. • Use ~ inhaled steroid medication at least -' weeks More than ants love prior to first visit. a discarded popsicle • Be a non-smoker at least twelve months prior to first visit. on a sidewalk, the ASMSU Exponent Qualified participants will receive: LOVES feedback! Investigational inhaler with study medication or placebo (an inactive substance) Study related medical exams and lab tests Please send your • Compensation for their participation rants, raves, To foul out ifyou 11uzy qualifY, please call and heartfelt expressions of your 406-585-2444 undying love to ALAN A WANDERER M.D. letters@exponent. ALLERGY &ASTHMA CONSULTANTS OF MONTANA. PLLC montana.edu 2015 Charlotte Street, Suite 1 • Bozeman, l\IT 59718 $ $ masthead THIS ISSUE BROUGHT TO YOU BY: $ ...!l_ $~UDENT ADVOCATES ·rFOR FINANCIAL EDUCATION FINANCIAL TIP OF THE WEEK MANAGEMENT EDITORIAL . ONLINE SHOPPING ADVISOR NEWS EDITOR Bill Wilke Lacey Gray Shop Wisely Know Your Big.ht:s s Comp.m· Pncn 011/mc .ind Loe.ii EDITOR-IN-CHIEF STATIC EDITOR $ Amanda Larrinaga $ R cad rhc Fmc Re.id rb,• Produa Dc.,cnpnon C1rdul/1· Scott Obemesser Pnnr $ C71eck !Jcltl'cn· lJ.uc.> • $ MANAGING EDITOR DISTRACTIONS EDITOR $ RtTICW JU Protecr } our Pn1 •l<T Kelsey Dzintars Emma Lynn rI '.i1T:J11r1e> ercr l:-m.:u! personal or financial mformation $ PL1ei' Order.• on .J 5ixurc Sc·l1"cr. -
July 23, 2021/14 Av 5781 Next Deadline July 30, 2021 16 Pages
Non-Profit Organization U.S. Postage PAID Norwich, CT 06360 Permit #329 Serving The Jewish Communities of Eastern Connecticut & Western R.I. CHANGE SERVICE RETURN TO: 28 Channing St., New London, CT 06320 REQUESTED VOL. XLVII NO.14 PUBLISHED BI-WEEKLY JULY 23, 2021/14 AV 5781 NEXT DEADLINE JULY 30, 2021 16 PAGES HOW TO REACH US - PHONE 860-442-8062 • FAX 860-540-1475 • EMAIL [email protected] • BY MAIL: 28 CHANNING STREET, NEW LONDON, CT 06320 JFEC Annual Campaign Kickoff Annual Harold Juli Memorial & Ice Cream Social - It’s So Cool! Cantors’ Concert August 1 Come and enjoy a fun afternoon on You must register to attend. Congregation Beth El of Waterford/New 2007, after which the synagogue Sunday, August 8, 2021 from 4:30- The deadline to register is London is pleased to present its annual Harold Board of Directors voted to name D. Juli Memorial Cantor’s Concert on Sunday, the event in his memory; sadly, 6:30 PM at the Hygienic Art Park at Wed., Aug. 4. August 1, 2021, beginning at 7:00 PM via Zoom. he was to be the congregation’s 79 Bank Street, New London. Here’s how to register: This year will feature two crowd-pleasers, next president. 1. Online by going to the www. Hazzan Sanford Cohn and Cantor Michael Zoos- There is no charge to view the JFEC.com website. Go to man who will be accompanied by pianist Na- performance, but non-members event date on the calendar tasha Ulyanovsky. They will be performing a are asked to please contact the at the bottom of the home variety of music genres including Ladino, show synagogue at 860-442-0418 or page and click on JFEC An- tunes, Hebrew songs, North American pop by email [email protected] for nual Kick Off – Ice Cream Jewish composers, Yiddish songs, and Jewish the Zoom link; the event will be Social and follow the direc- songs of healing. -
Filmic Bodies As Terministic (Silver) Screens: Embodied Social Anxieties in Videodrome
FILMIC BODIES AS TERMINISTIC (SILVER) SCREENS: EMBODIED SOCIAL ANXIETIES IN VIDEODROME BY DANIEL STEVEN BAGWELL A Thesis Submitted to the Graduate Faculty of WAKE FOREST UNIVERSITY GRADUATE SCHOOL OF ARTS AND SCIENCES in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Communication May 2014 Winston-Salem, North Carolina Approved By: Ron Von Burg, Ph.D., Advisor Mary Dalton, Ph.D., Chair R. Jarrod Atchison, Ph.D. ACKNOWLEDGMENTS A number of people have contributed to my incredible time at Wake Forest, which I wouldn’t trade for the world. My non-Deac family and friends are too numerous to mention, but nonetheless have my love and thanks for their consistent support. I send a hearty shout-out, appreciative snap, and Roll Tide to every member of the Wake Debate team; working and laughing with you all has been the most fun of my academic career, and I’m a better person for it. My GTA cohort has been a blast to work with and made every class entertaining. I wouldn’t be at Wake without Dr. Louden, for which I’m eternally grateful. No student could survive without Patty and Kimberly, both of whom I suspect might have superpowers. I couldn’t have picked a better committee. RonVon has been an incredibly helpful and patient advisor, whose copious notes were more than welcome (and necessary); Mary Dalton has endured a fair share of my film rants and is the most fun professor that I’ve had the pleasure of knowing; Jarrod is brilliant and is one of the only people with a knowledge of super-violent films that rivals my own. -
CHLA 2017 Annual Report
Children’s Hospital Los Angeles Annual Report 2017 About Us The mission of Children’s Hospital Los Angeles is to create hope and build healthier futures. Founded in 1901, CHLA is the top-ranked children’s hospital in California and among the top 10 in the nation, according to the prestigious U.S. News & World Report Honor Roll of children’s hospitals for 2017-18. The hospital is home to The Saban Research Institute and is one of the few freestanding pediatric hospitals where scientific inquiry is combined with clinical care devoted exclusively to children. Children’s Hospital Los Angeles is a premier teaching hospital and has been affiliated with the Keck School of Medicine of the University of Southern California since 1932. Table of Contents 2 4 6 8 A Message From the Year in Review Patient Care: Education: President and CEO ‘Unprecedented’ The Next Generation 10 12 14 16 Research: Legislative Action: Innovation: The Jimmy Figures of Speech Protecting the The CHLA Kimmel Effect Vulnerable Health Network 18 20 21 81 Donors Transforming Children’s Miracle CHLA Honor Roll Financial Summary Care: The Steven & Network Hospitals of Donors Alexandra Cohen Honor Roll of Friends Foundation 82 83 84 85 Statistical Report Community Board of Trustees Hospital Leadership Benefit Impact Annual Report 2017 | 1 This year, we continued to shine. 2 | A Message From the President and CEO A Message From the President and CEO Every year at Children’s Hospital Los Angeles is by turning attention to the hospital’s patients, and characterized by extraordinary enthusiasm directed leveraging our skills in the arena of national advocacy. -
Literatur Und Quellenangaben
Literatur und Quellenangaben Literatur Adair, Gilbert 1989: Hollywood’s Vietnam: From the Green Berets to Full Metal Jacket. Lon- don: Heinemann. Adams, Michael C. C. 1994: The Best War Ever. America and WWII. Maryland: John Hopkins University Press. Affron, Charles 1982: Reading the Fiction of Nonfiction: William Wylers Memphis Belle. In: Quaterly Review of Film Studies 7/1982, S. 53-60. Albrecht, Gerd 1969: Nationalsozialistische Filmpolitik. Eine soziologische Untersuchung über die Spielfilme des Dritten Reiches. Stuttgart: Ferdinand Enke. Aldana Reyes, Xavier 2013: Violence and Mediation: The Ethics of Spectatorship in the Twenty-First Century Horror Film. In: Matthews, Graham; Goodman, Sam (Hrsg.): Violence and the Limits of Representation. London, New York: Palgrave Macmillan. Alexandre, Marianne; Sinclair, Andrew 1968: La Grande Illusion. London: St James. Alison, Landsberg 2004: Prosthetic Memory: The Transformation of American Remembrance in the Age of Mass Culture. New York, Chichester: Columbia University Press. Alter, Jonathan 2003: In Bed with the Pentagon. In: News Week 10.3.2003, S. 45. Altman, Rick 1995: A Semantic/Syntactic Approach to Film Genre. In: Grant, Barry Keith (Hrsg.): Film Genre Reader II. Austin: University of Texas Press, S.26-40. Aly, Götz 2005: Hitlers Volkstaat. Raub, Rassenkrieg und nationaler Sozialismus. Frankfurt am Main: Fischer. Andén-Papadopoulos, Kari 2009a: Body horror on the internet: U.S. soldiers recording the war in Iraq and Afghanistan. In: Media, Culture and Society, Vol. 31 (6), S. 921-938. Andén-Papadopoulos, Kari 2009b: US soldiers imaging the Iraq War on YouTube. In: Popular Communication, Vol. 7, Issue 1, S. 17-27. Anderegg, Michael 1991a: Introduction. In: Anderegg, Michael (Hrsg.): Inventing Vietnam: The War in Film and Television. -
Exploring the Chinese Metal Scene in Contemporary Chinese Society (1996-2015)
"THE SCREAMING SUCCESSOR": EXPLORING THE CHINESE METAL SCENE IN CONTEMPORARY CHINESE SOCIETY (1996-2015) Yu Zheng A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS December 2016 Committee: Jeremy Wallach, Advisor Esther Clinton Kristen Rudisill © 2016 Yu Zheng All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor This research project explores the characteristics and the trajectory of metal development in China and examines how various factors have influenced the localization of this music scene. I examine three significant roles – musicians, audiences, and mediators, and focus on the interaction between the localized Chinese metal scene and metal globalization. This thesis project uses multiple methods, including textual analysis, observation, surveys, and in-depth interviews. In this thesis, I illustrate an image of the Chinese metal scene, present the characteristics and the development of metal musicians, fans, and mediators in China, discuss their contributions to scene’s construction, and analyze various internal and external factors that influence the localization of metal in China. After that, I argue that the development and the localization of the metal scene in China goes through three stages, the emerging stage (1988-1996), the underground stage (1997-2005), the indie stage (2006-present), with Chinese characteristics. And, this localized trajectory is influenced by the accessibility of metal resources, the rapid economic growth, urbanization, and the progress of modernization in China, and the overall development of cultural industry and international cultural communication. iv For Yisheng and our unborn baby! v ACKNOWLEDGMENTS First of all, I would like to show my deepest gratitude to my advisor, Dr. -
Jigsaw: Torture Porn Rebooted? Steve Jones After a Seven-Year Hiatus
Originally published in: Bacon, S. (ed.) Horror: A Companion. Oxford: Peter Lang, 2019. This version © Steve Jones 2018 Jigsaw: Torture Porn Rebooted? Steve Jones After a seven-year hiatus, ‘just when you thought it was safe to go back to the cinema for Halloween’ (Croot 2017), the Saw franchise returned. Critics overwhelming disapproved of franchise’s reinvigoration, and much of that dissention centred around a label that is synonymous with Saw: ‘torture porn’. Numerous critics pegged the original Saw (2004) as torture porn’s prototype (see Lidz 2009, Canberra Times 2008). Accordingly, critics such as Lee (2017) characterised Jigsaw’s release as heralding an unwelcome ‘torture porn comeback’. This chapter will investigate the legitimacy of this concern in order to determine what ‘torture porn’ is and means in the Jigsaw era. ‘Torture porn’ originates in press discourse. The term was coined by David Edelstein (2006), but its implied meanings were entrenched by its proliferation within journalistic film criticism (for a detailed discussion of the label’s development and its implied meanings, see Jones 2013). On examining the films brought together within the press discourse, it becomes apparent that ‘torture porn’ is applied to narratives made after 2003 that centralise abduction, imprisonment, and torture. These films focus on protagonists’ fear and/or pain, encoding the latter in a manner that seeks to ‘inspire trepidation, tension, or revulsion for the audience’ (Jones 2013, 8). The press discourse was not principally designed to delineate a subgenre however. Rather, it allowed critics to disparage popular horror movies. Torture porn films – according to their detractors – are comprised of violence without sufficient narrative or character development (see McCartney 2007, Slotek 2009). -
Track Listing Street Date: June 21Th, 2011
Street Date: June 21th, 2011 I Set My Friends On Fire have come a long way since their electro‐hardcore cover of Soulja Boy’s “Crank Dat” became an internet sensation in 2008. Their Epitaph debut You Can’t Spell Laughter Without Slaughter both established them as a unique blend of boy‐band pop, Timbaland elctrobeat and Grindcore, and placed them at the cutting edge of a movement that includes breakout bands like Attack Attack and I See Stars. Now comes their long‐ anticipated second release, Astral Rejection, continuing the trajectory started with their Track Listing debut, but finding the band experimenting with dubstep and IDM, and finding a heavier 1. It Comes Naturally hardcore sound. Building on the successes of the first album – from their triumphant run on 2. Infinite Suck the 2010 Scream It Like You Mean It tour with Silverstein and Emery, to the 15 million Youtube views for their Smosh.com collaboration “Sex Ed Rocks” – Astral Rejection will 3. Excite Dyke launch I Set My Friends On Fire to the stars and beyond. 4. My paralyzed brother taps his foot to this beat • ISMFOF played The Artery Foundation SXSW Showdown and will be playing the entire 5. Astral Rejection 2011 Warped Tour. 6. Developer, the horn • Track It Comes Naturally featured on the Epitaph 2011 sampler (10,000 given away at 7. Narcissismfof indie records stores for Record Store Day). 8. Kief Catcher 9. Erectangles • The Smosh.com Sex Ed Rocks has over 15 million views on YouTube 10. Life Hertz 11. CACAFUEGO, Nuestra Señora de • Things That Rhyme With Orange Music video has over 1.5 million views on You Tube la Concepción! • Epitaph debut release You Can't Spell Slaughter Without Laughter has soundscanned Top Ten Markets: New York, Los Angeles, over 42,000 records to date. -
Network Films: a Global Genre?
Network Films: a Global Genre? Vivien Claire Silvey December 2012 A thesis submitted for the degree of Doctor of Philosophy of The Australian National University. ii This thesis is solely my original work, except where due reference is given. iii Acknowledgements I am extremely grateful for all the time and effort my dear supervisor Cathie Summerhayes has invested throughout this project. Her constant support, encouragement, advice and wisdom have been absolutely indispensable. To that master of words, puns and keeping his hat on during the toughest times of semester, Roger Hillman, I extend profound gratitude. Roger‟s generosity with opportunities for co-publishing, lecturing and tutoring, and enthusiasm for all things Turkish German, musical and filmic has been invaluable. For all our conversations and film-loans, I warmly say to Gino Moliterno grazie mille! I am indebted to Gaik Cheng Khoo, Russell Smith and Fiona Jenkins, who have provided valuable information, lecturing and tutoring roles. I am also grateful for the APA scholarship and for all the helpful administration staff in the School of Cultural Inquiry. At the heart of this thesis lies the influence of my mother Elizabeth, who has taken me to see scores of “foreign” and “art” films over the years, and my father Jerry, with whom I have watched countless Hollywood movies. Thank you for instilling in me a fascination for all things “world cinema”, for your help, and for providing a caring home. To my gorgeous Dave, thank you for all your love, motivation, cooking and advice. I am enormously honoured to have you by my side. -
Multiculturalism Must Come to a Truce: Hollywood and the Perpetual Browning of the Nation Belle Harrell
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 Multiculturalism Must Come to a Truce: Hollywood and the Perpetual Browning of the Nation Belle Harrell Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES MULTICULTURALISM MUST COME TO A TRUCE: HOLLYWOOD AND THE PERPETUAL BROWNING OF THE NATION By BELLE HARRELL A Dissertation submitted to the Interdisciplinary Program in the Humanities in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2006 The members of the Committee approve the Dissertation of Belle Harrell defended on April 5, 2006. Maxine D. Jones Professor Directing Dissertation R. B. Bickley Outside Committee Member Neil Jumonville Committee Member Maricarmen Martínez Committee Member Approved: David F. Johnson, Director, Interdisciplinary Program in the Humanities Joseph Travis, Dean, College of Arts and Sciences The Office of Graduate Studies has verified and approved the above named committee members. ii This dissertation is dedicated to my sister and my best friend – Heidi Harrell. Janie is fortunate to have her as a mother. iii ACKNOWLEDGEMENTS I would like to acknowledge those professors whose influence is reflected in this work: Dr. Bruce Bickley, Dr. V.J. Conner, Dr. Eugene Crook, Dr. Maxine D. Jones, Dr. Neil Jumonville, and Dr. Maricarmen Martínez. Not only have you made me a better student and a better teacher, but a better person. iv TABLE OF CONTENTS ABSTRACT ...................................................................................................... vi MULITICULTURALISM IN REVIEW ............................................................ 1 THE HUMAN STAIN IS MOST CERTAINLY HATRED: AN ANALYSIS OF THE HUMAN CONDITION…….