DOCSLIB.ORG

Bibliography

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bibliography Bibliography Agamben , Giorgio . Homo Sacer: Sovereignty and Bare Life . Trans. Daniel Heller- Roazen (Stanford: University Press, 1998 ). —— . ‘On Security and Terror’, Trans. Soenke Zehle, in Frankfurter Allgemeine Zeitung , 2011. Web. 10 September 2011 . Akdeniz , Yaman . Sex on the Net: The Dilemma of Policing Cyberspace (Reading: South Street Press, 1999 ). Alexander , Yonah . ‘The Media and Terrorism’, in Contemporary Terror: Studies in Sub-State Violence , Ed. by David Carlton and Carlo Schaerf (Basingstoke: Macmillan, 1981 ), pp. 50–65. Alien, Dir. Ridley Scott (20th Century Fox, 1979 ). Althusser , Louis . On Ideology (London: Verso, 2008 ). Anderson , Benedict . Imagined Communities: Reflections on the Origin and Spread of Nationalism (London: Verso, 1991 ). Apocalypse Now , Dir. Francis Ford Coppola (United Artists, 1979 ). Arendt , Hannah . The Human Condition (New York: Doubleday Anchor Books, 1959 ). Avisar , Ilan . Screening the Holocaust: Cinema’s Images of the Unimaginable (Bloomington: Indiana University Press, 1988 ). Badiou , Alain . On Beckett , Ed. Alberto Toscano and Nina Power (Manchester: Clinamen Press, 2003 ). —— . Being and Event , Trans. Oliver Feltham (London: Continuum, 2005 ). Badley , Linda . Film, Horror, and The Body Fantastic (Westport, Connecticut: Greenwood Press, 1995 ). Bal , Mieke . Reading “Rembrandt”: Beyond the Word-Image Opposition (Cambridge: Cambridge University Press, 1991 ). Ball , James , Matthew Taylor, and Tim Newburn . ‘Reading the Riots’, The Guardian (5 December 2011 ). Barker , Martin , and Julian Petley . ‘Introduction: From Bad Research to Good – A Guide for the Perplexed’, in Ill Effects: The Media/Violence Debate , Ed. Martin Barker and Julian Petley, second edition (London, New York: Routledge, 2001 ), pp. 1–27. Barnes , Peter . To Be or Not To Be? (London: BFI, 2002 ). Barthes , Roland . Mythologies , Trans. Annette Lavers (London: Paladin, 1973 ). —— . Barthes: Selected Writings , Ed. Susan Sontag (Oxford: Fontana, 1983 ). —— . Empire of Signs , Trans. Richard Howard (London: Jonathan Cape, 1983 ). —— . The Neutral , Trans. Rosalind E. Krauss and Denis Hollier (New York: Columbia University Press, 2005 ). Bartov , Omer . ‘Spielberg’s Oskar: Hollywood Tries Evil’, in Spielberg’s Holocaust: Critical Perspectives on Schindler’s List, Ed. Yosefa Loshitzky (Bloomington: Indiana University Press, 1997 ), pp. 41–60. Bataille , Georges . Story of the Eye, Trans. Joachim Neugroschel (London: Penguin, 1979 ). 179 180 Bibliography —— . ‘The Use Value of D.A.F. de Sade (An Open Letter to my Current Comrades)’, in Visions of Excess: Selected Writings 1927–1939 , Trans. Allan Stoekl (Minneapolis: University of Minnesota Press, 1985 ). Baudrillard , Jean . The Gulf War Did Not Take Place, Trans. Paul Patton (Bloomington: Indiana University Press, 1995 ). Bennett , Susan . Theatre Audiences: A Theory of Production and Reception (London: Routledge, 1990 ). Bentham , Jeremy . The Panopticon Writings (London: Verso, 1995 ). Bergson , Henri . Laughter: An Essay on the Meaning of the Comic , Trans. Cloudesley Brereton and Fred Rothwell (Basingstoke: Macmillan, 1911 ). —— . The Two Sources of Morality and Religion, Trans. R. Ashley Audra and Cloudesley Brereton, with the assistance of W. Horsfall Carter (Notre Dame: Notre Dame University Press, 1977 ). The Blair Witch Project , Dir. Daniel Myrick and Eduardo Sá nchez (Artisan Entertainment, 1999 ). Blanchot , Maurice . Political Writings, 1953–1993 , Trans. Zakir Paul (New York: Fordham University Press, 2010 ). Boccardi , Mariadele . The Contemporary British Historical Novel: Representation, Nation, Empire (Basingstoke: Palgrave Macmillan, 2009 ). Bogue , Ronald , and Marcel Cornis-Pope . ‘Paradigms of Conflict and Mediation in Literary and Cultural Imagination’, in Violence and Mediation in Contemporary Culture , Ed. Ronald Bogue and Marcel Cornis-Pope (New York: SUNY Press, 1996 ), pp. 1–17. B ö hnke , Dietmar . ‘Kelman Writes Back’: Literary Politics in the Work of a Scottish Writer (Glienicke, Berlin: Galda & Wilch, 1999 ). Bourne , John , Peter Liddle , and Ian Whitehead . The Great World War 1914–1945. 1. Lightning Strikes Twice (London: Harper Collins, 2000 ). Boutroux , Emile . De la Contingence des Lois de la Nature (Paris: Alkan, 1874) . Boyle , Karen . Media and Violence: Gendering the Debates (London: Sage, 2005 ). Brendon , Piers . The Decline and Fall of the British Empire 1781–1997 (London: Vintage, 2008 ). Breton , Andr é . ‘Manifesto of Surrealism’, in Manifestoes of Surrealism , Trans. Richard Seaver and Helen R. Lane (Michigan: The University of Michigan Press, 1972 ), pp. 1–47. B ü rger , Peter . Theory of the Avant-Garde , Trans. Michael Shaw (Minneapolis: University of Minnesota Press, 1984 ). Butler , Judith . Precarious Life: The Power of Mourning and Violence (London: Verso, 2004 ). —— . Frames of War: When is Life Grievable? (London: Verso, 2009 ). Calvert , Clay . Voyeur Nation: Media, Privacy, and Peering Culture in Modern Culture (Boulder: Westview Press, 2000 ). Captivity , Dir. Roland Joff é (Lionsgate/After Dark Films, 2007 ). Carrington , Leonora . ‘The House of Fear’, in The House of Fear: Notes From Down Below , Ed. Marina Warner (London: Virago, 1989 ), pp. 27–33. —— . ‘The Oval Lady’, in The House of Fear: Notes From Down Below , Ed. Marina Warner (London: Virago, 1989 ) pp. 37–43. —— . ‘The Debutante’, in The House of Fear: Notes From Down Below , Ed. Marina Warner (London: Virago, 1989 ), pp. 44–8. —— . ‘White Rabbits’, in The Seventh Horse and Other Tales , Trans. K. Talbot and A. Kerrigen (London: Virago, 1989 ), pp. 56–60. Bibliography 181 —— . The Hearing Trumpet (London: Virago 1991 ). Carroll , Lewis . Alice’s Adventures in Wonderland and Through the Looking Glass (London: Penguin, 2012 ). Carroll , No ë l . The Philosophy of Horror; or, Paradoxes of the Heart (London: Routledge, 1990 ). —— . ‘Film, Emotion, and Genre’, in Passionate Views: Film Cognition, and Emotion , Ed. Carl Plantinga and Greg Smith (Baltimore: The John Hopkins University Press, 1999 ), pp. 21–47. —— . ‘Why Horror?’, in Horror Film Reader , Ed. Mark Jancovich (London: Routledge, 2002 ), pp. 33–45. Carter , Angela . The Sadeian Woman: An Exercise in Cultural History (London: Virago 1979 ). —— . Wayward Girls and Wicked Women: An Anthology of Stories (London: Virago, 1986 ). —— . ‘The Alchemy of the Word’, in Expletives Deleted : Selected Writings (London: Vintage, 1992 ), pp. 67–73. —— . ‘Notes From the Front Line’, in Shaking a Leg: Collected Writings: Angela Carter, Ed. Jenny Uglow (London: Penguin, 1997 ), pp. 36–43. —— . ‘The Bloody Chamber’, in The Bloody Chamber and Other Stories , Ed. Helen Simpson (London: Vintage, 2007 ), pp. 1–42. Caruth , Cathy . Trauma: Explorations in Memory (Baltimore, London: Johns Hopkins University Press, 1995 ). —— . ‘Traumatic Awakenings’, in Violence, Identity, and Self-Determination, Ed. Hent de Vries and Samuel Weber (Stanford: Stanford University Press, 1997 ). Cixous , H é l è ne . ‘The Laugh of the Medusa’, in Signs 1/4 (Summer 1976 ), 875–93. Chadwick , Whitney . Women Artists and the Surrealist Movement (London: Thames and Hudson, 1985 ). Cherry , Brigid . ‘Refusing to Look: Female Viewers of the Horror Film’, in Horror Film Reader , Ed. Mark Jancovich (London: Routledge, 2002 ), pp.169–78. Clayson , Alan with Barb Jungr and Robb Johnson . Woman: The Incredible Life of Yoko Ono (New Malden: Chrome Dreams. 2004 ). Clover , Carol J . ‘Her Body, Himself: Gender in the Slasher Film’, Representations 20 ( 1987 ), 187–228. Cloverfield , Dir. Matt Reeves (Paramount Pictures, 2008 ). Colvile , Georgina M.M . ‘Women Artists, Surrealism and Animal Representation’, in Angels of Anarchy : Women Artists and Surrealism , Ed. Patricia Allmer (Manchester: Manchester City Art Gallery, 2009 ), pp. 64–73. Connolly , Linda . ‘Feminist Politics and the Peace Process’, Capital and Class 69 ( 1999 ), 145–59. Cosgrove , Denis . ‘Landscape and Landschaft’, GHI Bulletin 35 (Fall 2004 ), 57–71. Countryman , John , and Charlotte Headrick . ‘The “End” of Violence in Northern Ireland: Gender, Dramaturgy, and the Limits of Aristotelian Form’, in Theatre and Violence , Ed. John W. Frick (Tuscaloosa: Southeastern Theatre Conference and the University of Alabama Press, 1999 ), pp. 64–76. Coward , Martin . Urbicide: The Politics of Urban Destruction (London: Routledge, 2009 ). Craig , Cairns . ‘Resisting Arrest: James Kelman’, in The Scottish Novel Since The Seventies: New Visions, Old Dreams , Ed. Gavin Wallace and R.W. Stevenson (Edinburgh: Edinburgh University Press, 1993 ), pp. 99–114. 182 Bibliography —— . ‘Kelman’s Glasgow Sentence’, in The Edinburgh Companion to James Kelman , Ed. Scott Hames (Edinburgh: Edinburgh University Press, 2010 ), pp. 75–85. Crane , Ralph . J. G. Farrell: The Critical Grip (London: Four Courts Press, 1998 ). Crane , Ralph , and Jennifer Livett . Troubled Pleasures: The Fiction of J.G. Farrell (Dublin: Four Courts Press, 1997 ). Creed , Barbara . The Monstrous-Feminine: Film, Feminism, Psychoanalysis (London: Routledge, 1993 ). Cusick , Suzanne, G . ‘Music as Torture/Music as Weapon’, in Revista Transcultural de Mú sica/Transcultural Music Review 10 ( 2006 ) www.sibetrans.com/trans/a152/ music-as-torture-music-as-weapon. Danto , Arthur C . The Abuse of Beauty: Aesthetics and the Concept of Art (Chicago: Carus, 2003 ). Dawson , Graham . Making Peace With the Past?: Memory, Trauma, and the Irish Troubles (Manchester: Manchester University Press, 2007 ). Day , Aidan . Angela
Load more

Recommended publications
  • Marble Hornets, the Slender Man, and The
    DIGITAL FOLKLORE: MARBLE HORNETS, THE SLENDER MAN, AND THE EMERGENCE OF FOLK HORROR IN ONLINE COMMUNITIES by Dana Keller B.A., The University of British Columbia, 2005 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Film Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) December 2013 © Dana Keller, 2013 Abstract In June 2009 a group of forum-goers on the popular culture website, Something Awful, created a monster called the Slender Man. Inhumanly tall, pale, black-clad, and with the power to control minds, the Slender Man references many classic, canonical horror monsters while simultaneously expressing an acute anxiety about the contemporary digital context that birthed him. This anxiety is apparent in the collective legends that have risen around the Slender Man since 2009, but it figures particularly strongly in the Web series Marble Hornets (Troy Wagner and Joseph DeLage June 2009 - ). This thesis examines Marble Hornets as an example of an emerging trend in digital, online cinema that it defines as “folk horror”: a subgenre of horror that is produced by online communities of everyday people— or folk—as opposed to professional crews working within the film industry. Works of folk horror address the questions and anxieties of our current, digital age by reflecting the changing roles and behaviours of the everyday person, who is becoming increasingly involved with the products of popular culture. After providing a context for understanding folk horror, this thesis analyzes Marble Hornets through the lens of folkloric narrative structures such as legends and folktales, and vernacular modes of filmmaking such as cinéma direct and found footage horror.
    [Show full text]
  • 24 Frames SF Tube Talk Reanimation in This Issue Movie News TV News & Previews Anime Reviews by Lee Whiteside by Lee Whiteside News & Reviews
    Volume 12, Issue 4 August/September ConNotations 2002 The Bi-Monthly Science Fiction, Fantasy & Convention Newszine of the Central Arizona Speculative Fiction Society 24 Frames SF Tube Talk ReAnimation In This Issue Movie News TV News & Previews Anime Reviews By Lee Whiteside By Lee Whiteside News & Reviews The next couple of months is pretty slim This issue, we’ve got some summer ***** Sailor Moon Super S: SF Tube Talk 1 on genre movie releases. Look for success stories to talk about plus some Pegasus Collection II 24 Frames 1 Dreamworks to put Ice Age back in the more previews of new stuff coming this ***** Sherlock Hound Case File II ReAnimation 1 theatre with some extra footage in advance fall. **** Justice League FYI 2 of the home video release and Disney’s The big news of the summer so far is **** Batman: The Animated Series - Beauty & The Beast may show up in the success of The Dead Zone. Its debut The Legend Begins CASFS Business Report 2 regular theatre sometime this month. on USA Network on June 16th set **** ZOIDS : The Battle Begins Gamers Corner 3 September is a really dry genre month, with records for the debut of a cable series, **** ZOIDS: The High-Speed Battle ConClusion 4 only the action flick Ballistic: Eck Vs *** Power Rangers Time Force: Videophile 8 Sever on the schedules as of press time. Dawn Of Destiny Musty Tomes 15 *** Power Rangers Time Force: The End Of Time In Our Book (Book Reviews) 16 Sailor Moon Super S: Special Feature Pegasus Collection II Hary Potter and the Path to the DVD Pioneer, 140 mins, 13+ Secrets DVD $29.98 by Shane Shellenbarger 7 In Sailor Moon Super S, Hawkeye, Convention & Fandom Tigereye, and Fisheye tried to find Pegasus by looking into peoples dreams.
    [Show full text]
  • Speed Kills / Hannibal Production in Association with Saban Films, the Pimienta Film Company and Blue Rider Pictures
    HANNIBAL CLASSICS PRESENTS A SPEED KILLS / HANNIBAL PRODUCTION IN ASSOCIATION WITH SABAN FILMS, THE PIMIENTA FILM COMPANY AND BLUE RIDER PICTURES JOHN TRAVOLTA SPEED KILLS KATHERYN WINNICK JENNIFER ESPOSITO MICHAEL WESTON JORDI MOLLA AMAURY NOLASCO MATTHEW MODINE With James Remar And Kellan Lutz Directed by Jodi Scurfield Story by Paul Castro and David Aaron Cohen & John Luessenhop Screenplay by David Aaron Cohen & John Luessenhop Based upon the book “Speed Kills” by Arthur J. Harris Produced by RICHARD RIONDA DEL CASTRO, pga LUILLO RUIZ OSCAR GENERALE Executive Producers PATRICIA EBERLE RENE BESSON CAM CANNON MOSHE DIAMANT LUIS A. REIFKOHL WALTER JOSTEN ALASTAIR BURLINGHAM CHARLIE DOMBECK WAYNE MARC GODFREY ROBERT JONES ANSON DOWNES LINDA FAVILA LINDSEY ROTH FAROUK HADEF JOE LEMMON MARTIN J. BARAB WILLIAM V. BROMILEY JR NESS SABAN SHANAN BECKER JAMAL SANNAN VLADIMIRE FERNANDES CLAITON FERNANDES EUZEBIO MUNHOZ JR. BALAN MELARKODE RANDALL EMMETT GEORGE FURLA GRACE COLLINS GUY GRIFFITHE ROBERT A. FERRETTI SILVIO SARDI “SPEED KILLS” SYNOPSIS When he is forced to suddenly retire from the construction business in the early 1960s, Ben Aronoff immediately leaves the harsh winters of New Jersey behind and settles his family in sunny Miami Beach, Florida. Once there, he falls in love with the intense sport of off-shore powerboat racing. He not only races boats and wins multiple championship, he builds the boats and sells them to high-powered clientele. But his long-established mob ties catch up with him when Meyer Lansky forces him to build boats for his drug-running operations. Ben lives a double life, rubbing shoulders with kings and politicians while at the same time laundering money for the mob through his legitimate business.
    [Show full text]
  • Marble Hornets, the Slender Man, and the Emergence Of
    DIGITAL FOLKLORE: MARBLE HORNETS, THE SLENDER MAN, AND THE EMERGENCE OF FOLK HORROR IN ONLINE COMMUNITIES by Dana Keller B.A., The University of British Columbia, 2005 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Film Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) December 2013 © Dana Keller, 2013 Abstract In June 2009 a group of forum-goers on the popular culture website, Something Awful, created a monster called the Slender Man. Inhumanly tall, pale, black-clad, and with the power to control minds, the Slender Man references many classic, canonical horror monsters while simultaneously expressing an acute anxiety about the contemporary digital context that birthed him. This anxiety is apparent in the collective legends that have risen around the Slender Man since 2009, but it figures particularly strongly in the Web series Marble Hornets (Troy Wagner and Joseph DeLage June 2009 - ). This thesis examines Marble Hornets as an example of an emerging trend in digital, online cinema that it defines as “folk horror”: a subgenre of horror that is produced by online communities of everyday people— or folk—as opposed to professional crews working within the film industry. Works of folk horror address the questions and anxieties of our current, digital age by reflecting the changing roles and behaviours of the everyday person, who is becoming increasingly involved with the products of popular culture. After providing a context for understanding folk horror, this thesis analyzes Marble Hornets through the lens of folkloric narrative structures such as legends and folktales, and vernacular modes of filmmaking such as cinéma direct and found footage horror.
    [Show full text]
  • Found-Footage Horror and the Frame's Undoing
    Found-Footage Horror and the Frame’s Undoing by CECILIA SAYAD Abstract: This article fi nds in the found-footage horror cycle an alternative way of under- standing the relationship between horror fi lms and reality, which is usually discussed in terms of allegory. I propose the investigation of framing, considered both fi guratively (framing the fi lm as documentary) and stylistically (the framing in handheld cameras and in static long takes), as a device that playfully destabilizes the separation between the fi lm and the surrounding world. The article’s main case study is the Paranormal Activity franchise, but examples are drawn from a variety of fi lms. urprised by her boyfriend’s excitement about the strange phenomena registered with his HDV camera, Katie (Katie Featherston), the protagonist of Paranormal Activity (Oren Peli, 2007), asks, “Are you not scared?” “It’s a little bizarre,” he replies. “But we’re having it documented, it’s going to be fi ne, OK?” S This reassuring statement implies that the fi lm image may normalize the events that make up the fabric of Paranormal Activity. It is as if by recording the slamming doors, fl oating sheets, and passing shadows that take place while they sleep, Micah and Katie could tame the demon that follows the female lead wherever she goes. Indeed, the fi lm repeatedly shows us the two characters trying to make sense of the images they capture, watching them on a computer screen and using technology that translates the recorded sounds they cannot hear into waves they can visualize.
    [Show full text]
  • Movieguide.Pdf
    Movies Without Nudity A guide to nudity in 8,345 movies From www.movieswithoutnudity.com Red - Contains Nudity Movies I Own 300: Rise of an Empire (2014) A. I. - Artificial Intelligence (2001) A La Mala (aka Falling for Mala) (2014) A-X-L (2018) A.C.O.D. (2013) [Male rear nudity] Abandon (2002) The Abandoned (2007) Abe Lincoln in Illinois (1940) Abel's Field (2012) The Abolitionists (2016) Abominable (2019) Abominable (2020) About a Boy (2002) About Adam (2001) About Last Night (1986) About Last Night (2014) About Schmidt (2002) About Time (2013) Above and Beyond (2014) Above Suspicion (1995) Above the Rim (1994) Abraham (1994) [Full nudity of boys playing in water] The Absent-Minded Professor (1961) Absolute Power (1997) Absolutely Fabulous: The Movie (2016) An Acceptable Loss (2019) Accepted (2006) The Accountant (2016) Ace in the Hole (1951) Ace Ventura: When Nature Calls (1995) [male rear nudity] Achilles' Love (2000) Across the Moon (1995) Across the Universe (2007) Action Jackson (1988) Action Point (2018) Acts of Violence (2018) Ad Astra (2019) Adam (2009) Adam at 6 A.M. (1970) Adam Had Four Sons (1941) Adam Sandler's Eight Crazy Nights (2002) Adam's Apples (2007) Adam's Rib (1949) Adaptation (2002) The Addams Family (2019) Addams Family Values (1993) Addicted (2014) Addicted to Love (1997) [Depends on who you ask, but dark shadows obscure any nudity.] The Adjuster (1991) The Adjustment Bureau (2011) The Admiral: Roaring Currents (aka Myeong-ryang) (2014) Admission (2013) Adrenaline Rush (2002) Adrift (2018) Adult Beginners (2015) Adult Life Skills (2019) [Drawings of penises] Adventures in Dinosaur City (1992) Adventures of Baron Munchausen (1989) Adventures of Buckaroo Banzai Across the 8th Dimension (1984) The Adventures of Elmo In Grouchland (1999) The Adventures of Huck Finn (1993) Adventures of Icabod and Mr.
    [Show full text]
  • An Investigation of Priming, Self-Consciousness, and Allegiance in the Diegetic Camera Horror Film
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Oxford Brookes University: RADAR An investigation of priming, self-consciousness, and allegiance in the diegetic camera horror film by Peter Turner A thesis submitted in partial fulfilment of the requirements of the award of Doctor of Philosophy by Oxford Brookes University Submitted June 2017 Statement of originality Some of the discussion of The Blair Witch Project throughout this thesis has formed the basis for a book, Devil’s Advocates: The Blair Witch Project (Auteur, 2014). Some of the discussion of priming in chapter four was also used in a conference paper, Behind the Camera: Priming the Spectator of Found Footage Horror, delivered at The Society for Cognitive Studies of the Moving Image in 2015. Sections on personal imagining also formed the basis of a conference paper, Personal Imagining and the Point-of-View Shot in Diegetic Camera Horror Films, delivered at The Society for Cognitive Studies of the Moving Image in 2017. Finally, significant amounts of Chapter 3 and Chapter 5 will be featured in two chapters of an upcoming edited collection on found footage horror films with the working title [Rec] Terror: Essays on Found Footage Horror Films. i Abstract The main research question underpinning this study asks why and how the diegetic camera technique has become so popular to both contemporary horror filmmakers and audiences. In order to answer this question, this thesis adopts a mainly cognitive theoretical framework in order to address the mental schemata and processes that are elicited and triggered by these films.
    [Show full text]
  • Sunday Morning Grid 6/28/15 Latimes.Com/Tv Times
    SUNDAY MORNING GRID 6/28/15 LATIMES.COM/TV TIMES 7 am 7:30 8 am 8:30 9 am 9:30 10 am 10:30 11 am 11:30 12 pm 12:30 2 CBS CBS News Sunday Morning (N) Å Face the Nation (N) Paid Program PGA Tour Golf 4 NBC News (N) Å Meet the Press (N) Å News Paid Program Red Bull Signature Series From Las Vegas. Å 5 CW News (N) Å In Touch Hour Of Power Paid Program 7 ABC News (N) Å This Week News (N) News (N) News (N) Paid Vista L.A. Paid 9 KCAL News (N) Joel Osteen Hour Mike Webb Woodlands Paid Program 11 FOX In Touch Joel Osteen Fox News Sunday Midday Paid Program Golf U.S. Senior Open Championship, Final Round. 13 MyNet Paid Program Paid Program 18 KSCI Man Land Paid Church Faith Paid Program 22 KWHY Cosas Local Jesucristo Local Local Gebel Local Local Local Local RescueBot RescueBot 24 KVCR Painting Dowdle Joy of Paint Wyland’s Paint This Painting Kitchen Mexican Cooking BBQ Simply Ming Lidia 28 KCET Raggs Space Travel-Kids Biz Kid$ News Asia Insight BrainChange-Perlmutter 30 Days to a Younger Heart-Masley 30 ION Jeremiah Youssef In Touch Bucket-Dino Bucket-Dino Doki (TVY7) Doki (TVY7) Dive, Olly Dive, Olly The Bodyguard ›› (R) 34 KMEX Paid Conexión Paid Program Al Punto (N) Tras la Verdad República Deportiva (N) 40 KTBN Walk in the Win Walk Prince Carpenter Liberate In Touch PowerPoint It Is Written Pathway Super Kelinda Jesse 46 KFTR Paid Program Madison ›› (2001) Jim Caviezel, Jake Lloyd.
    [Show full text]
  • GWST 37(04).Book(GWST a 305169.Fm)
    Women’s Studies, 37:411–427, 2008 Copyright © Taylor & Francis Group, LLC ISSN: 0049-7878 print / 1547-7045 online DOI: 10.1080/00497870802050019 GWST0049-78781547-7045Women’s StudiesStudies, Vol. DO37, No. 4, Mar 2008: YOUpp. 0–0 WANT TO WATCH? A STUDY OF THE VISUAL RHETORIC OF THE POSTMODERN HORROR FILM DoJody You Keisner Want to Watch? JODY KEISNER University of Nebraska—Omaha, Omaha, Nebraska This article explores the psychological and social effects of horror (slasher) movies, focusing on the 2003 thriller feardotcom. The question, “Why do we watch?” is investigated, using narrative and philosophical theories to analyze this and slasher films’ far-reaching cultural implications. The visual rhetoric of the post- modern horror movie is also analyzed in relation to its value as a social text, specifically questioning the validity of the Final Girl as an archetype for feminine power. Slasher film critics such as Carol Clover, Daniel Linz, Edward Donnerstein, Fred Molitor and Barry Sapolsky disagree about whether or not slasher films are primarily misogynistic texts and if the most recent depictions of the Final Girl can be read as a step towards feminine empowerment. This article uses narrative theory to interrogate the construction and grammer of the slasher film, among other things, investigating who the male and female audiences are encouraged to identify with while watching. I am irresistibly drawn to horror movies and simultaneously repulsed by them. For years I have been watching “men” in various forms of physical or mental deformation chase a predominantly young, adolescent population of victims through dark homes and cornfields, wielding knifes, chainsaws, drills, axes, and other weapons of destruction.
    [Show full text]
  • Movies and Mental Illness Using Films to Understand Psychopathology 3Rd Revised and Expanded Edition 2010, Xii + 340 Pages ISBN: 978-0-88937-371-6, US $49.00
    New Resources for Clinicians Visit www.hogrefe.com for • Free sample chapters • Full tables of contents • Secure online ordering • Examination copies for teachers • Many other titles available Danny Wedding, Mary Ann Boyd, Ryan M. Niemiec NEW EDITION! Movies and Mental Illness Using Films to Understand Psychopathology 3rd revised and expanded edition 2010, xii + 340 pages ISBN: 978-0-88937-371-6, US $49.00 The popular and critically acclaimed teaching tool - movies as an aid to learning about mental illness - has just got even better! Now with even more practical features and expanded contents: full film index, “Authors’ Picks”, sample syllabus, more international films. Films are a powerful medium for teaching students of psychology, social work, medicine, nursing, counseling, and even literature or media studies about mental illness and psychopathology. Movies and Mental Illness, now available in an updated edition, has established a great reputation as an enjoyable and highly memorable supplementary teaching tool for abnormal psychology classes. Written by experienced clinicians and teachers, who are themselves movie aficionados, this book is superb not just for psychology or media studies classes, but also for anyone interested in the portrayal of mental health issues in movies. The core clinical chapters each use a fabricated case history and Mini-Mental State Examination along with synopses and scenes from one or two specific, often well-known “A classic resource and an authoritative guide… Like the very movies it films to explain, teach, and encourage discussion recommends, [this book] is a powerful medium for teaching students, about the most important disorders encountered in engaging patients, and educating the public.
    [Show full text]
  • The South According to Quentin Tarantino
    University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 2015 The South According To Quentin Tarantino Michael Henley University of Mississippi Follow this and additional works at: https://egrove.olemiss.edu/etd Part of the American Studies Commons Recommended Citation Henley, Michael, "The South According To Quentin Tarantino" (2015). Electronic Theses and Dissertations. 887. https://egrove.olemiss.edu/etd/887 This Thesis is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. THE SOUTH ACCORDING TO QUENTIN TARANTINO A Thesis presented in partial fulfillment of requirements for the degree of Master of Arts in the Department of the Center for the Study of Southern Culture The University of Mississippi by MICHAEL LEE HENLEY August 2015 Copyright Michael Lee Henley 2015 ALL RIGHTS RESERVED ABSTRACT This thesis explores the filmmaker Quentin Tarantino’s portrayal of the South and southerners in his films Pulp Fiction (1994), Death Proof (2007), and Django Unchained (2012). In order to do so, it explores and explains Tarantino’s mixture of genres, influences, and filmmaking styles in which he places the South and its inhabitants into current trends in southern studies which aim to examine the South as a place that is defined by cultural reproductions, lacking authenticity, and cultural distinctiveness. Like Godard before him, Tarantino’s movies are commentaries on film history itself. In short, Tarantino’s films actively reimagine the South and southerners in a way that is not nostalgic for a “southern way of life,” nor meant to exploit lower class whites.
    [Show full text]
  • The Contemporary American Horror Film Remake, 2003-2013
    RE-ANIMATED: THE CONTEMPORARY AMERICAN HORROR FILM REMAKE, 2003-2013 Thesis submitted by Laura Mee In partial fulfilment of the requirements for the award of Doctor of Philosophy De Montfort University, March 2014 Abstract This doctoral thesis is a study of American horror remakes produced in the years 2003-2013, and it represents a significant academic intervention into an understanding of the horror remaking trend. It addresses the remaking process as one of adaptation, examines the remakes as texts in their own right, and situates them within key cultural, industry and reception contexts. It also shows how remakes have contributed to the horror genre’s evolution over the last decade, despite their frequent denigration by critics and scholars. Chapter One introduces the topic, and sets out the context, scope and approach of the work. Chapter Two reviews the key literature which informs this study, considering studies in adaptation, remaking, horror remakes specifically, and the genre more broadly. Chapter Three explores broad theoretical questions surrounding the remake’s position in a wider culture of cinematic recycling and repetition, and issues of fidelity and taxonomy. Chapter Four examines the ‘reboots’ of one key production company, exploring how changes are made across versions even as promotion relies on nostalgic connections with the originals. Chapter Five discusses a diverse range of slasher film remakes to show how they represent variety and contribute to genre development. Chapter Six considers socio-political themes in 1970s horror films and their contemporary post-9/11 remakes, and Chapter Seven focuses on gender representation and recent genre trends in the rape-revenge remake.
    [Show full text]