Let the quiet ones in

2015 ◽  
Author(s):  
Johnny Walker
Keyword(s):  
First Century ◽  
Primary Sources ◽  
Recent History ◽  
Film Production ◽  
Ghost Story ◽  
Market Positioning ◽  
Industry Trade ◽  
Twenty First Century ◽  
The Web ◽  
Trade Press

Chapter 6 returns to industry, and charts the re-emergence of Hammer Films, which, after thirty years, finally went back into film production in the 2000s. Drawing from primary sources such as the industry trade press and interviews, the chapter reflects on Hammer’s recent history, considering briefly the tumultuous 1980s and 1990s, before assessing the company’s market positioning between its re-launch in 2007 with the web serial Beyond the Rave (Matthias Hoene, 2008), through its theatrical success with the blockbuster The Woman in Black in 2012, up until the release of its lower-budgeted ghost story, The Quiet Ones (John Pogue) in 2014. Ultimately, taking into account Hammer’s prominence in much discourse around classic British horror, I use its millennial incarnation to assess its relevance (or not) to the identity of British horror in the twenty-first century.

Out of the box, onto the web: Digitizing images in the Tuzin Archive for Melanesian Anthropology

2020 ◽  
Vol 8 (2) ◽  
pp. 251-268 ◽  
Author(s):  
Cristela Garcia-Spitz ◽  
Kathryn Creely
Keyword(s):  
Twentieth Century ◽  
San Diego ◽  
New Technologies ◽  
First Century ◽  
University Of California ◽  
Online Access ◽  
Twenty First Century ◽  
The University ◽  
Archival Practices ◽  
The Web

How are ethnographic photographs from the twentieth century accessed and represented in the twenty-first century? This report from the Tuzin Archive for Melanesian Anthropology at the University of California San Diego Library provides an overview of the photographic materials, arrangements and types of documentation in the archive, followed by summaries of specific digitization projects of the photographs from physician Sylvester Lambert and anthropologists Roger Keesing and Harold Scheffler, among others. Through the process of digitization and online access, ethnographic photographs are transformed and may be discovered and contextualized in new ways. Utilizing new technologies and forming broad collaborations, these digitization projects incorporate both anthropological and archival practices and also raise ethical questions. This is an in-depth look at what is digitized and how it is described to re/create meaning and context and to bring new life to these images.

Introduction: The Bollywood Eclipse

2015 ◽  
Author(s):  
Neelam Sidhar Wright
Keyword(s):  
First Century ◽  
Film Production ◽  
Indian Cinema ◽  
Aesthetic Style ◽  
Twenty First Century ◽  
And Function ◽  
Film Language

This book examines changes in Bollywood's film production during the twenty-first century, and particularly after its economic liberalisation, giving rise to a ‘New Bollywood’. It shows how the Indian cinema has acquired evidently postmodern qualities and explains what postmodernism means in the context of Bollywood cinema. It also considers what postmodernism tells us about the change and function of Bollywood film language after the twenty-first century. The book describes Bollywood's ‘postmodern turn’ as a form of transformation that reworks or revisits previous aesthetic trends in order to produce a radically different aesthetic. ‘New Bollywood’ refers to contemporary films characterised by a strong postmodern aesthetic style which was not as present in the 1990s. This introductory chapter discusses the meaning of ‘contemporary Bollywood’, postmodernism as a means of reading and interpreting films, and the structure of the book.

James Ussher, Covenant Theology, and Theological Contexts

2020 ◽  
pp. 4-40
Author(s):  
Harrison Perkins
Keyword(s):  
First Century ◽  
Primary Sources ◽  
Covenant Theology ◽  
Secondary Literature ◽  
The Reformation ◽  
History Of ◽  
Twenty First Century ◽  
Major Section

This chapter outlines the arguments of the book and sets them within the context of the expanding scholarly interest in both James Ussher and Reformed covenant theology. This chapter surveys the secondary literature on Ussher from the seventeenth to the twenty-first century, then describes the major arguments about the history of covenant theology and situates Ussher in the context of the development and failure of the Reformation in Ireland by describing the historical circumstances and surveying the major literature about the Irish Reformation. The last major section addresses some of the complexities in authorship, dating, and origin for some of the primary sources from Ussher’s corpus.

Christian Education and Spiritual Formation: Recent History and Future Prospects

2020 ◽  
Vol 17 (3) ◽  
pp. 530-546
Author(s):  
David Setran ◽  
Jim Wilhoit
Keyword(s):  
Twentieth Century ◽  
Christian Education ◽  
Spiritual Formation ◽  
First Century ◽  
Recent History ◽  
Future Prospects ◽  
Twenty First Century ◽  
Cross Fertilization

Throughout the 1980s and 1990s, Christian education and spiritual formation existed in an uneasy tension, running on parallel tracks but also developing mutual points of intersection. This article traces the growing connections between these movements in the last two decades of the twentieth century, the changing emphases in this relationship since 2000, and the need for further cross-fertilization between the two fields as ministries face the challenges of the twenty-first century.

Prolegomena to the Study of the Jewish Magical Tradition

2009 ◽  
Vol 8 (1) ◽  
pp. 107-150 ◽  
Author(s):  
Gideon Bohak
Keyword(s):  
Cross Cultural ◽  
First Century ◽  
Primary Sources ◽  
Historical Period ◽  
Main Claim ◽  
Jewish Communities ◽  
Jewish Society ◽  
Starting Point ◽  
Trace Processes ◽  
Twenty First Century

Recent years have seen a steady rise in the scholarly interest in Jewish magic. The present paper seeks to take stock of what has already been done, to explain how further study of Jewish magical texts and artifacts might make major contributions to the study of Judaism as a whole, and to provide a blueprint for further progress in this field. Its main claim is that the number of unedited and even uncharted primary sources for the study of Jewish magic is staggering, and that these sources must serve as the starting point for any serious study of the Jewish magical tradition from antiquity to the twenty-first century. Such a study must both compare the Jewish magical texts and practices of each historical period with those of the contemporaneous non-Jewish world, and thus trace processes of cross-cultural contacts and influences, and compare the Jewish magical texts and practices of one period with those of another, so as to detect processes of inner-Jewish continuity and transmission. Finally, such a study must flesh out the place of magical practices and practitioners within the Jewish society of different periods, and within different Jewish communities.

Contemporary Ghosts

2019 ◽  
pp. 131-143
Author(s):  
Murray Leeder
Keyword(s):  
Reality Television ◽  
New Technology ◽  
Popular Media ◽  
Horror Films ◽  
First Century ◽  
Ghost Story ◽  
Critical Commentary ◽  
The Media ◽  
Twenty First Century ◽  
Western Media

This chapter tracks the dominant trends of the twenty-first-century ghost. It argues that Sadako, the techno-onryō from Ringu (1998), has proved a model that would spread in countless ways, cementing the idea of the media ghost in both Asian and western media, sometimes focused on new technology but with a surprising tendency to evoke ‘outdated’ media as haunted/haunting residue. It also discusses the availability of the ghost not only to popular media like reality television and to middlebrow horror films such as those of Blumhouse Pictures, but also to ‘legitimate’ art, like Sarah Water’s The Little Stranger (2007) and works by films like film auteurs like ApichatpongWeerasethakul, Guillermo del Toro and Guy Maddin. It proposes that many of these works provide their own critical commentary on the ghost story itself.

Virginia Woolf, Filmmaker

2021 ◽  
pp. 604-621
Author(s):  
Jacqueline Shin
Keyword(s):  
Virginia Woolf ◽  
First Century ◽  
Ghost Story ◽  
General Overview ◽  
Twenty First Century ◽  
Modes Of Engagement

This chapter considers the afterlives of Virginia Woolf, beginning with a general overview and then turning to Woolf’s legacy in film. Whereas a few filmmakers have attempted to adapt Woolf’s works with varying degrees of success, a handful of twenty-first-century filmmakers have moved towards alternative modes of engagement beyond adaptation. Mark Cousins, François Ozon, David Lowery, and Alex Garland, this chapter suggests, have embraced Woolf as an experimental filmmaker, as one of them. Her writing helps focalize the explorations of identity, loss, and survival in What Is This Film Called Love? (2012), Under the Sand (2000), A Ghost Story (2017), and Annihilation (2018). No longer are Woolf’s biography, her body, or even particular works at the forefront of her legacy; this chapter argues that in this eclectic group of films, Woolf and her writing are not only vaporized and reconfigured but also, problematically, domesticated and neutered.

Post-Horror

2021 ◽  
Author(s):  
David Church
Keyword(s):  
Political Identity ◽  
First Century ◽  
New Wave ◽  
Popular Film ◽  
Ghost Story ◽  
Horror Genre ◽  
Twenty First Century ◽  
The Witch ◽  
The Aesthetic ◽  
Entertainment Value

Horror’s longstanding reputation as a popular but culturally denigrated genre has been challenged by a new wave of films mixing arthouse minimalism with established genre conventions. Variously dubbed “elevated horror” and “post-horror” in popular film criticism, texts such as The Babadook, It Follows, The Witch, It Comes at Night, Get Out, The Invitation, Hereditary, Midsommar, A Ghost Story, and mother! represent an emerging nexus of taste, politics, and style that has often earned outsized acclaim from high-minded critics and populist rejection by wider audiences. Post-Horror is the first full-length study of one of the most important and divisive movements in twenty-first-century horror cinema. It argues that the affect produced by these films’ minimalist aesthetic has fueled taste-based disagreements between professional film critics, genre fans, and more casual viewers about whether the horror genre can or should be upheld as more than a populist entertainment form, especially as the genre turned away from the post-9/11 debates about graphic violence that consumed the first decade of the twenty-first century. The book thus explores the aesthetic qualities, historical precursors, affective resonances, and thematic concerns of this emerging cycle by situating these texts within revived debates between over the genre’s larger artistic, cultural, and entertainment value. Chapters include thematic analyses of trauma, gaslighting, landscape, existential dread, and political identity across a range of films straddling the line between art-horror and multiplex fare since approximately 2013.

scholarly journals Branding Cannabis in Canada: Challenges for the Cannabis Act’s Promotion Restrictions

2021 ◽  
Vol 46 (1) ◽  
Author(s):  
Kyle Asquith
Keyword(s):  
Social Media ◽  
First Century ◽  
Media Environment ◽  
Tobacco Advertising ◽  
Médias Sociaux ◽  
Legal Precedent ◽  
History Of ◽  
Twenty First Century ◽  
Medias Sociaux ◽  
Trade Press

Background: This article examines how Canadian cannabis companies promoted their new brands after legalization in late-2018. Analysis: Nearly 4,000 items were collected from the websites and social media of 20 cannabis brands and triangulated with insight from the trade press. The promotional practices are contextualized in two areas: the history of tobacco advertising in Canada, as legal precedent for the Cannabis Act, and theories of branding.  Conclusion and implications: Brands are navigating the Cannabis Act’s promotion restrictions by embodying what it means to be a brand in the twenty-first-century media environment. This reveals an incompatibility between regulations and contemporary marketing. Contexte : Cet article examine comment les compagnies de cannabis canadiennes ont promu leurs nouvelles marques suivant la légalisation du cannabis à la fin de 2018. Analyse : Sur les sites web et les médias sociaux, on a recueilli près de 4 000 références à vingt marques de cannabis qu’on a triangulées avec des commentaires provenant de la presse spécialisée. On a contextualisé les pratiques de promotion par rapport à deux domaines : celui de l’histoire de la publicité pour le tabac au Canada comme précurseur légal de la Loi sur le cannabis, et celui des théories sur la valorisation de la marque. Conclusion et implications : Les compagnies de cannabis, tout en respectant les restrictions sur la promotion imposées par la Loi sur le cannabis, cherchent à incarner ce que cela veut dire que d’être une marque de commerce dans l’environnement médiatique du 21e siècle. Les contraintes sur les compagnies soulignent cependant une incompatibilité entre la réglementation et le marketing contemporain.

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