Halloween: How It Came into the World

Halloween ◽  
2015 ◽  
pp. 25-36
Author(s):  
Murray Leeder ◽  
Murray Leeder
Keyword(s):  
Horror Film ◽  
New Wave ◽  
Independent Film ◽  
Large Role ◽  
Academic Interest ◽  
Independent Cinema ◽  
New Hollywood ◽  
Initial Release ◽  
The World ◽  
Film Producer

This chapter discusses how Halloween (1978) was developed and created. John Carpenter's name appears above the title on Halloween, but the project existed before he came on board. Independent film producer Irwin Yablans rightly claims the mantle of ‘The Man Who Created Halloween’, the title of his 2012 autobiography. The project reached Carpenter with the tentative title The Babysitter Murders before it became Halloween shortly thereafter; but Carpenter is still quick to credit Yablans for conceiving the title and the concept. Yablans' marketing and distribution ingenuity played a large role in securing Halloween's success but it went far beyond anyone's expectations, reportedly making back its original budget sixty-fold in its initial release alone. It seems apparent that Halloween was uniquely positioned to benefit from overlapping currents in the New Hollywood, the American independent cinema, ‘youth cinema’, and the horror film. Halloween was also well positioned to benefit from a new wave of academic interest in the horror film.

Introduction

2018 ◽  
pp. 1-10
Author(s):  
Jennifer O'Meara
Keyword(s):  
New Wave ◽  
Independent Cinema ◽  
New Hollywood ◽  
French New Wave

This introduction explore the book’s aims of demonstrating the ability of dialogue to engage audiences and bind together the narrative, aesthetic and performative elements of selected independent cinema, from the 1980s until the present day. The chapter justifies the focus on the verbally creative works of Wes Anderson, Noah Baumbach, Hal Hartley, Jim Jarmusch, Richard Linklater and Whit Stillman, while highlighting links between such cinema and that of New Hollywood and the French New Wave. It introduces the concept of ‘cinematic verbalism’ and the related label of ‘cinematic verbalists’, which will be used throughout the book to refer to these writer-directors’ work. Overall, the chapter details how, by focusing on the ways in which dialogue in American independent cinema is designed and executed, we can question the association of dialogue-centred films with the ‘literary’ or ‘un-cinematic’.

The Irresistible Rise of Asian Cinema 1

1994 ◽  
Author(s):  
Gerald Pratley
Keyword(s):  
Hong Kong ◽  
South Korea ◽  
Motion Pictures ◽  
The Philippines ◽  
New Wave ◽  
World Today ◽  
The World ◽  
Production Activity ◽  
Exciting Development ◽  
Asian Cinema

PRODUCTION ACTIVITY It was not so many years ago it seems when speaking of motion pictures from Asia meant Japanese films as represented by Akira Kurosawa and films from India made by Satyajit Ray. But suddenly time passes and now we are impressed and immersed in the flow of films from Hong Kong, Taiwan, China, South Korea, the Philippines, with Japan a less significant player, and India and Pakistan more prolific than ever in making entertainment for the mass audience. No one has given it a name or described it as "New Wave," it is simply Asian Cinema -- the most exciting development in filmmaking taking place in the world today. In China everything is falling apart yet it manages to hold together, nothing works yet it keeps on going, nothing is ever finished or properly maintained, and yes, here time does wait for every man. But as far...

viewpoint TIME TO RESTART: PROTOCOL OF RESUMPTION OF ACTIVITIES OF A DERMATOLOGICAL CLINIC OF A LEVEL II HOSPITAL IN THE COVID-19 ERA. (Preprint)

2020 ◽  
Author(s):  
Federico Diotallevi ◽  
Anna Campanati ◽  
Giulia Radi ◽  
Oriana Simonetti ◽  
Emanuela Martina ◽  
...  
Keyword(s):  
Healthcare Workers ◽  
World Health ◽  
New Wave ◽  
Staff Members ◽  
Level Ii ◽  
The World ◽  
Health Organization ◽  
Spread Of Infection ◽  
Hospital Wards ◽  
Medical And Healthcare

UNSTRUCTURED Two months have passed since the World Health Organization (WHO) declared the pandemic of the Coronavirus Disease 19 (COVID-19), caused by the SARS CoV-2 virus, on March 11, 2020. Medical and healthcare workers have continued to be on the frontline to defeat this disease, however, continual changes are being made to their working habits which are proving to be difficult. Since the beginning of the pandemic, a major reorganisation of all hospital wards, including dermatological wards, has been carried out in order to make medical and nursing staff available in COVID wards and to prevent the spread of infection. These strategies, which were also adopted in our clinic, proved to be effective, as no staff members or patients were infected by the virus. Now, thanks to the global decrease in SARS-CovV2 infections, it is necessary to make dermatological wards accessible to patients again, but it is also essential to adopt specific protocols to avoid a new wave of infections.

The Whole World in a Book

2019 ◽  
Keyword(s):  
Nineteenth Century ◽  
Social Mobility ◽  
White Men ◽  
Nation State ◽  
New Wave ◽  
Canadian French ◽  
Language And Literature ◽  
The World ◽  
Lower Status ◽  
Brazilian Sign Language

The nineteenth century saw a new wave of dictionaries, many of which remain household names. Those dictionaries didn’t just store words; they represented imperial ambitions, nationalist passions, religious fervour, and utopian imaginings. The Whole World in a Book explores a period in which globalization, industrialization, and social mobility were changing language in unimaginable ways. Dictionaries in the nineteenth century became more than dictionaries: they were battlefields between prestige languages and lower-status dialects; national icons celebrating the language and literature of the nation-state; and sites of innovative authorship where middle and lower classes, volunteers, women, colonial subjects, the deaf, and missionaries joined the ranks of educated white men in defining how people communicated and understood the world around them. This volume investigates dictionaries in the nineteenth century covering languages as diverse as Canadian French, English, German, Frisian, Japanese, Libras (Brazilian sign language), Manchu, Persian, Quebecois, Russian, Scots, and Yiddish.

The New Miracle of Software Manufacturing Instrument - “10^(-17)”

2014 ◽  
Vol 678 ◽  
pp. 305-308
Author(s):  
Huai Qiao Ying ◽  
Song Shen ◽  
Jin Ming Liu
Keyword(s):  
New Wave ◽  
The World ◽  
At Home

This article points out the views from “Software manufacturing Instrument” to “Software manufacturing Everything” and to “software rebuilds, rules, and defines the world ” , as well as shows the agreement and support at home and abroad to “Software manufacturing Everything”. Software is the crystallization of human’s intelligence, and the new wave of software has become the main competitive force of mainstay industry. This article also provides the consequence that the DASP of COINV measured , an the accuracy reached 10^(-17).

In the Mouth of Madness

2018 ◽  
Author(s):  
Michael Blyth
Keyword(s):  
Free Will ◽  
Horror Genre ◽  
Initial Release ◽  
The World ◽  
Horror Literature ◽  
Global Corporations ◽  
End Of The World

Somewhat overlooked upon its initial release in 1995, John Carpenter's In the Mouth of Madness has since developed a healthy cult reputation. But far more than simply a fan favourite, this closing instalment of the acclaimed director's self-described “apocalypse trilogy” (following The Thing and Prince Of Darkness) stands today as one of his most thematically complex and stylistically audacious pieces of work. The story of an insurance investigator drawn into the supposedly fictional universe of a best-selling horror novelist, the film is an extension of many recurring themes found in Carpenter's filmography (the end of the world, the loss of free will, a distrust of mass industry and global corporations, the cataclysmic resurgence of ancient evil), as well as an affectionate homage to the works of H. P. Lovecraft (and horror literature more broadly) and a self-reflexive celebration of the horror genre that predates the Scream-inspired postmodernist boom of late-nineties genre cinema. While numerous books and countless academic essays have been written about Carpenter's work, surprisingly little has focused exclusively on In the Mouth of Madness, a film which feels more prescient, more essential, and more daringly complex than ever. This book seeks to redress this imbalance, at last positioning this overlooked masterpiece as essential Carpenter.

Cruising

2020 ◽  
Author(s):  
Eugenio Ercolani ◽  
Marcus Stiglegger
Keyword(s):  
Identity Crisis ◽  
Male Sexuality ◽  
Horror Film ◽  
Film Festival ◽  
Distorted Image ◽  
New Hollywood ◽  
Unique Approach ◽  
Academy Award ◽  
Auteur Cinema

When William Friedkin’s psycho thriller Cruising was shown at the Berlin International Film Festival and hit cinemas worldwide in 1980 it was mainly misunderstood: the upcoming gay scene dismissed it as an offence to their efforts to open up to society and a distorted image of homosexuality, prompting the distributors to add a disclaimer that preceded the picture: Genre audiences were confused about the idea of a sexualized cop thriller with procedural drama that frequently turns into a horror film with the identity of the killer changing with each murder. Seen from today’s perspective, Friedkin’s film turned out to be an enduring cult classic documenting the gay leather scene of the late 1970s as well as providing a stunning image of identity crisis and an examination of male sexuality in general. In the fading years of the New Hollywood era (1967–1976), William Friedkin—the ‘New Hollywood Wunderkind’, with an Academy Award for his cop drama, The French Connection (1971), and following the tremendous success of his horror film, The Exorcist (1973)—proves once more the strength of his unique approach in combining genre and auteur cinema to create a fascinating film that turns 40 in 2020. This book dives into the phenomenon that is Cruising: it examines its creative context and its protagonists, as well as explaining its ongoing popularity.

scholarly journals FITOPLANKTON DAN SIKLUS KARBON GLOBAL

OSEANA ◽  
2019 ◽  
Vol 44 (2) ◽  
pp. 35-48
Author(s):  
Mochamad Ramdhan Firdaus ◽  
Lady Ayu Sri Wijayanti
Keyword(s):  
Carbon Cycle ◽  
Primary Productivity ◽  
Net Primary Productivity ◽  
Sedimentary Rocks ◽  
Global Carbon Cycle ◽  
Biological Pump ◽  
Large Role ◽  
The World ◽  
Pump Mechanism ◽  
Global Carbon

PHYTOPLANKTON AND GLOBAL CARBON CYCLE. Scientists around the world believe that phytoplankton, although microscopic, have a large role in the global carbon cycle. Various research results show that the net primary productivity of all phytoplankton in the sea is almost as large as the net primary productivity of all plants on land. Phytoplankton through the process of photosynthesis absorbs 40-50 PgC / year from the atmosphere. Also, phytoplankton is known to be responsible for transporting carbon from the atmosphere to the seafloor through the carbon biological pump mechanism. Phytoplankton from the coccolithophores group is known to play a role in the sequestration of carbon on the seabed through the carbonate pump mechanism. The mechanism is capable of sequestering carbon for thousands of years on the seabed in the form of sedimentary rocks (limestone).

scholarly journals Cliplike Montage and Illusory World

2012 ◽  
Vol 4 (2-3) ◽  
pp. 131-146
Author(s):  
Natalia Ivanovna Utilova
Keyword(s):  
Sense Perception ◽  
Music Video ◽  
Academic Interest ◽  
The World ◽  
The Spectator

The present publication is a fragment of a survey devoted to the emergence and development of the music video montage which enhances the sense perception of screen images plunging the spectator into the world of illusion. The search for the origins of this montage form are of not only academic interest, but reveal certain practical possibilities of using music video montage in various audiovisual genres outside TV.

scholarly journals Social well-being of converted Muslims in different countries of the world

2016 ◽  
Vol 1 (19) ◽  
pp. 171-173
Author(s):  
Olga Maksymenko
Keyword(s):  
Human Life ◽  
Negative Attitude ◽  
Well Being ◽  
Islamic State ◽  
New Wave ◽  
Life Changes ◽  
Ordinary People ◽  
Way Of Life ◽  
The World ◽  
Hostile Attitude

The tendency to intensify Islamophobia in its various manifestations, from the hostile attitude towards the Muslims to open acts of aggression and calls for hatred and violence against the representatives of this religion - unfortunately, has recently been observed in many countries of the world. Some factors contribute to this: firstly, the inspiration by some unscrupulous media of identifying Muslims with terrorists and extremists, a new wave of fear, caused by reports of numerous crimes by militants of the self-proclaimed "Islamic State" (whose activities generally contradict the spirit of Islam as a peaceful and humanistic religion that recognizes human life of the highest value and equates the killing of one person to the murder of all mankind) and recent attacks with a large number of human victims (in particular, in France and Belgium); and secondly, the reluctance of ordinary people to see in their environment those who differ from them (rejection of "someone else", due to the imaginary division of the world into "we" and "they"). Bearers of another culture are perceived as a threat of violations of the usual way of life, changes in the established system of values. Hence, the sharply negative attitude towards refugees from Syria and other Islamic countries.

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