Craven Images: The Road to Scream

Scream ◽  
2019 ◽  
pp. 25-42
Author(s):  
Steven West
Keyword(s):  
The Road ◽  
Living Dead ◽  
George Romero

This chapter cites Peter Hutchings, who defines post-1972 American horror cinema as marking the advent of the horror-auteur director, believing horror to be the only genre that acquired its own 'customised movie-brats'. It talks about how Hutchings distinguishes the rising collective of horror 'brats' from the often-overlooked inadvertent 'specialists' as they were 'wholeheartedly committed to the genre as a suitable vehicle for the expression of ideas. It also talks about George Romero, who was universally acknowledged as the first of the 'brats' following his 1968 debut Night of the Living Dead. This chapter describes the marketing of Wes Craven's Scream that had to play to the strength of his core audience. It recounts how Craven as a veteran horror filmmaker cut together early footage of Scream as evidence that the complex tonal-combination was viable.

Migan

1994 ◽  
Vol 68 (1-2) ◽  
pp. 123-133
Author(s):  
Richard Price ◽  
Sally Price
Keyword(s):  
Tree Of Life ◽  
The Road ◽  
Green Leaves ◽  
Living Dead ◽  
The Caribbean

[First paragraph]Our friend Charlemagne (a.k.a. Émilien), who lives down the road and considers himself a breadfruit connoisseur, says that there's only one other tree in southern Martinique whose fruit compares with ours. From our back porch, during the tree's several flowerings each year, we can reach out and piek low-growing fruit by hand, or with a knife-and-pole contraption cut down a milk-flecked orb from higher up in the broad green leaves. This particular tree may even be descended from the oldest breadfruit in the Caribbean, for Martinique was already blessed with trees, transported from "L'ïle-de-France" (Mauritius), by the time Captain Bligh made his 1791-93 voyage from Polynesia, "bringing breadfruit from what was seen to be a Tree of Life in the islands of Paradise ... the very symbol of a free and unencumbered life ... to feed slaves, the living dead of the Caribbean"(Dening 1992:4, 11).

Horror Cities

2020 ◽  
Vol 35 (1) ◽  
pp. 139-159
Author(s):  
Benjamin Balthaser
Keyword(s):  
Full Employment ◽  
Human Reproduction ◽  
Traumatic Experience ◽  
Traumatic Memory ◽  
Political Unconscious ◽  
Art And Politics ◽  
The Road ◽  
Postindustrial City ◽  
Living Dead ◽  
A Site

In both art and politics, the deindustrialized city would seem to have taken on the qualities of the “unrepresentable,” a traumatic experience that can only be recorded by its attendant silence, or of depoliticized representation in genres such as “ruin porn.” Despite or perhaps because of this, the postindustrial city is ubiquitous within the genres of scifi/speculative, fantasy, and horror cinema, appearing consistently as backdrop, symbol, animus, and even in some cases, character. Given the wide literature on horror film, haunting, and traumatic memory, this article suggests we read the emergence of the “horror city” as a representation of the political unconscious of this historical conjuncture. Many films refer back to older mythologies of imperial and racial conquest, but also by doing so represent the symbol of modernity—the city—as travel back to a traumatic past. Yet within this return to history, there is a contest over allegory. Contrasting neoconservative narratives of films like The Road (dir. John Hillcoat, US, 2009) and the slasher film Hostel (dir. Eli Roth, US/Germany/Czech Republic/Slovakia/Iceland, 2005) suggests that the future has not vanished but rather has been spatially dislocated to the peripheries, as the modern site of production returns to inflict pain only on those unaware of its existence. And perhaps more radical still, two independent films, Vampz (dir. Steve Lustgarten, US, 2004) and Hood of the Living Dead (dir. Eduardo and Jose Quiroz, US, 2005), suggest that the abandoned city is still a site for the basic labor of human reproduction even as the infrastructure of full employment has vanished. As a counternarrative to both “ruin porn” and the “horror city,” these low-budget films offer the deindustrialized city as a site of mutuality and political contestation rather than a mystified object of horror and abjection.

Petrification and Petroleum

Film Studies ◽  
2019 ◽  
Vol 21 (1) ◽  
pp. 38-52
Author(s):  
Chuck Jackson
Keyword(s):  
The Body ◽  
Horror Films ◽  
Living Dead ◽  
George Romero ◽  
Oil Crisis

Invasion of the Body Snatchers (dir. Don Siegel, 1956), The Birds (dir. Alfred Hitchcock, 1963), and Night of the Living Dead (dir. George Romero, 1968) imbue scenes that take place at a gas pump with a horror so intense, it petrifies. As three of the earliest American horror films to feature a monstrous exchange at the pump, they transform the genre by reimagining automotive affect. This article examines the cinematic mood created when petrification meets petroleum, providing an alternative look at American oil culture after 1956, but before the oil crisis of 1973.

scholarly journals Impermanência Entusiasta: A Noite dos Mortos-Vivos e o espírito de 1968

2018 ◽  
Vol 21 (1) ◽  
pp. 185
Author(s):  
Lucio Reis Filho ◽  
Alfredo Suppia
Keyword(s):  
Living Dead ◽  
George Romero

<p>Propomos analisar A Noite dos Mortos-Vivos (Night of the Living Dead, 1968), do cineasta norte-americano George Romero, enquanto representação cinemática do intricado momento histórico em que foi produzido. O filme de Romero surge no fatídico ano de 1968, que marca o fim do sonho de uma geração. Portanto, será observado enquanto manifesto da contracultura por sua crítica anti-establishment, que denuncia o esfacelamento da sociedade civil, o desmembramento das instituições, a desarticulação do poder instituído e a ineficácia dos meios de comunicação. Dialogando com uma geração que vive à sombra de uma guerra iminente, revela também os medos e tensões atinentes à era atômica.<strong></strong></p>

Seeking to uncover biology's chemical roots

2019 ◽  
Vol 3 (5) ◽  
pp. 435-443 ◽  
Author(s):  
Addy Pross
Keyword(s):  
Environmental Changes ◽  
Biological Systems ◽  
Significant Development ◽  
The Road ◽  
Physical Chemical ◽  
Systems Chemistry ◽  
Biological World ◽  
Inanimate Matter ◽  
The Origin Of Life ◽  
Opening Up

Despite the considerable advances in molecular biology over the past several decades, the nature of the physical–chemical process by which inanimate matter become transformed into simplest life remains elusive. In this review, we describe recent advances in a relatively new area of chemistry, systems chemistry, which attempts to uncover the physical–chemical principles underlying that remarkable transformation. A significant development has been the discovery that within the space of chemical potentiality there exists a largely unexplored kinetic domain which could be termed dynamic kinetic chemistry. Our analysis suggests that all biological systems and associated sub-systems belong to this distinct domain, thereby facilitating the placement of biological systems within a coherent physical/chemical framework. That discovery offers new insights into the origin of life process, as well as opening the door toward the preparation of active materials able to self-heal, adapt to environmental changes, even communicate, mimicking what transpires routinely in the biological world. The road to simplest proto-life appears to be opening up.

Community Colleges: Vital Partners on the Road to Diversity

ASHA Leader ◽  
2006 ◽  
Vol 11 (5) ◽  
pp. 14-17 ◽  
Author(s):  
Shelly S. Chabon ◽  
Ruth E. Cain
Keyword(s):  
Community Colleges ◽  
The Road ◽  
On The Road

The Role of Crushes on the Road to Autonomy

2009 ◽  
Vol 43 (9) ◽  
pp. 18-19
Author(s):  
MICHAEL S. JELLINEK
Keyword(s):  
The Road ◽  
On The Road
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