Male Monsters Still Stalk, Yet More Violent: A Comparative Analysis of Original Slasher Films and Their Remakes

Since its origins in the mid-1970s, the slasher has been defined as a subgenre of horror in which a serial or mass killer stalks and massacres middle-class youngsters, and preferably attractive young women, using cutting weapons or projectiles. In that regard, the twenty-first century has seen a revival of the slasher, combining the release of original movies with remakes of classic films, adapting the traditional plots to the current context. In this paper, a comparative content analysis is performed on 13 slasher films made during the 1970s and the 1980s and 13 remakes premiered in the new millennium, focusing on the differences stemming from the adaptation of the latter to the new sociocultural context. The results indicate that, although there have been a number of changes, such as higher doses of explicit violence and profanity and in the fight responses of the victims, most of the subgenre’s defining traits have remained intact, whereas others, such as those relating to the defining traits of the victims, should be questioned. The limited differences found between the original films and the remakes provide the basis for drawing interesting conclusions about the subgenre itself, as well as to raise discussions about the different contexts of production and reception.

“Shall we put the heart in now?” A comparative analysis between creature features and their single reel abridgements

Single reel abridgements of commercial feature films are entering moving image archives because home movie collections that contain them are slowly increasing in archival representation. The abridged commercial films occupy a liminal space in between sustained preservation efforts that focus on studio films and the current interest paid to preserving home movies. As a result, the abridged films are being neglected. The films’ liminal status stems from a dearth of information regarding their relationship to the original films and a clear definition of what they are narratively and aesthetically. After analyzing fourteen abridged horror and science fiction films found in the Ryerson Moving Image collection and comparing them to their original counterparts this project finds that the abridged films are heavily altered in terms of narrative, characters, and causality, and should be treated as individual objects instead of derivative works, thus absolving their liminal status.

“Shall we put the heart in now?” A comparative analysis between creature features and their single reel abridgements

Single reel abridgements of commercial feature films are entering moving image archives because home movie collections that contain them are slowly increasing in archival representation. The abridged commercial films occupy a liminal space in between sustained preservation efforts that focus on studio films and the current interest paid to preserving home movies. As a result, the abridged films are being neglected. The films’ liminal status stems from a dearth of information regarding their relationship to the original films and a clear definition of what they are narratively and aesthetically. After analyzing fourteen abridged horror and science fiction films found in the Ryerson Moving Image collection and comparing them to their original counterparts this project finds that the abridged films are heavily altered in terms of narrative, characters, and causality, and should be treated as individual objects instead of derivative works, thus absolving their liminal status.

Photostable Anisometric Lanthanide Complexes as Promising Materials for Optical Applications

Uniform luminescent films with high optical quality are promising materials for modern molecular photonics. Such film materials based on β-diketonate complexes of lanthanides have the following application problem: rapid luminescence degradation under UV radiation, low thermostability, poor mechanical properties, and aggregation propensity. An alternative approach to solving these problems is the use of anisometric analogues of β-diketonate compounds of lanthanides (III). The main advantage of such compounds is that they do not crystallize because of long hydrocarbon substituents in the structure of complexes, so they can be used to fabricate thin nano-, micro-, and macroscale uniform film materials by a melt-processing technique at relatively low temperatures, as well as by spin-coating. The method of fabrication of microscale luminescent film materials with controlled optical properties from anisometric analogues of Ln(DBM)3Phen and Ln(bzac)3Phen complexes (Ln = Eu, Tb) is proposed in this paper. Within the framework of this research, we developed original films which are highly uniform and transparent. An important advantage of these films is their high photostability and potential for applications as reusable luminescent sensors and light converters.

Investigating Sound Design in Film: A Commentary on Kock and Louven

Kock and Louven (in this issue) examined the effects of music, sound effects, full sound design (music and sound effects) and no sound on self-reported measures of immersion and suspense in real time, as viewers watched very brief original films. This commentary discusses the method, analysis, and implications of their findings within the broader context of the state of the art of film music research, and future directions for investigations in this area.

Verification Study of Nanostructure Evolution with Heating Treatment between Thin and Thick Fullerene-Like Hydrogen Carbon Films

Fullerene-like hydrogen carbon films with a thin film grown on a NaCl substrate are usually employed to show the nanostructure of films (usually of hundred nanometers thick grown on Si substrates) under high resolution transmission electron microscopy (HRTEM) tests because it is easier floated off, where dependability and reasonability has never been seriously contested. Thus, in this paper, thin and thick hydrogen carbon films have been deposited on NaCl (thin films) and Si (thick films) substrates and annealed under room temperature to 500 °C, of which nanostructures have been investigated by HRTEM, Raman spectroscopy, and X-ray photoelectron spectroscopy, to verify the dependability and reasonability of the NaCl method. The results showed heating induced graphitization but with hydrogen content nearly unchanged. HRTEM results revealed that under annealing of 200, 250, and 300 °C, the curved graphene structures gradually increase in films. However, beyond 400 °C, onions structures are present. However, both Raman and XPS spectra show us that after annealed treatment, for original films, both thin and thick films have the near sp2 bonding content and size, but with the annealing temperature increase, sp2 bonding content increases more quickly for thick FL-C:H films due to the higher internal stress compared to thin films. In one word, the NaCl method used for nanostructure detection for films might be a good choice for an easier and quicker analysis, but it is still insufficient, because the heating effect induced by plasma cannot be ignored.

Особенности импульсного лазерного отжига пленок ВС-=SUB=-3-=/SUB=- на сапфировой подложке

The morphology, chemical composition, microstructure and electrical properties of BC3 thin films subjected to melting by a nanosecond laser pulse were investigated. The original films were formed by pulsed laser co-deposition of B and C on a sapphire substrate at 150 and 350 °C. Morphological changes in the films depended on their initial structure. However, the structure “frozen” after irradiation in both films was attributed to the B-saturated graphite-like phase, the local composition of which varied due to the formation of inclusions of amorphous boron carbide. Before and after irradiation, the films showed a weakly decreasing dependence of the sheet resistance with increasing temperature from 4.2 to 330 K. After pulsed laser irradiation, the sheet resistance of the films decreased by ~ 2.6 times.

Welles, Orson (1915–1985)

Orson Welles was born on May 6, 1915 in Kenosha, Wisconsin, to Richard Head Welles, a prosperous wagon manufacturer and inventor, and Beatrice Ives Welles, a gifted concert pianist. Noted for a deep resonant voice, imposing personality, and overflowing talent, he was an actor, director, writer, and producer in theater, radio, and film. Welles succeeded in innovating in all those fields but left his mark mostly on cinema with a series of stylistically original films. His Citizen Kane recounted the life of newspaper mogul Charles Foster Kane, fashioned after media magnate William Randolph Hearst, from five different points of view. Made for RKO in 1941, it has been placed at the top of "Best Films" lists by critics and specialized magazines ever since. Citizen Kane was followed by The Magnificent Ambersons (1942), a story about declining family fortunes and the rise of the automobile that echoed his own life. Welles’s films were praised for their ingenious techniques—long takes and compositions in depth that reinforced realism and gave spectators the freedom to scan the scene in ways that classical editing did not allow, while also producing a stylized, unnatural cinema (Bazin 2005; 1991: 64–82; Naremore 1989: 35).

Explicitation in Translation: A Case of Screen Translation

Explicitation is a method of clarifying into the TT what is implicit in the ST. Blum-Kluka (1986) formulated explicitation hypothesis and regarded explicitation as a translation universal, i.e. a feature that is mainly existed in the translated texts. So, the present study considers expliciation in screen/film translation, and tries to investigate the most frequent explicitation type and subtitling strategies used by the Persian subtitlers. To achieve the goals of the study, the three original English films subtitled into Persian language were selected and the first 20 minutes of them was studied and compared with their Persian equivalents through sentence-by-sentence comparison. The subtitling strategies were identified and their percentage was calculated. The findings indicated that translation-inherent explicitation was used mostly in subtitling, and expansion was the most frequent subtitling strategy employed by the Persian subtitlers in subtitling English original films into Persian.