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1. |
Record Nr. |
UNINA9910458833703321 |
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Titolo |
Cinema inferno [[electronic resource] ] : celluloid explosions from the cultural margins / / edited by Robert G. Weiner, John Cline |
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Pubbl/distr/stampa |
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Lanham, Md., : Scarecrow Press, 2010 |
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ISBN |
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1-282-71361-2 |
9786612713613 |
0-8108-7657-4 |
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Descrizione fisica |
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1 online resource (421 p.) |
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Altri autori (Persone) |
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WeinerRobert G. <1966-> |
ClineJohn |
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Disciplina |
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Soggetti |
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Horror films - History and criticism |
Thrillers (Motion pictures) - History and criticism |
Violence in motion pictures |
Electronic books. |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Description based upon print version of record. |
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Nota di bibliografia |
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Includes bibliographical references and index. |
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Nota di contenuto |
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Contents; Foreword; Acknowledgments; Introduction; Part I. REALISM(S); CHAPTER 1. The Neorealist Transgressions of Pier Paolo Pasolini; CHAPTER 2. From Chicago to Watts by Way of Paris and Hollywood: Art-Film Influence on Melvin Van Peebles's Early Features; CHAPTER 3. At the Heart of The Heart of the World Guy Maddin in the Twenty-First Century; Part II. ITALIAN HORROR/GIALLI; CHAPTER 4. Menopausal Monsters and Sexual Transgression in Argento's Art Horror; CHAPTER 5. The More You Rape Their Senses, the Happier They Are: A History of Cannibal Holocaust |
CHAPTER 6. A Postcard from the Grindhouse: Exotic Landscapes and Italian Holidays in Lucio Fulci's Zombie and Sergio Martino's Torso CHAPTER 7. Body in a Bed, Body Growing Dead: Uncanny Women in Joe D'Amato's Italian Exploitation Cinema; Part III. NEW YORK STATE OF MIND; CHAPTER 8. Bernie's "Deathwish": History and Transgression in New York City; CHAPTER 9. Troma Entertainment: The Boobs, Blood, and Brains of Reel Independence; CHAPTER 10. Exploitation Films and Success: The Half-Told Melodramas of Andy Milligan; Part IV. EXTREME |
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EUROPEAN CINEMA |
CHAPTER 11. B Is for Bile, Blood, and Bones: On Corporeal Bodies in the Films of Peter Greenaway CHAPTER 12. The Films of the Vienna Action Group; CHAPTER 13. Reveries of Blood and Sand: The Cinema of Jean Rollin; CHAPTER 14. A Shadow Poet: Michael Haneke; Part V. CULTURE AT THE MARGINS; CHAPTER 15. Through the Looking Glass Darkly: Considering Theories of Nazi Film and Concepts of Transgression; CHAPTER 16. Christian Scare Films: The Unlikely Pairing of Director Ron Ormond and Preacher Estus Pirkle; CHAPTER 17. Stray Cat Rock: The Politics of Nikkatsu's "Bad Youth" Movies of the Early 1970's |
Part VI. CONTEMPORARY FILM CHAPTER 18. Flirting with Subversion: Mainstream Filmmaking, Transgression, and the Case of Joel Schumacher's 8MM; CHAPTER 19. HATED: GG Allin and the Murder Junkies: Scum Rock and the Unlikely Career of Todd Phillips; CHAPTER 20. Cinema of Regression: Grindhouse and the Limits of the Spectatorial Imaginary; Index; About the Editors and Contributors |
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Sommario/riassunto |
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This is a provocative collection of essays that provide cutting edge, original research in film studies, discussing a number of 'transgressive' films that have never before had such in-depth analysis and treatment. From '70's Italian horror films and extreme European cinema to Nazi propaganda films and fundamentalist Christian 'scare' movies, these essays explore many different genres and themes. |
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2. |
Record Nr. |
UNINA9910791963403321 |
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Titolo |
The prop's the thing [[electronic resource] ] : stage properties reconsidered |
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Pubbl/distr/stampa |
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Tuscaloosa, Ala., : Southeastern Theatre Conference and the University of Alabama Press, 2010 |
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ISBN |
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Descrizione fisica |
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1 online resource (152 p.) |
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Collana |
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Theatre symposium : a publication of the Southeastern Theatre Conference ; ; v. 18 |
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Disciplina |
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Soggetti |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Description based upon print version of record. |
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Nota di bibliografia |
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Includes bibliographical references. |
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Nota di contenuto |
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Contents; Introduction; Through the Eyes of the Property Director; "Summon up the Blood": The Stylized (or Sticky) Stuff of Violence in Three Plays by Sarah Kane; Helen's Theatrical Mè‚chanè‚: Props and Costumes in Euripides' Helen; A Cannonade of Weapons: Signs of Transgression in the Early Commedia dell'arte; Adding Some "PEP" ("Proto-Expressionistic Props") to the Swedish Stage: Strindberg's Property Usage and His Intima Teater; Rattle Away at Your Bin: Women, Community, and Bin Lids in Northern Irish Drama; Bearing Witness: The Noose as an Iconic Prop in African American Theatre |
Hawaiian Culture Propped High with Meaning: The Lei Hoaka in Victoria Nalani Kneubuhl's EmmalehuaRevisiting Eva Marie Saint's White Glove: On Props, Neurons, Subtext, and Empathy; From Props to Affordances: An Ecological Approachto Theatrical Objects; "Take up the Bodies": Shakespeare's Body Parts, Babies, and Corpses; Contributors |
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Sommario/riassunto |
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Stage properties are an often-ignored aspect of theatrical productions, in part because their usage is meant to be seamlessly integrated into the performance instead of a focal point for the audience. However, a skillfully used prop can augment the action, just as a malfunctioning prop can destroy the illusion of the scene. The essays in "Theatre Symposium: Volume 18" approach the subject of stage props from |
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many angles, and include examinations of props in contemporary and historical productions, explorations of the cultural significance of specific props, and arguments about the |
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