Cult Movie Earrings
I thought you might be interested in my etsy page www.ratiganzombie.etsy.com , where I sell Cult movie themed Earrings. So far in the collection I have
1. Dracula
2.Edward Scissorhands
3. Creature from The Black Lagoon
4. Jason Voorhees
5. Freddy Krueger
6. Gizmo
7. Dr. Frank n Furter
8. Phantom of the Paradise
9. Ash (Evil Dead)
Give me some Feedback on what you think
Delirious Revisited
Last August, Deb and I had the opportunity to attend a special screening of director Tom DiCillo's Delirious. I wrote about the film the next day (which, if you check out the comments, generated a response from DiCillo himself). In subsequent weeks, due to lousy distribution (think Katrina-relief-effort lousy) and despite a rave review from Roger Ebert, Delirious came and went, lasting only a month in New York, a week in Los Angeles, and appearing on less than two-dozen screens in the entire U.S.
Last week Delirious was released on DVD. I encourage you to run out and buy, rent, or steal a copy immediately. You won't be disappointed (especially if you're a fan of the great character-study films of the Seventies). Rewatching the film today, I was once again blown away. Not only does it boast fantastic performances (by Steve Buscemi, Michael Pitt, and Gina Gershon, to name the obvious few), it's also a stunning piece of cinema.
Fortunately, the DVD transfer captures the movie's rich colors; scenes like the one where the Pitt character, walking through the streets of New York and realizing he's in love, are nothing short of visual poetry. Plus, there's a great commentary track by DiCillo, who has crafted a film, despite all third-party efforts to the contrary, worth remembering.
Last week Delirious was released on DVD. I encourage you to run out and buy, rent, or steal a copy immediately. You won't be disappointed (especially if you're a fan of the great character-study films of the Seventies). Rewatching the film today, I was once again blown away. Not only does it boast fantastic performances (by Steve Buscemi, Michael Pitt, and Gina Gershon, to name the obvious few), it's also a stunning piece of cinema.
Fortunately, the DVD transfer captures the movie's rich colors; scenes like the one where the Pitt character, walking through the streets of New York and realizing he's in love, are nothing short of visual poetry. Plus, there's a great commentary track by DiCillo, who has crafted a film, despite all third-party efforts to the contrary, worth remembering.
What the Hell?
This morning, in The New York Sun, there's an article about how Manhattan's Anthology Film Archives (according to its website, "the first museum devoted to film as an art form") is reviving the early movies of Albert Brooks; specifically, his first two features, the wonderful and exquisite Real Life and Modern Love (the former, made in 1979, an extremely prescient commentary
on reality television, the latter taking neurotic romanticism to heights even Woody Allen never dreamed possible).
Regarding Brooks's third movie, Lost in America, the article mentions that "'there's no print of it anywhere.' An apparent victim of indifference on the part of Warner Bros., which owns the film, Lost in America has fallen through the distribution cracks."
No print of it anywhere?! It's not unusual in this day of film restoration awareness (thanks to the efforts of directors like Martin Scorsese) to hear how 90 percent of American silent movies have been lost, as well as half of all the films made in the U.S. before 1950. But we're talking about a movie that was made in 1985, for Chrissake! As well, Lost in America took in more at the box office than Brooks's first two films combined. And nobody thought to preserve a single print?
I don't know about you, but that really grinds my gears.
on reality television, the latter taking neurotic romanticism to heights even Woody Allen never dreamed possible). Regarding Brooks's third movie, Lost in America, the article mentions that "'there's no print of it anywhere.' An apparent victim of indifference on the part of Warner Bros., which owns the film, Lost in America has fallen through the distribution cracks."
No print of it anywhere?! It's not unusual in this day of film restoration awareness (thanks to the efforts of directors like Martin Scorsese) to hear how 90 percent of American silent movies have been lost, as well as half of all the films made in the U.S. before 1950. But we're talking about a movie that was made in 1985, for Chrissake! As well, Lost in America took in more at the box office than Brooks's first two films combined. And nobody thought to preserve a single print?
I don't know about you, but that really grinds my gears.
research questionnaire
If you could please answer some questionnaire for my media critical research study I would really appreciate it. The questions are based on gender representation and the audience of films in the horror genre. Just answer honestly as much or little as you'd like. xxxxxxxxxx
What gender are you?
Male
Female
1.Are you a fan of the horror genre of film?
Yes
No
2.What is the last horror film that you have seen?
3.If you are going to the Cinema are you likely to choose to see a horror film?
Yes
No
4.Which of these do you think is the most accurate a description of the role of women in horror films?
Women play the villain
Women play the victim
Woman play the rescuer
5.Which of these do you think is the most accurate a description of the role of men in horror films?
Men play the victim
Men play the villain
Men play the rescuer
6.Do you think that women can be villains?
Yes
No
7.Who do you prefer to watch in the role of the villain?
Men
Women
8.Who do you prefer to watch in the role of the victim?
Men
Women
9.Why do you think that women are often cast as the victim in horror movies?
10.What is your favourite horror film?
11.Which male character in a horror film is your favourite?
12.Which female character in a horror film is your favourite?
13.Which question did you find harder to answer 11 or 12?
11
12
Thank you so much for doing this xxxxxxxxxxxxxxx
The movies I am specifically looking at for my study are psycho (1960), Scream and Alien if you have any opinions on them i would absolutely love to hear it.
What gender are you?
Male
Female
1.Are you a fan of the horror genre of film?
Yes
No
2.What is the last horror film that you have seen?
3.If you are going to the Cinema are you likely to choose to see a horror film?
Yes
No
4.Which of these do you think is the most accurate a description of the role of women in horror films?
Women play the villain
Women play the victim
Woman play the rescuer
5.Which of these do you think is the most accurate a description of the role of men in horror films?
Men play the victim
Men play the villain
Men play the rescuer
6.Do you think that women can be villains?
Yes
No
7.Who do you prefer to watch in the role of the villain?
Men
Women
8.Who do you prefer to watch in the role of the victim?
Men
Women
9.Why do you think that women are often cast as the victim in horror movies?
10.What is your favourite horror film?
11.Which male character in a horror film is your favourite?
12.Which female character in a horror film is your favourite?
13.Which question did you find harder to answer 11 or 12?
11
12
Thank you so much for doing this xxxxxxxxxxxxxxx
The movies I am specifically looking at for my study are psycho (1960), Scream and Alien if you have any opinions on them i would absolutely love to hear it.
Sorry.
Do you remember when I asked other LiveJournal communities for icons of Paul McCartney as a character from Yellow Subamrine? I wanted to use one as my userpic. I grew sick of waiting for one so I created at least 14 pictures of Paul looking pretty -- Paul the character from Yellow Submarine, of course. Here they are:
1.
6.
11.
You can use these icons as long as you credit me and where I'm from (eg, 'My beautiful userpic was created by someone from LiveJournal whose name was Rolando8'). You can also edit them, eg add words to one of my icons. Enjoy!
Love,
Rolando8
Dracula changed everything...
I have a new book with a chapter about cult vampire films, and how Universal's Dracula touched off a weird revolution in how the movie companies treat trademark icons. Odd, odd stuff in that history. I thought you crazy cult movie kids would want to hear about it.
The book is Sundays with Vlad ( www.vladlives.com ), and it's funny. Sort of. Hmmm.
Or just come by my blog at http://paulbibeau.livejournal.com and say hello.
(no subject)
I am looking for Yellow Submarine icons with Paul in them to use as my Userpic. Please, where can I find some? Thank you.
(no subject)
And we've got another one next Saturday 9th June at 3pm as well (same location).
(Oh, and check out out the new pic we added to the website gallery. Yep, he's holding a copy of the movie!)
www.jesusversusthemessiah.com
Gun Crazy
I'm not sure how this one escaped me for so many years. Directed in 1949 by Joseph H. Lewis from a screenplay by MacKinlay Kantor (based on his 1940 Saturday Evening Post short story) and blacklisted Dalton Trumbo masquerading as Millard Kaufman, Gun Crazy reset the standard for film noir and paved the way for the attractive, sympathetic -- albeit sometimes psychotic -- antiheroes that showed up two decades later in movies like Bonnie and Clyde (whose real-life characters inspired Gun Crazy's lovin' couple on the run) and The Getaway.
Cinematically, the film's often expressionistic; its startling and (then) innovative use of extended "backseat driver" takes, shot from within the getaway car, and get the viewer caught up not only in the characters' predicament but the sexual excitement their larceny generates. And Russell Harlan's black-and-white cinematography is right up there with his work on Red River, The Thing from Another World, and Blackboard Jungle.
Not again until Warren Beatty and Faye Dunaway would the screen see crooks as charismatic as Peggy Cummins and John Dall. Director Lewis told critic Danny Peary in 1981: "I told John, 'Your cock's never been so hard,' and I told Peggy, 'You're a female dog in heat, and you want him. But don't let him have it in a hurry. Keep him waiting.' That's exactly how I talked to them and I turned them loose. I didn't have to give them more directions."
Cinematically, the film's often expressionistic; its startling and (then) innovative use of extended "backseat driver" takes, shot from within the getaway car, and get the viewer caught up not only in the characters' predicament but the sexual excitement their larceny generates. And Russell Harlan's black-and-white cinematography is right up there with his work on Red River, The Thing from Another World, and Blackboard Jungle.
Not again until Warren Beatty and Faye Dunaway would the screen see crooks as charismatic as Peggy Cummins and John Dall. Director Lewis told critic Danny Peary in 1981: "I told John, 'Your cock's never been so hard,' and I told Peggy, 'You're a female dog in heat, and you want him. But don't let him have it in a hurry. Keep him waiting.' That's exactly how I talked to them and I turned them loose. I didn't have to give them more directions."