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This article investigates the emotive potency of horror soundtracks. The account illuminates the potency of aural elements in horror cinema to engage spectators body in the light of a philosophical framework of emotion, namely, the embodied appraisal theories of emotion. The significance of aural elements in horror cinema has been gaining recognition in film studies. Yet it still receives relatively scarce attention in the philosophical accounts of film music and cinematic horror, which tend to underappreciate the power of horror film sound and music in inducing emotions. My investigation aims both to address the lacuna, and facilitate dialogue between the two disciplines.
Before 1906, there were no dedicated venues for the exhibition of film in London. Five years later, cinemas had spread all over the city, and 200,000 people were attending a film show in the city every day. Many in these first cinema audiences were children. Significantly - indeed probably uniquely for the time - cinema was a mass entertainment deliberated aimed at, and priced within the range of, the young. Decades later, some of these children left memoirs (published or unpublished), or were interviewed by oral historians. This body of evidence on the experience of cinema-going before the First World War has been hitherto ignored by film historians. This essay examines this testimony from London audience members, which is constructed around the various stages of the act of going to the cinema. The testimony demonstrates that the experience and the enjoyment of the social space that the cinema provided were at least as important as the entertainment projected on the screen. The early cinema demands greater recognition for its function as a social sphere, and particularly as a welcoming place for children.
What is film remaking? Which films are remakes of other films? How does remaking differ from other types of repetition, such as quotation, allusion, adaptation? How is remaking different from the cinemas ability to repeat and replay the same film through reissue, redistribution and re-viewing? These are questions which have seldom been asked, let alone satisfactorily answered. This article refers to books and essays dealing directly with ‘film remakes’ and the concept of ‘remaking film’, from Michael B. Druxman‘s Make It Again, Sam (1975) to Horton and McDougal‘s Play It Again, Sam (1998) and Forrest and Koo‘s’ Dead Ringers: The Remake in Theory and Practice (2002). In addition, this article draws upon Rick Altman‘s Film/Genre, developing from that book the idea that, although film remakes (like film genres) are often ‘located’ in either authors or texts or audiences, they are in fact not located in any single place but depend upon a network of historically variable relationships. Accordingly this discussion falls into three sections: the first, remaking as industrial category, deals with issues of production, including industry (commerce) and authors (intention); the second, remaking as textual category, considers texts (plots and structures) and taxonomies; and the third, remaking as critical category, deals with issues of reception, including audiences (recognition) and institutions (discourse).
unable to accept an offer to play the title role in John Ford's Young Cassidy (1965) because he was making Goldfinger , thus denying Connery the opportunity to play a working-class hero who combined artistic aspiration and political activism. 8 In what follows I explore Connery's non-Bond roles and his probable reasons for choosing those parts. My argument is that his prime motivation was not economic but artistic, his determination to win recognition as
authors, cricketers, or settlers seeking employment, these hopeful citizens, beginning in the 1930s until the reappearance of BBC television after the war, offered their intentions and concerns to radio listeners. This included analyses of social issues such as the colour bar, in a country where one did not supposedly exist. This chapter examines how BBC radio and its practices created possibilities for the recognition of these African-Caribbean voices, as they discussed life in England years before the Windrush arrival, and just before television re-emerged as a
, recognition, care and affection. Citizenship practices of decolonised ethnography within the context of Cuban society today – a half-century after the Revolution of 1959 and as global finance-scapes and media-scapes (Appadurai, 1996 ) have for nearly twenty years caused a myriad of crises and opportunities for the Cuban state and its people – provide women filmmakers with a very particular vantage
‘The future is now’: Naked 6 Nothing in the bittersweet tone or the precisely observed domesticity of Life Is Sweet prepared audiences or critics for Leigh’s next feature film, Naked, which remains his bleakest and angriest work, as well as his most controversial. It also marked his breakthrough to international recognition, and a shift in his career whereby each of his subsequent films would be radically different, in style or subject matter or both, from the one that had gone before. Indeed, in Leigh’s own opinion, ‘all of my work up to and including, and
fiercely independent creator, a cinéaste du dimanche, or Sunday filmmaker, whose energies are entirely given to the pleasures of creation, as distinguished from the pursuit of public recognition. Maurice Schérer’s initial vocation was not cinema, to which he had limited exposure as an adolescent in the provinces: ‘Quelques Charlot Pathé-Baby, L’Aiglon, et autres Tartarin de Tarascon constituaient tout
Diana’s funeral begin and the Princess be laid to rest, and with her the threat she presents to the Queen’s authority. To make this happen, melodrama, with its pathos, its appeal for moral recognition and its highly expressive mise-en-scène , must, in both a political and an aesthetic sense, dominate the docudrama. The DVD cover of The Queen announces this generic contest with an eloquent image
anxiety that results from the accompanying revision of selfhood. DOUBLENESS AND DISFIGUREMENT: SIGNS OF WOMAN’S DUPLICITY The plot of ‘V.V.: Or, plots and counterplots’ is typical of the Alcott thrillers, as it is the story of a spurned woman’s quest for revenge. Virginie Varens, a young Spanish danseuse , is bent on receiving recognition and financial support for her son from the aristocratic family of the boy’s deceased father. The plot is wonderfully and unnecessarily complicated. Virginie is rescued from poverty