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Peter Marks

, our tastes are different to the point that this isn’t going to be good to anybody. I’m not saying right, wrong, good or bad, I’m just saying different. It’s a terrible start but this is it, the girl’s perfect; I’m not sure that I can make –’ This is the irony, when I said I don’t know if I want to make the movie without her, that was like this huge

in Terry Gilliam
Horror and generic hybridity
Andy W. Smith

’, the site of terror and obliteration by the Other (Clover, 1989 : 101). In particular, the ‘slasher’ trope of post-coital death scenes and the survival of the ‘Final Girl’ 3 are key self-reflexive comments in the Scream films; as Kim Newman writes: ‘This approach allows for likable cheap jokes, like Randy’s “I never thought I’d be so grateful to be a virgin” as he survives

in Monstrous adaptations
The early horror films of Mario Bava
Reynold Humphries

onto her face. The heroine of La Frusta e il Corpo is savagely whipped by the hero. In Operazione Paura a young girl is exorcised, first by being whipped by the local witch, then by having barbed wire tied tightly round her body; and the film opens with a woman apparently committing suicide by hurling herself onto the spikes of a railing. The victims of the killer in Sei donne per l

in Monstrous adaptations
Abstract only
Jonathan Rayner

coincidence at work in Lindsay’s novel, the film uses a variety of filmic techniques. The novel’s unpredictable shifts in tense and perspective are expressed through alterations in film speed. Time-lapse photography is used in the observation of ants consuming a celebration cake at the picnic grounds. The point of view of male characters watching the girls crossing the creek on their way up the Rock is relayed through eroticised slow motion. Weir also used a range of effects on the soundtrack to exaggerate the sense of

in Contemporary Australian cinema
Peter Marks

, tortured or driven into madness. Sam works happily enough as a functionary in the Department of Records division of the Ministry of Information, although in his dreams he is an Icarus-like superhero who swoops through clouds in search of his dream girl. But Sam’s comfortable fantasy world is disrupted when an innocent man, Archibald Buttle, is mistaken for supposed terrorist, Harry Tuttle, and is then

in Terry Gilliam
Abstract only
Jonathan Rayner

across the vastness of the Outback. The teenage sister (Jenny Agutter) and her younger brother are marooned far from civilisation following their father’s suicide, after he has failed in his attempt to kill them. They are befriended by an Aboriginal boy (David Gulpilil), who saves them from thirst and starvation and leads them back towards white habitation. However, the girl misinterprets the Aborigine’s dance of courtship as a prelude to rape, and her rejection prompts him to hang himself. In the film’s epilogue, years after

in Contemporary Australian cinema
Abstract only
Gothic conspiracy and the eyes of Lara Means
Julia M. Wright

until they become what she wants, that is, as bland as “Love Is Blue.” Although she seems to kidnap both girls and boys, and was herself once a promising teenage girl, all of her on-screen victims are male. Her new victim, Landon (Christopher Masterson), is repeatedly depicted trying to help other young men. In an early scene, he argues with the school guidance counsellor, Teresa Roe (Mariangela Pino

in Men with stakes
Australian films in the 1990s
Jonathan Rayner

blackmailed by another Greek girl, who threatens to tell Helen’s parents of their relationship. Helen is already under pressure to accept a suitor of her parents’ choosing, but Luke’s and Boady’s intervention merely starts a feud with the blackmailer’s male cousins. The difficulties experienced by immigrant communities, in finding employment and integrating into society, are aired in a comic conversation between the brothers. In response to Boady’s incomprehension of the issues. Luke makes an analogy to a group of shearers

in Contemporary Australian cinema
Murray Pomerance

girl’, who has never known a day of pain in her life. Handed to Marion’s boss Lowery (Vaughn Taylor) over Scotch and locker room banter in the back office, this male money is the treasure entrusted to her safekeeping and that she decides to divert to produce that ‘decent’ marital bliss. Since it is still in underwear (serious and black), that Marion fashions her plan to leave town with the propulsive

in Monstrous adaptations
Abstract only
"The Pest House," "Hell House," and "The Murder House"
Julia M. Wright

, but no locks because of Desmond’s suicide attempts, for instance; in American Horror Story , the Tiffany stained glass was meant to reflect the color of Nora’s eyes (1.3), and the walls bear the traces of different owners’ tastes. Constance (Jessica Lange) repeatedly echoes scenes from Wilder’s film, and her larger narrative echoes the basic plot: in “Spooky Little Girl” (1.9), she talks at length to

in Men with stakes