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Affect, the Gas Pump and US Horror Films (1956–73)
Chuck Jackson

Invasion of the Body Snatchers (dir. Don Siegel, 1956), The Birds (dir. Alfred Hitchcock, 1963), and Night of the Living Dead (dir. George Romero, 1968) imbue scenes that take place at a gas pump with a horror so intense, it petrifies. As three of the earliest American horror films to feature a monstrous exchange at the pump, they transform the genre by reimagining automotive affect. This article examines the cinematic mood created when petrification meets petroleum, providing an alternative look at American oil culture after 1956, but before the oil crisis of 1973.

Film Studies
Abstract only
Jpod and Coupland in the future
Andrew Tate

gas pump’, John explains to his longsuffering co-producer, because it allow him ‘to pretend each number’s a year’: I like to watch history begin at Year Zero and clip up and up and up. Dark Ages . . . Renaissance . . . there’s this magic little bit of time, just a few numbers past the present year, whatever it is. Whenever I hit these years, then for maybe a fraction of a second, I can, if not see the future, feel it . . . It’s like I get to be the first one there – in the future. I get to be first. A pioneer.18 This description of an unconventional, improvised and

in Douglas Coupland
Spaces of freedom from Epstein to Vigo
Jean-Louis Pautrot

devices (superimpositions, rapid editing, unusual camera angles) that render the hero’s addiction for high speeds, are the transformations in logistics brought about by the automobile: gas pumps, garages, road signs, roadside advertisements for gasoline, motor-oil or beverages (Cinzano, Perrier, Gaillard), and the road surface itself, properly graded, tarred and inviting. It is the whole nascent car culture that Epstein shows in passing. As if to stress this emergence and the stronger attraction of a new, modern form of transportation over an older one, the hero drives

in Screening the Paris suburbs
George A. Romero’s horror of the 1970s
Linnie Blake

Kaufman’s world and head north into Canada where his pioneering vision of a depopulated world without fences might be realised, Most notably, Kaufman is challenged from without by the gas-pumping Big Daddy, the latest black Romero hero who leads his zombie army on Fiddlers Green, breaks through its defences and destroys Kaufman’s world in a conflagration of petroleum and flame. 98 The traumatised 1970s Having reneged on their covenant with god on not one but two occasions, Kaufman is destroyed and a new future of peaceful coexistence of the living and the dead is

in The wounds of nations
Edwin Bacon, Bettina Renz, and Julian Cooper

passenger aircraft were blown up in flight, killing all eighty-nine people on board. To this particularly bloody fortnight can be added many more incidents of terrorism connected to the Chechen conflict: the apartment bombings mentioned above in which 300 citizens were killed at night in September 1999, the Moscow theatre siege of October 2002 which resulted in the deaths of 120 hostages (many apparently dying as a result of the gas pumped into the theatre by the 57 Bacon 03 58 3/2/06 10:24 AM Page 58 Securitising Russia security forces essaying a rescue), suicide

in Securitising Russia