Claws & Saucers: Science Fiction, Horror, And Fantasy Film: by David Elroy Goldweber

By David Elroy Goldweber

Claws & Saucers is the fullest, most powerful, such a lot whole consultant to vintage technological know-how fiction, horror, and fable movies ever written. Claws & Saucers describes and evaluations 1500+ motion pictures: almost each sci-fi, horror, and fable movie made of 1902-1982, together with dozens of thrillers, exploitation movies, psychedelic motion pictures, and event movies. Claws & Saucers deals actual evidence, transparent constant writing, and sincere reviews from a person who respects either his material and his readers.

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Table of contents:

Notes on Contributors.

Acknowledgments.

Introduction: Haneke’s Anachronism (Roy Grundmann).

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2 5 Tapes, 4 Halls, goals: Vicissitudes of Surveillant Narration in Michael Haneke’s Caché (Thomas Y. Levin).

3 Infectious photographs: Haneke, Cameron, Egoyan, and the Dueling Epistemologies of Video and picture (Vinzenz Hediger).

4 monitoring Code Unknown (Tom Conley).

5 Michael Haneke and the hot Subjectivity: structure and picture (Peter Eisenman).

6 video games Haneke performs: truth and function (Brigitte Peucker).

7 Figures of Disgust (Christa Blümlinger).

8 with out song: On Caché (Michel Chion).

9 struggling with the Melodramatic : Haneke’s Polemics (Jörg Metelmann).

10 “Mourning for the Gods who've Died”: The position of faith in Michael Haneke’s Glaciation Trilogy (Gregor Thuswaldner).

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11 A depression exertions of affection, or movie variation as Translation: 3 Paths to the Lake (Fatima Naqvi)

12 Michael Haneke and the tv Years: A examining of Lemmings (Peter Brunette).

13 adaptations on topics: Spheres and area in Haneke’s version (Monica Filimon and Fatima Naqvi).

14 Projecting hope, Rewriting Cinematic reminiscence: Gender and German Reconstruction in Michael Haneke’s Fraulein (Tobias Nagl).

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16 forms and visible variety (Brian Price).

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17 buildings of Glaciation: Gaze, point of view, and Gestus within the movies of Michael Haneke (Georg Seeßlen).

18 The Void on the middle of items: Figures of id in Michael Haneke’s Glaciation Trilogy (Peter J. Schwartz).

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20 among Adorno and Lyotard: Michael Haneke’s Aesthetic of Fragmentation (Roy Grundmann).

21 Hollywood Endgames (Leland Monk).

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22 classification clash and concrete Public area: Haneke and Mass Transit (Barton Byg).

23 Multicultural Encounters in Haneke’s French-Language Cinema (Alex Lykidis).

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26 Discordant wishes, Violent Refrains: los angeles Pianiste (The Piano instructor) (Jean Ma).

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28 The Intertextual and Discursive Origins of Terror in Michael Haneke’s Caché (T. Jefferson Kline).

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29 Terror and Utopia of shape: Robert Bresson’s Au hasard Balthazar (Michael Haneke).

30 Violence and the Media (Michael Haneke).

31 the realm that's recognized: An Interview with Michael Haneke (Christopher Sharrett).

32 Unsentimental schooling: An Interview with Michael Haneke (Roy Grundmann).

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Additional info for Claws & Saucers: Science Fiction, Horror, And Fantasy Film: A Complete Guide: 1902-1982

Sample text

The studio typically takes charge of distribution in the local market and will plug the film into its global distribution network if executives in Los Angeles believe that it has broad export potential (Dawtrey). The studios have also stepped up their acquisitions of local films that they had no hand in producing, distributing these films in their own domestic markets and sometimes in select export markets as well. The Hollywood studios have thus found ways to invest in and profit from resurgent film industries around the world.

Are these Korean-financed and -produced films really American films because they are aimed at American audiences? And finally, what is it about the horror film that makes it so open to transnationalization? Some genres, of course, transnationalize better than others. Films whose meanings depend heavily on dialogue or culturally specific social codes, such as the romantic or situation comedy, tend to be less mobile. In contrast, films that produce pleasure primarily through visual spectacle and simple, archetypal storytelling have a better chance of crossing national boundaries.

S. market, which is notoriously closed to foreign-language films (Yang). - a s i a n g e n r e s 11 Korean actors, dialogue, and settings that would enter the market visibly marked as foreign films, Korean companies decided to start financing and producing Englishlanguage films with American actors and settings that would be culturally similar to the local product. Shim Hyung-rae’s Dragon Wars (2007) (released as D-War in the United States) was one of the earliest instances of this strategy. A big-budget film about a dragon that wreaks havoc on Los Angeles—and thus a horror film in the broadest sense of the term—this English-language film starring Jason Behr and Amanda Brooks was shot primarily in California, although a Korean company produced the high-quality special effects.

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