siempre ha rechazado las confesiones que le han hecho muchas chicas de dos tímidos adolescentes adictos a las películas de yakuzas. who left her to be raped by the yakuza. Fending off rival prison gangs as she plots her escape to take revenge, there is action, violence, and nudity galore— but. Mania en físico (lo cual da para debate), Yakuza Kiwami2, así como el último Nindies Showcase, desgranado y Esta vez dedicado a nuestras confesiones.

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What did you discover regarding such paratextual frames and what purpose do you think they serve? They serve different purposes for different directors, I believe, and Eli Roth and Rob Zombie are two good examples. I believe Roth used the paratextual frames afforded by DVD to do a couple of things. One, I believe he attempted to immediately canonize himself as confeskones significant horror director. He was certainly not shy when it came to promoting himself.

I just found it fascinating that DVD, as an industrial practice and a consumer product, ds this budding auteur a way to promote himself as a premier genre director. I saw Roth as the DVD corollary. Secondly, Roth used DVD as a way to position himself as a political filmmaker. Joe Tompkins, in his great chapter for Merchants of Menacewrote about this as well, this sort of valorisation of figures like Romero that makes them into not just cult figures but almost folk heroes and how horror filmmakers attempt to evoke these figures to distinguish themselves.

I believe Roth saw DVD as a way to build a reputation for himself as a serious filmmaker in this mould. Roth attempted to channel the Iraq war and the debates about torture through his films.

However, DVD gave Roth multiple opportunities to tell any viewer willing to listen that this subtext was indeed there and to use this subversive veneer as a way to sell his films. I believe Roth just legitimately loves horror cinema, and the DVD extras allowed him a lot of opportunities to talk about horror.

But the paratexts showcase the seriousness and artistry that Zombie puts into his films in immense detail. He confesionees enamoured with actors. He is married to one after all, so I guess that makes sense! The process of acting also seems to fascinate him, which is interesting considering the play of identity that I see as integral to his films and their appeal.

It is fascinating that directors seem to be aiming to legitimate horror as an art form through a kind of producorial paratextual politicisation. Do you think this is because horror remains critically disparaged in academic and press circles, and as a consequence, filmmakers, such as the ones you analyse in Selling the Splat Pack, aim dw discursively politicize horror cinema as a method of redressing said disparagement?

First, I must say: This process is most definitely at work, especially when it comes to Eli Roth. Actually, I believe horror has perhaps fared much better in academic circles than in the popular press.

Studies of horror cinema have been around since the institutionalisation of film studies as an academic discipline. Horror has its own academic journal, something that other genres cannot boast. I believe horror has done pretty well in academia.

But it is certainly true that horror has not done so well in popular circles and has remained disreputable among most critics. I believe Bilson is absolutely right. This idea bugs me for a couple of reasons.

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They aim to deliver different experiences to different types of audiences. In the US, movie attendance is bottoming out. On the more expensive end, majors are relying more and more on franchises and recognizable brand names.

Beyond that, a lot of the smart money is withdrawing from the theatrical market and focusing instead on producing original content for television and streaming services. This seems to confesiohes left space in the theatrical market for different, more diverse films with low-to-moderate budgets. Horror remains a reliable genre, so maybe it makes sense that financers and distributors might look for projects that combine a reliable genre with fresh takes ub adventurous filmmakers, including women and people of color.


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Mind you, these are all just armchair observations. But it seems to me that the industrial side of all this is worth a closer look. What are your plans for the future in scholarly terms? For me, this is the textbook example of a cult film. Characters fall in love, break up, have children, and get into arguments with their co-workers about common, everyday things.

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It just so happens that most of these characters are played by people of extreme bodily difference. The scene in the middle of the film when Hans tells Frieda that he plans to marry Cleopatra is so syrupy and melodramatic, but when the typical viewer takes a step back and reminds themselves they are watching this soap opera scene cobfesiones out between two little people, the viewing experience is often one of ambivalence, which is both discomforting and engaging in a way few other films are.

The film is barely over an hour long, but the emotional journey on which the film takes the reader seems much longer. Bride of Frankenstein James Whale, Confeziones first Frankenstein film was a smash success for Universal Pictures in By all accounts, James Whale, the director of the film, did not want to direct a sequel and agreed to do so only if he could bring his own distinct flavour to the proceedings.

Everything great about the Hollywood horror film is here, from gothic iconography of castles and forests, to shadowy cinematography, to psycho-sexual subtext. What Masque brings to the party that makes it so extra are delirious scenes of freakery, Satanic worship, Dionysian bacchanals, and even more hallucinogenic imagery.

In all, Masque is a feverish combination of drive-in and avant-garde, the essential psychedelic horror film. I never fail to be mesmerized by its uncanny oscillation between extreme poles. However, other filmic elements give it an experimental, avant-garde quality, with these techniques most clearly on display during the climatic, Mad-Hatter-tea-party-from-hell dinner scene during which the viewer is barraged with rapid, disorienting editing, dissonant sound design, and extreme close-ups.

Among the brutally bizarre elements of the film are moments of perverse beauty, epitomized by the shot of the young lovers running through country fields with a rotting, decrepit house looming behind them. One specific example of these transitions that immediately comes to mind is when Sally pulls a knife on the Cook, who disarms her with a swat of a broom.

When I watch this film with an audience, the smack with the broom never fails to get a laugh — how dangerous can a broom really be? If you watch only one horror film in your life, make it this one. Lucio Fulci boasts a filmography loaded with titles emblematic of the excesses of grindhouse-era Italian exploitation. These three films are: A portal to hell is opened when a priest commits suicide, unleashing a swarm of zombies.

One victim is murdered by an inverted baptism, as maggot-filled dirt is ground into her face. Another victim has a vision that causes a grotesque stigmata: He is the author of Selling the Splat Pack: I would certainly urge interested readers to check out Selling the Splat Pack —a rigorous and robust analysis of the way in which the DVD revolution has sparked key shifts in industry and business practices centered on and around the horror film.

When did your journey into horror and cult yaukza begin? Are your academic pursuits a labour of fan love, first and foremost? And, if so, how do you negotiate between these different identities?

My journey into horror began when my family purchased a VCR.

I was about 10 years old. It seemed like a lot of kids at my school already had a VCR, so when we got one, I was absolutely thrilled. I stopped watching most television shows and instead watched tons of movies.

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As I began to frequent the video store, I believe I gravitated confesones horror movies because those were the movies I always heard cojfesiones kids talking about. I grew up in the mountains and went to a small country Baptist church. There were no kids my age at church, so they put me in the teenage class for Sunday school.

When the teacher sat me in the corner and gave me Bible-themed colouring books to play with while they had class, I would overhear the teenagers whispering about Friday the 13th and stuff like that. That stuff sounded really cool, so I headed straight for that section of the video store confesines I had the opportunity. That type of thinking certainly influenced my choices.

My parents were very conservative, but luckily for me, they were very lenient when it came to movies and let me watch pretty much whatever I wanted. I was aided and abetted in my quest for horror films by the family who owned the closest video store, which was located Baileyton, TN, a small town about a 20 minute drive from our house.

Baileyton was basically just a cluster of gas stations, bars, and truck stops off of Interstate 81, which was the only main highway running through northeast Tennessee back then. It still had old, decrepit fuel pumps standing in the middle of the parking lot. An elderly man who owned a small grocery store just down the road from Yakuzw video was shot and killed in his store. They never caught the killer. Also, about a couple of miles or so away, a group of Satanists shot and killed a man, his wife, and their six-year-old daughter.

They had a two-year-old son who was also shot, but he survived. Confesilnes, woman who disappeared was last seen in the area, and the story was featured on the television show Unsolved Mysteries. The husband and wife who ran Baileyton Video really liked me for some reason or another. I started frequenting their store when I was around age 12 or so, and they let me rent pretty much any movie I wanted, even though I was way underage.

I remember reading about Re-Animator somewhere or another probably Fangoriawhich I had just discoveredand I really wanted to see it. I took it to the counter anyway. I was lucky that, obviously, neither she nor her husband had seen it! In all my time as a customer, there was only one movie they did not let me rent: I wonder why they drew the line there? Horror movies were more than just what the cool older cconfesiones were watching. These movies gave me a way to deal with all the fear and anxiety I suffered from when growing up.

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In many ways, I was a terrified child, scared of a lot of stuff. I already mentioned that I attended a Southern Baptist church way up in the Tennessee mountains, and this stripe of Christianity instilled fear into me at a young age.

There was plenty of screaming and shouting and furious preaching. My very first memory is being at church. This culture instilled a healthy amount of fear into me at a young age: I was told that the rapture was something we should look forward to, but whenever I saw visual depictions of the event in drawings or paintings — with the sky cracking open, graves exploding, and cars crashing as spirits flew out the sunroofs — it looked absolutely terrifying.

My grandmother was a big believer in the supernatural and would often tell me about all the haunted houses and hollers.