...“with director James Whale, for whom he photographed the first three of Whale's quartet of horror films: Frankenstein (1931), The Old Dark House (1932), and The Invisible Man (1933)” (Wikipedia). Edeson’s cinematic technique can be seen elsewhere in film like The Maltese Falcon (1941), Sergeant York (1941), Casablanca (1942), The Mask of Dimitrios (1944), and Three Strangers (1946). The excellent cinematography in Frankenstein evokes a surreal and mysterious quality, perfectly matching the thunder and lightening storm above the gloomy castle in classic black and white imagery, and capturing that German Expressionism completely, from acting to set design, everything is wonderfully filmed, but as film critic Leonard Matlin mentions in his book Leonard Maltin's Movie and Video Guide 1994, “It’s creaky at times, and cries for music score, but it’s still impressive” (Maltins 441). Historians will point out,...
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...technology. As far back as Fritz Lang’s Metropolis (1927), and as recently as James Cameron’s Avatar (2009), mega-corporations have served as the physical embodiment of the absence of humanity. Furthermore, these films continue to generate more complex and more compelling perceptions of the relationship between humans and technology, which is often made manifest in the mega-corporation. As often as the identity of the “natural” human may be called into question, in nearly all of these films the character the audience perceives to be most human is victorious in the end. Cameron’s Avatar, for instance, sees the protagonist Jake Sully (Sam Worthington) remain on the alien world of Pandora in the body of an alien. Although not innately human in form, it is Jake’s preserved sense of morality and his ability to sympathize with the other characters that give him his sense of humanity. However, in Vincenzo Natali’s Splice (2009), the victory does not lie with the most human characters, but rather with the dehumanizing corporation, which threatens to recreate all of humanity in its likeness. Natali argues that the creation of Dren (Delphine Chanéac) represents the future of humanity in the sense that humans are becoming creatures with equal parts human and technological – a shift that threatens to change society’s perception of what is “human”. Splice is in many ways a modern retelling of Mary Shelley’s Frankenstein: The Modern Prometheus – a point highlighted by Natali’s choice to name the...
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...A famous scene from one of the first notable horror films, Nosferatu (1922) Horror is a film genre seeking to elicit a negative emotional reaction from viewers by playing on the audience's primal fears. Horror films often feature scenes that startle the viewer; the macabre and the supernatural are frequent themes. Thus they may overlap with the fantasy, supernatural, and thriller genres.[1] Horror films often deal with the viewer's nightmares, hidden fears, revulsions and terror of the unknown. Plots within the horror genre often involve the intrusion of an evil force, event, or personage, commonly of supernatural origin, into the everyday world. Prevalent elements include ghosts, aliens, vampires, werewolves, curses, satanism, demons, gore, torture, vicious animals, monsters, zombies, cannibals, and serial killers. Conversely, movies about the supernatural are not necessarily always horrific.[2] Contents [hide] 1 History 1.1 1890s–1920s 1.2 1930s–1940s 1.3 1950s–1960s 1.4 1970s–1980s 1.5 1990s 1.6 2000s 2 Sub-genres 3 Influences 3.1 Influences on society 3.2 Influences internationally 4 See also 5 References 6 Further reading 7 External links [edit]History [edit]1890s–1920s See also: List of horror films of the 1890s, List of horror films of the 1900s, List of horror films of the 1910s, and List of horror films of the 1920s Lon Chaney, Sr. in The Phantom of the Opera The first depictions of supernatural events appear in several of the silent shorts...
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...Министерство образования и науки Республики Казахстан Кокшетауский государственный университет им. Ш. Уалиханова An Outline of British Literature (from tradition to post modernism) Кокшетау 2011 УДК 802.0 – 5:20 ББК 81:432.1-923 № 39 Рекомендовано к печати кафедрой английского языка и МП КГУ им. Ш. Уалиханова, Ученым Советом филологического факультета КГУ им. Ш. Уалиханова, УМС КГУ им. Ш. Уалиханова. Рецензенты: Баяндина С.Ж. доктор филологических наук, профессор, декан филологического факультета КГУ им. Ш. Уалиханова Батаева Ф.А. кандидат филологических наук, доцент кафедры «Переводческое дело» Кокшетауского университета им. А. Мырзахметова Кожанова К.Т. преподаватель английского языка кафедры гуманитарного цикла ИПК и ПРО Акмолинской области An Outline of British Literature from tradition to post modernism (on specialties 050119 – “Foreign Language: Two Foreign Languages”, 050205 – “Foreign Philology” and 050207 – “Translation”): Учебное пособие / Сост. Немченко Н.Ф. – Кокшетау: Типография КГУ им. Ш. Уалиханова, 2010 – 170 с. ISBN 9965-19-350-9 Пособие представляет собой краткие очерки, характеризующие английскую литературу Великобритании, ее основные направления и тенденции. Все известные направления в литературе иллюстрированы примерами жизни и творчества авторов, вошедших в мировую литературу благодаря...
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