Jessica.Amy

I am a university student studying Advertising & Event Management. There is also some of my A Level work on here, but I am starting to put my Uni work here too!

Visit Report 1, The National Art Gallery October 8, 2009

Filed under: Creative Communications — jessica♥amy @ 12:10 pm

Visit Report One at the National Art Gallery

 

 

The Ambassadors, 1533

Hans Holbein the Younger

 

When I first saw this painting I was amazed at the detail and how realistic it seemed. I could see that there were many different hidden meanings behind it and this interested me. The first thing that appealed to me was the strange looking stretched skull at the bottom of the painting, Because you can only see it clearly looking a certain way, I thought this might of been another way of saying there is only one way of living life and that’s as a Christian. I also noticed that at the top left of the painting there was what looked like a crucifix that was hidden in the back. I figured that this could represent the death of Christ, and that the two men in the painting are Christian. Looking at the objects in the painting it shows that the men are wealthy and intelligent. The artist Hans Holbein the Younger has used oil paint on wood to create the painting. This is clear because the painting is very detailed, and you can not get this affect with other materials such as tempera. An example for this is the fur on the garments, it’s much textured because of such detail, and also the tapestry looks very realistic as well as the silk, it looks just like a photograph. This painting was created for a home and I believe it would of been in on a staircase seen my candlelight and approached form the right so you are able to see the stretched skull clearly.

 

My Cultural AutoBiography October 8, 2009

Filed under: Uni, writing for media — jessica♥amy @ 12:07 pm

My Cultural Autobiography

 

My culture includes so many different things from how my everyday life is to what food I eat, and the way I think about things. A big part of my culture is my family, and growing up I have always had them around me. It is traditional for my family to get together quite a lot whether it’s for family barbeques or big reunions at Christmas where my aunties would cook a traditional roast dinner with the Christmas dinner, as we are very close as a family. At Christmas it is traditional for my family and in our culture to celebrate Christmas, this involves having a Christmas tree, decorations and lights inside and outside of the house. We get together and drink and enjoy each others company. Another big culture of mine is music, I have grown up around 80’s music the likes of Michael Jackson, and to this day I still really enjoy and listen to his music. My culture also includes education; I have always gone to school to study. I have taken my gcse’s and a levels and now at university. Being brought up I have been taught to always try my best at everything I do.

 

Walt Disney – Vision & Reality May 12, 2009

Filed under: Media Studies — jessica♥amy @ 9:38 am

Consider Walt Disney;s vision of theme parks and the reality you see in Disneyland Resort Paris.
Does the reality you have experienced meet the vision? Justify your answer.

Before I went to Disney land Paris when I was younger I had this vision of Happiness, characters from cartoons walking around, toys everywhere, parades, music, packed with people. But when I went there it was really quite different in some way. The way in which I think it was different was because it wasn’t as magical as I expected it to be, I don’t know if it was just because I wasn’t little when I went there or what. Don’t take me wrong I did enjoy myself and like it there, but at times it seemed  bit dull. For example there wasn’t always Disney characters walking around. I was a bit disappointed about this because they only came out for like an hour certain times of the days, so this way not everyone got this see them. If they were out all the time I think that it would have made the experience more magical. Disney say that they want people to feel like they are in a different world when they are in the Disneyland resort, but its really not that magical, and its a shame for most people because it can be a bit of a let down. When they say that in the park its a place where adults and children can have fun together, I agree with that because for starters Im sure that children will find the place very magical as it is, and there is also rides for the children to go on, and also some bigger rides for the adults to go on. So the answer is no the experience I had at Disneyland Paris does not meet my vision and idea of how I thought it was going to be. Im sure that they try very hard, but Im sure they could do a lot more.

 

The Exorcist – Cencorship, Shocking cinema May 11, 2009

Filed under: A2 Film Studies — jessica♥amy @ 8:18 am

Q. Was The Exorcist based on a true story?

A. William Peter Blatty (writer and producer) came across an article on August 20th 1949 at Georgetown University about a so-called case of demonic possession, that was taking place in Mount Rainer, Maryland. The suggested that a 14-year-old boy went under some kind of illness in which his personality would turn sinister and lettering and depiction’s would appear in welts on his skin. What actually happened though? The only evidence is that of the word of the priests who supposedly witnessed the boy’s manifestations.

Q. Was The Exorcist really released on Christmas Day 1973?

A. No. It was released on Boxing Day.

Q. Why was The Exorcist banned and when?

A. It was banned in 1986 under the Video Recordings Act because it was said to be too scary for home viewing. Especially the fact that it can be a very trying experience for young girls.

Q. Will The Exorcist ever be re-released on video in the UK?

A. As Mark Kermode has told me, Warner would be foolish not to submit The Exorcist for a certificate after it’s success in theaters. As for the BBFC, who knows how they’ll approach this film 25 years later.

Q. When was The Exorcist released on video in the UK?

A. 1979

Q. What has the St. Joseph’s medal got to do with the story?

A. It’s down to interpretation really. My personal opinion is that the St. Joseph’s medal is Karras’ savior. Until it is ripped from his neck and the demon enters his body. I think of it as a protector.

Q. Was the 25th Anniversary re-release cut in any way?

A. It is only cut if you’re thinking of the deleted scenes such as the spider-walk, Washington sight-seeing, Regan’s first examination etc. These scenes will unfortunately never be restored into a full version of the film. Due to certain scenes missing sound reels, most importantly Regan’s dialogue in the sight-seeing trip and the last reel of sound in the Dyer and Kinderman ending.

Q. Is the death mask in Karras’ dream Jason Miller?

A. No it isn’t. That face was in fact a make-up test with Linda Blair’s double Eileen Dietz. This face was to be Regan’s demon make-up but Friedkin rejected it as it wasn’t organic enough. Though he thought it would be powerful if used once in the movie as Captain Howdy invading Karras’ dream of his dead mother. Scary huh? Mark Kermode found the test reel footage at Warner studios in Burbank, in which Dietz was violently shaking her head and snapping her mouth like a rabid animal. Six stills of this 45 second long footage were shown in Mark Kermode’s second BFI book and a one second glimpse in the opening credits of the Fear Of God documentary.

How then to judge a film? That’s a question I found myself asking after reluctantly deciding the Exorcist was worthy of a “7″.

I know of people that would downgrade works despite their aesthetic and artistic merit if they include, for example, violence. Though I feel in assessing a film or any other piece of art then one must judge it objectively. And so we get to the Exorcist. Well-acted, by Jason Miller and Linda Blair especially, it cannot be faulted in terms of direction. Though light and shade contrast beautifully in the Georgetown sequences, it is the cinematic vision of Iraq in the prologue that deserves special praise. On a technical basis, the film is not quite as good, particularly the scene where Blair has an obviously artificial stomach with “help me” written on it.

This is a film that was banned for fifteen years in England until 1999. While I would stand against censorship and welcome the release of “A Clockwork Orange” next year (if only to discuss how good it is in this country without fear of being arrested) part of me wishes The Exorcist had stayed banned.

Fans of the movie protest its psychological, and maybe it would have been if the director hadn’t removed huge chunks of scenes between Regan and her mother at the beginning. (And what kind of mother would play a game of ouija board with her daughter?) It’s supporters also protest that the film is religious, though again maybe this would be the case if a dialogue scene between the two priests hadn’t been excised from the final cut. What remains is a depiction of the Devil that demonstrates it’s wickedness by defiling a young girl. This is where the film – nicely shot and acted though it may be – falls down.

I do not call a girl’s head spinning 180 degrees, spitting pea soup or badly lip-synching to a demon’s voice psychological. Creaking in the attic IS psychological. A cherubic young girl lousily miming to someone saying the “f” word is not. Take away the choreography and it’s a schlock-horror film just like any other, but with fancy trimmings. Seeing a priest punch a girl three times in the face is not horror but gratuity. In order to show the evil, Regan (Blair) attempts to force her mother (Ellen Burstyn, Oscar-nominated but largely one-note) to perform oral sex on her. Before this happens we have Regan soaked in blood after masturbating with a crucifix. And there lies the crux of my argument.

I don’t like minors (Regan is identified as just 12 in the script) being placed into scenes with sexual content or connotation. Seeing a nude girl being scrubbed in a bath or having her top pulled down to be examined is content that would be used for titillation with a much older woman. Lastly we see Regan (actually a 22-year-old body double, but still presented on film as a 12 year old) inserting the metal object inside herself. Think about that for a moment. If you met someone who claimed to have seen a film where a minor is made to appear to be masturbating with metal object and conducting sexual relations with her own mother – faked or not – you’d have them arrested for indecency.

Yet hype tells us we have to regard what really is just a tacky piece of filmmaking as classic modern cinema. The Exorcist – 0/10.

Q. Why were the missing scenes cut in the first place?

A. Mainly to cut the film down to two hours, but all of the scenes have there own reason for being cut

 

Evaluation April 23, 2009

Filed under: Media - Main task — jessica♥amy @ 10:02 pm

For my Main Task media project I was asked to either make a film, or put together a magazine. I followed the print pathway because I enjoy designing, creating and putting together a magazine and seeing the outcome. I was asked to create and complete a  front cover, contents page and a double page spread. The genre of the magazine had to be music or relate to music in some way. For my media product I decided to put together a music magazine exclusively for females. The target audience for my magazine is for 16-25 years. I have decided to do this because I wanted to challenge myself and other existing media products out there. I thought that by putting together a female music magazine would be interesting and a good idea as there arent any popular ones existing. The genre of the music for my magazine would be Rock/Indie/Alternative. I decided on the name of my magazine “NOVA” as its catchy, easy to remember and has a girly feel to it. The price off my magazine is £2.00, I chose this price because I thought that it was a fair amount and I wanted to make sure that it was not too expensive as most of my target audience are teenagers and could be students, and students dont have much money.

Before starting my media product I done some research. For my research I looked into music magazine front covers, contents pages, and double page spreads.  I looked at 6 music magazine front covers, one of which was a fashion magazine which I will explain why later on, 5 contents pages, and 4 double page spreads. I looked at these because I thought that it would help me in the making of my media product ,this way I could get a better idea and understanding of what conventions, the style, the colours used, and the layouts of music magazines. Doing this gave me ideas for my media product in what I could include in the front cover, contents page and double page spread, it also helped me in a way because I knew what the main conventions I would have to add to my front cover, contents oage, and double page spread to make it appear more realistic. They all had a bold masthead across the top with often a picture of a famous person slightly covering the masthead. I think that this is because if you have a very popular artist on the front of the magazine covering the masthead then they are relying on that artist to sell the magazine as the title of the magazine is slightly covered. I found that with all music magazines they use a lot of famous people on the front cover and also mention a lot of famous people in the sub headings and small pictures to get interest from the public and to create an audience.

With the front covers I found that a lot of them had similar conventions, bold headings to attract audiences, bright and dark colours mixed together to make the front cover stand out, many subheadings to draw in an audience to make it seem the magazine has a lot in, pictures, a main picture of a famous group, this is obviously a big thing because if you have a famour group on the front people are more likely to buy the magazine. In my research one of the front covers I decided to chose a fashion magazine front cover “Vogue” I done this because I wanted to compare a fashion genre magazine to a rock music magazine front cover. This helped me pick out the main conventions in a music magazine front cover and it made more sense to me as I realized what the difference is between them. I also picked it out because I wanted my media product to be just a girls magazine so I wanted to add some girly conventions with a music magazine typical conventions. The main conventions in a front cover were masthead, sub headings, main picture, barcode, price, issue number, date, and boarders.

With the contents pages alot of them had very few text and a lot of pictures usually all lined up next to eachother with just the page number in the corner of the picture to let the readers know whats going on in each page. I think that this is important in a contents page because a reader does not want to spend a lot of time on a contents page they just want to know whats on each page and where everything is, so I think that keeping it simple attracts more audience. The main conventions in a contents page that I saw were images, numbered text, and a mast head.

 With the double page spreads a lot of them were just a big picture covering both pages with just a little bit of writing, I think that you can only really get away with this is the band or artist is quite popular, if not then I dont think people would take much interest. Also a lot of the double page spreads had a lot of text and were usually interviews with groups. In the interviews on the double page spread it usually had big picture of the artist with collums with text inside the collums. It was quite difficult to find the main conventions in a double page spread because it was different everytime depending what was on the page for example, it could just be a poster, an interview, gig reveiw etc.

To also help me with my research I put together a questionairre and I asked questions such as “would you like to see a girly music magazine out on the shelf for once?”, “whats the most you would pay for a magazine like this”, “would you ever be interested in buying a magazine like this”. This has helped me a lot because it gave me a better idea of things like the price of my magazine, target audience, and if people would be interested in a magazine like mine. A lot of the feedback was people saying that they would like to see a girly music magazine out there as there arent many at all. This made me more confident in the making of my magazine as I knew it was a good idea and would be popular. People also said they would roughly only pay £2-£3 for a magazine this is why I chose the price of my magazine.

After doing my research I drew 4 rough drawings of possible front covers and I evaluated them. I said why I chose to design things in a certain way and what I wanted from the front cover, I also said why I chose to put things in a certains place. This helped me to become more confident in putting together my front cover as I felt like i had some good ideas and could make this succesful. I did not chose one specific design but I took different things from each front cover and put it into one. I am glad I done this because it gave me good ideas for my final peice. I felt like the more I designed the more creative and confident I become. This also helped me in a way to learning about conventions in a music magazine because it was like I was testing it out and seeing what works and what doesnt work, this has helped me into making a good quality front cover as I knew from the start what looked good, and what didnt.

When I started putting together my front cover I had a good idea of what I wanted. I wanted it to look girly but also quite grimey. I decided to use a purple colour for the background with the title of the magazine “NOVA”  in bold black text at the top. I downloaded most of my text from the internet. The text I have used for the masthead looks very distorted and almost eroded. I wanted to make my magazine stand out and have catchy subheadings and a attractive main picture this is because it would attract more people to my magazine as you will find that people are more likely to buy a magazine if the person on the front is attractive. The picture of the girl on the front cover is the artist that is featured in my magazine on my double page spread, she is an upcoming rock artist called “Amy Day”. I found the making of my magazine quite easy and very fun to do, along the way I was adding more conventional things to make my magazine look more realistic for example a white box around the bar code. I feel as if the sub headings on my front cover would attract a lot of people as they seem quite catchy for example “5 free posters inside”.

When I started to produce my contents page I knew what I wanted. I wanted to keep it quite simple, still girly but grimey, yet attractive. I chose a pink background to stick to the girly conventions for the magazine, and yet again black font that looks quite grimey and eroded. I think that they work well together and its exactly what Iwanted from my magazine. I have my main heading saying “CONTENTS” to let the audience know what exactly they are looking at. To let my audience know which is on each page I have the page numbers in bold black text with text underneath saying what is on each page. On the right hand side of my contents page I have a series off 4 images. On each image I have a page number and a little bit of text revealing what they are. I have included a picture of Lady GaGa, Paramore, and two of my own original images. One of which is the features artist “Amy Day” and “Kyrsten McCartney” a pin up model. I have decided to include a picture of 2 famous people as it makes my magazine look more realistic. They are also very popular celebrities so they will attract an audience to my magazine. I added a border around the images to make them stand out more.

When I started my double page spread I knew that I wanted to do an interview with my featured female artist “Amy Day”. The interview would be about what Amy has plans and how she is handling her new life being famous etc. For the colour scheme I still wanted to keep the girly/grimey conventions so i used a black background with white and pink text. I added images around the page which are all my original images of Amy Day. The tite says “AMY DAY CONFESSES ALL” in bold white and pink text which is slanted across the top of the page. In the interview the interviewers text is in pink and Amys answer is in white. I chose to do it like this so it is easier for my readers to understand who is saying which bit. I chose the white and pink text as I thought it goes with the girly conventions and it stands out well and is easy to read against the black background. With the pictures that I have added onto the double page spread bring character to the magazine and adds character to the featured artist, this make my magazine seem more realistic. I have blended the images into the background so it looks like they are fading in, I think that this makes the double page spread more appealing to my audience.

After many changes to my front cover, contents page and double page spread I felt like it had a big impact on the audience, this is because my magazine had more realistic conventions in it which made the magazine feel more realistic and more like a magazine. The magazine looks sucessful and exactly what I wanted a girly/grimey music magazine. My magazine creates meaning in a way that young females can now enjoy a music magazine that is especially for them, they will be able to relate to the magazine a lot more then a stereotypical manly music magazine as it will be girly with a touch of grime, it will feel more personal for them. The language I have used for the magazine is quite laid back, easy to understand, with character. I decided to do it like this so the magazine comes across more gentle and has more girly elements in the magazine.

I think that my media produced challenges existing ones out there quite a lot. If you look at the stereotypical music magazine for example “Kerrang” you will see that it appears very grimey, heavy rock/metal genre of music, and very butch and manly. But with my magazine I wanted to be creative and go against most of the conventions of a music magazine by making it girly and not focusing on just one genre of music to broaden my audience. Where as Kerrang will just focus on heavy metal and heavy rock, my magazine focuses on rock/indie/alternative. My magazine also challenged conventions by saying its just a girls magazine, most music magazines are for both male and female as both genders like all different kinds of music. You will also see that with most magazines they have male and female artists but with my magazine it only features female artists, this is because I wanted it to be exclusively for girls and challenge the conventions of a average music magazine. Comparing my media product with any other magazine is quite difficult but I can relate my magazine to the magazine “Clash”. I looked at that magazine front cover in my research and it inspired me a lot in what I wanted to do and to create. This is because it is a girls music and fashion magazine and had a look of music conventions but with a girly twist. This magazine included a female features artist on the front, has quite a lot of girly colours such as pinks, whites and purples, with stars in the background. You will know as soon as you saw it that it was meant for girls, and I get that kind of feel with my magazine. But comparing my magazine to other music magazines is quite difficult as most of them are very manly and butch where has the opposite kind of conventions.

I am pleased with my final product. I feel like my front cover is bold, eye catching, and appealing, that my front cover is attractive, simple and gets to the point and that my double page spread is exciting, bold, eye catching, interesting and very appealing to readers. If I could change anything about my products I probably would have added more pages into my contents page to fill up some gaps, and some spelling on my double page spread, other then that I am pleased with how everything has turned out. I think that my work could have been better if I managed my time more efficiently and allowed myself more time into putting together my media product.

 

Original Images March 26, 2009

Filed under: Media - Main task — jessica♥amy @ 3:17 pm

media-front-over-pic

I have edited this picture and i have chosen it for my double page spread as i think as she model looks quite cheeky and adds to the character and builds a character up for my female artist. With all the rest of the pictures I have carefully chosen the ones I have used, and are going to use. I chose these ones because they had most character, they were a lot stronger then my other original images and also the model looks most attractive in these images. This is important because people are more likely to buy a magazine if the person on the front or inside is attractive, no one really wants to see an ugly person on a magazine.

 

Final Front cover, contents page and double page spread March 26, 2009

Filed under: Media - Main task — jessica♥amy @ 3:14 pm
 

Brazil – Research March 23, 2009

Filed under: A2 Film Studies — jessica♥amy @ 10:26 am

culture

Brazilian culture is a culture of a very diverse nature. An ethnic and cultural mixing occurred in the colonial period between Native Americans,Portuguese and Africans and formed the bulk of Brazilian culture. In the late 19th and early 20th centuries ItalianGermanSpanishArab andJapanese immigrants settled Brazil and played an important role in its culture, creating a multicultural and multiethnic society[2]

Population in Brazil

At the turn of the century, Brazil’s population was 17,438,434. By 1950 it had grown to 51,944,397, and in 1970 it reached 93,139,037. By 1991 Brazil was the world’s sixth most populous country, with about 2.7 percent of the world’s 5.3 billion people or 147,053,940 inhabitants. In July 1996, the population was counted as being 157,079,573, but estimated in 1997 to be nearly 160 million. Projections indicate a total population of 169 million in 2000 and 211 million in 2020, and population stability at about 250 million in 2050. The population growth rate for the 1992 to 2000 period is estimated at 1.5 percent per year. As a result of the decline in mortality and continued high fertility during the 1950s and 1960s, the average growth rate was nearly 3 percent per year. Subsequent to a decrease in total fertility, the growth rate dropped to 2.5 percent in the 1970s and 1.9 percent in the 1980s.

Average population density in Brazil in 1994 was 18.5 inhabitants per square kilometer. There was a wide variation between the densely populated Southeast and South, on the one hand, and the sparse North and Center-West, on the other, with the Northeast at intermediate levels. In comparison, in 1991 the United States (including Alaska) had an average of twenty-five inhabitants per square kilometer; France, 100; the United Kingdom, 100; China, 110; and Canada, three.

According to the 1996 count, the most populous region in the country is still the Southeast (63 million inhabitants), followed by the Northeast (45 million), the South (23.1 million), the North (11.1 million), and the Center-West (10.2 million). The most inhabited states are São Paulo, Minas Gerais, Rio de Janeiro, Bahia, Rio Grande do Sul, and Paraná. These states all lie along the Atlantic coast.

In some rural areas and many cities, particularly in major metropolitan areas, females outnumber males. The historical predominance of women over men in the Brazilian population has persisted. The 1996 count showed that there were ninety-seven men for every 100 women and that the total number of women exceeded the number of men by 5 million.

The average age of the Brazilian population has increased as a result of a continued decrease in mortality and fertility. Between 1980 and 1990, the proportional share of children from birth to age fourteen decreased from 38.2 to 34.7 percent, while the share for those of age fifteen to sixty-four increased from 57.8 to 61.1 percent. The proportion of elderly (age sixty-five or greater) increased from 4.0 to 4.2 percent and is projected to reach 9.0 percent by the year 2020. In all regions of the country, the count registered an increased number of people of ages fifteen to sixty-four and of older people over sixty-four years old. In the Southeast, for example, the proportion of people in the former age bracket increased from the 61.7 percent registered in 1980 to 63.6 percent in 1991, while the number of older people increased from 4.2 percent to 5.1 percent.

The demographic transition in Brazil becomes apparent as the bottom of the very wide-based pyramid, typical of developing countries with high birthrates, begins to narrow (see fig. 6). Further declines in the fertility rate, estimated at 2.44 children born per woman in 1994, eventually will lead to a pyramid that is shaped more like a bullet, with cohorts under age sixty of roughly equal size. Senior citizens will live longer, and the proportion of young people will decline. In the year 2000, young people will account for 28.3 percent of the population and senior citizens, 8 percent. Couples will have fewer children, and the fertility rate may be less than 2.2 children per woman, the replacement level.

Religion

The religion of most Brazilians is Catholicism, in fact, Brazil has the largest Catholic population in the world. Many other beliefs over time have been incorporated into the Brazilian Catholic belief system such as SpiritismBuddhismHinduismAyahuasca, and Judaism as well as religious syncretisms, such as Candomblé,Umbanda, and Macumba, that mix Catholicism with African tribal religions. Certain denominations of Christianity, such asPentecostalismMethodism, and the Mormon church have also gained a large following.

Carnaval, as it is known in Brazil, is an annual celebration held forty days before Easter and marking the start of Lent. Carnival in Rio de Janeiro is known worldwide for the elaborate parades staged by the city’s major samba schools in the Sambadrome and is one of the world’s major tourist attractions. In other regions such as Bahia and Pernambuco (and throughout Brazil), Carnival takes on a unique regional flavor. Carnival celebrations in Brazil feature locally-originating traditions and music (such as axé and frevo).

Music

azil’s cultural tradition extends to its music styles which include samba, bossa novaforrófrevo, pagode and many others. Brazil has also a large contribution to the genres of classical music, which can be seen in the works of composers José Maurício Nunes Garcia(1767-1830), Antonio Carlos Gomes (1836-1896), Elias Álvares Lobo (1834-1901), Alberto Nepomuceno (1864-1920) Heitor Villa-Lobos (1887-1959). Camargo Guarnieri(1907 – 1993), Cláudio Santoro (1919 – 1989), Osvaldo Lacerda (1927) and Eli-Eri Moura (1963), among many others. Some of the most famous Brazilian classical performers are the soprano Bidu Sayão, the pianists Nelson Freire and Guiomar Novaes and the conductors Eleazar de Carvalho and Isaac Karabtchevsky. Brazil is also the land of the São Paulo State Symphony, regarded as one of the outstanding orchestras in Latin America and in the world.

Antônio Carlos Jobim and João Gilberto popularized the Bossa Nova sound, which was followed by Música Popular Brasileira (literally “Brazilian Popular Music”, often abbreviated to MPB). In the late 1960s, Tropicalismo was popularized by Caetano Veloso and Gilberto Gil.

Within the last 20 years, Brazil saw a dramatic increase in diversity in the music they express. Ever since 1985 when Brazil became democratic, popular music, such as hip hop became a widely “unprecedented fashion”[8] However, social classes developed between the poor, middle class, and wealthy. Music was influenced by race and equality facts. For example, poor people would talk about how corrupt the government is, the violent and low class life the live in, unequal wealth distribution, and drugs [9] Nevertheless, traditional music, such as samba, managed to keep the country’s music scene united as one.

The musical style know in Brazil as “Brazilian rock n’ roll” dates back to a portuguese-version cover of “Rock Around the Clock“, in 1954. In the 1960s, young singers like Roberto Carlos and the Jovem Guarda movement were very popular. The 60s also see the rise of bands such as the “tropicalistas” Os Mutantes and the experimental (mixing progressive rock, jazz and MPB), O Som Imaginário.

The 1970s saw the emergence of many Progressive rock and/or Hard rock bands such as O TerçoA BolhaA Barca do SolSom Nosso de Cada DiaVímana and Bacamarte, some of which attained some recognition internationally; Rita Lee, in her solo career after Os Mutantes, championed the glam-rock aesthetics in Brazil; Casa das Máquinas and Patrulha do Espaço were more bona-fide Hard rock bands, and the likes of (Raul SeixasSecos e MolhadosNovos Baianos and A Cor do Som) mixed the genre with traditional Brazilian music. In the late 1970s, the Brazilian Punk rock scene kicked off mainly in São Paulo and in Brasília, booming in the 80s, with InocentesCóleraRatos do PorãoGarotos Podres etc…

The real commercial boom of Brazilian rock was in the 1980s, with many bands and artists like BlitzGang 90Barão VermelhoLegião UrbanaEngenheiros do HawaiiTitãsParalamas do Sucesso, and many others, and festivals like Rock in Rio and Hollywood Rock. The late 1980s and early 1990s also witnessed the beginnings of an electronica-inspired scene, with a lot more limited commercial potential but achieving some critical acclaim: SubaLoop BHarry, etc…

In the 90s, the meteoric rise of Mamonas Assassinas, which sold more than 3 million copies of its only CD (a record, by Brazilian standards) came to a tragic end when the band’s plane crashed, killing all five members of the band, the pilot and the co-pilot. Other commercially successful bands included Raimundos and Skank, while Chico Science & Nação Zumbi and the whole Mangue Bit movement received much critical attention and accolades, but very little commercial success – success that declined after the death of one of its founders, Chico Science. It was also in the 90s that the first seeds of what would grow into being the Brazilian indie scene were planted, with the creation of indie festivals such as Abril Pro Rock and, later in the decade, Porão do Rock.

In present time (2008), the Brazilian variant of Emo music is the only real commercial genre of Brazilian Rock, with groups such as FresnoCPM22 and NX Zero topping the charts. Female singer Pittyis also very popular, as was the now defunct Los Hermanos. The indie scene has been growing exponentially since the early 2000s, with more and more festivals taking place all around the country. However, due to several factors including but not limited to the worldwide collapse of the music industry, all the agitation in the indie scene has so far failed in translating into international success, but in Brazil they developed a real, substantial cultural movement. That scene is still much of a ghetto, with bands capturing the attention of international critics one year and then playing only on Brazil the next year, due to the lack of financial and material support which would allow for careers to be developed. The notable exception is CSS, an alternative Electro Rock outfit that has launched a successful international career, performing in festivals and venues in North America, Europe, Asia and Australia. The record company Trama[2] tries to support some bands with structure and exposure, and can be credited with early support to CSS. Alternative Rock shares a reasonable success in Brazil, with bands like System of a Down and Snow Patrol.

The (somewhat paradoxal) differential of CSS is that it’s one of the very few Brazilian bands that play Rock music, as opposed to “Brazilian Rock” bands. The label “Brazilian Rock” has always entailed a different musical style (and approach) from the original Rock ‘n Roll, being more of a louder version of the popular Brega music of Brazil, a kind of Brega with an attitude. Since the 90s, however, there has been a growing tendency for bands to adhere strictly to the original Rock ‘n Roll aesthetics, with lyrics in English and little or no influence from the Brazilian music or cultural environment. Such stance has been criticized for being “anti-nationalist” or too “Americanized” by left-leaning critics that too often forget that Rock actually is an American musical style. And the international success ofCSS seems to lend credence to the idea that the sort of “mixed rock” traditionally played by Brazilian artists is not as competitive internationally as when Brazilians play “real” rock music. The MySpace-fueled success of singer-songwriter Mallu Magalhães, a traditional folk singer in the vein of Bob Dylan and Johnny Cash, seems to be signaling a new era for “Brazilian Rock”, in which it would drop the qualifier “Brazilian”, turn into simply “rock” and, for the first time, appeal to international audiences – as well as the domestic audiences, also eager for “purer” rock, as the mentioned case ofMallu Magalhães shows.

The emocore scene is also present in Brazil. Bands like NXZeroFresno and B5 are part of the movement.

Brazilian Metal

Brazilian heavy metal was originated in the mid 80’s with three prominent scenes: Belo Horizonte, São Paulo and Rio de Janeiro.

The most famous Brazilian metal bands are SymmetryaSepulturaSoulflyAngraKrisiunDr. SinShaamanAquaria and the famous Brazilian singer, ex-Angra and ex-ShaamanAndre Matos. Sepultura is considered an influential thrash metal band, influencing the development of death metal.

1980’s famous bands include AndrallsKorzusSarcófagoOverdoseDorsal AtlânticaViperMXPUSMutilatorChakalVulcano and Attomica. From 1990′ include SymbolsThe MistScars,DistraughtFantocheTorture SquadEterna and Silent Cry. From 2000’s include Eyes of ShivaTuatha de DanannClaustrofobiaApokalyptic Raids and Wizards.Cinema

Brazil has a long cinematic tradition, reaching back to the birth of the medium in the late 19th century. In the 1950s, Cinema Novo, (literally “New Cinema”) sprang up as a movement concerned with showing realism in film, in the vein of Italian Neorealism and the French New Wave. In recent years, films like Cidade de Deus (2002 – directed by Fernando Meirelles) and Carandiru (2003 – directed by Hector Babenco) gained Brazilian cinema a new level of international acclaim.

The earliest known descriptions of music in Brazil date from 1578, when a French pastor described the dances and transcribed the music of the Tupi people. In 1587, Gabriel Soares de Sousa wrote about the music of several native Brazilian ethnic groupsLundu was the first kind of African-influenced music to flourish in Brazil. Lundu, a style of comedic song and dance, was extremely popular.

Brazil became independent from Portugal in 1822, following the Brazilian Independence Declaration. Soon after, the African comic form ‘lundu’ spread from the poor black quarters to a broader, white but middle-class audience.

Towards the end of the 18th century a form of comedic dance called bumba-meu-boi became very popular. It was a musical retelling of the story of a resurrected ox. These dances are led by a chamador, who introduces the various characters. Instruments used include the pandeiro, the tamborim, theaccordion and the acoustic guitar.

During the 18th century and the first half of the 19th century, the classical music in Brazil was strongly influenced by the music style practiced in Europe, particularly the Viennese classical style. The first major Brazilian composer was José Maurício Nunes Garcia, a priest who composed several sacred pieces and some secular music. He wrote the opera Le Due Gemelle (“The two twins”), the first Brazilian opera with a libretto in Portuguese: “A Noite de São João” (Saint John’s Party Night).

Near the end of the 19th century, Carlos Gomes went to Milan and produced a number of Italian-style operas, such as Il Guarany (based on a novel byJosé de Alencar). Brasílio Itiberê was another prominent classical composer, the first to use elements of Brazilian music in Western classical music, in his Sertaneja (1869).

In 1922, the Week of Modern Art revolutionized Brazilian literaturepainting and music. Heitor Villa-Lobos led a new vanguard of composers who used Brazilian folk music in their compositions.

By the end of the 1930s, there were two schools of Brazilian composition. Camargo Guarnieri was the head of the Nationalist school, inspired by the writer Mário de Andrade. Other composers including Guerra PeixeOscar Lorenzo FernandezFrancisco MignoneLuciano Gallet and Radamés Gnattali. Beginning in 1939, Hans-Joachim Koellreutter, creator of the Live Music Group, founded another school, characterized by the use ofdodecaphonism and atonalism. Other composers in this school included Edino KriegerCláudio Santoro and Eunice Catunda.

Eduction

Education in Brazil is regulated by the Federal Government, through the Ministry of Education, which defines the guiding principles for the organization of educational programs. Local governments are responsible for establishing state and educational programs following the guidelines and using the funding supplied by the Federal Government. Brazilian children must attend school a minimum of 9 years, however the schooling is usually inadequate.

The 1988 Brazilian Constitution states that “education” is “a right for all, a duty of the State and of the family, and is to be promoted with the collaboration of society, with the objective of fully developing integral development of the human personality and his/her participation in the work towards common welfare;

  • preparing individuals and society to master scientific and technological resources which will allow the use existing possibilities to common welfare;
  • protecting, disseminating and expanding cultural heritage;
  • condemning any unequal treatment resulting from philosophical, political or religious belief, as well as any social classes or racial prejudices.

Currency

The unit of money or Brazil currency, South America is Real (BRL). In 1500, the Portuguese established their colony in Brazil (then known as New World) and introduced the ‘Real’ currency . However the first official currency that was distributed everywhere bearing the ‘Real’ name was originally printed in the year 1654 by the Dutch when they occupied the Northeastern part of Brazil. Real became the official currency of Brazil in 1690 and since then its official status remained intact till 1942. Only in 1942, the currency named Cruzeiroreplaced real. The currency rate was 1000 reis = 1 cruzeiro.

In the 1980s and 1990s, Brazil went through a period of high inflation and hence this South American nation had to change its currency numerous times. Until 1986, the Brazilians dealt with Cruzeiros . In that year three zeros were removed and the currency was changed to Cruzado . After a couple of years another three zeros were removed and the ‘new cruzados’-(Cruzados Novos) were introduced to the people of Brazil. In 1990, the Cruzeiros once again were in vogue after replacing Cruzados Novos . Finally another three zeros were reduced and the currency came to be known as Cruzeiros Reais.

In 1994, with the implementation of the new financial plan, the new currency Real was launched. Thus after a long time the currency of Brazil was stabilized.

Brazil Currency (Real) consists of Bills ranging from- R$1, R$2, R$5, R$10, R$20, R$50 and R$100. Coins are also available in varied colors and sizes with value ranging from 1 cent, 5 cents, 10 cents, 25 cents, 50 cents and also 1 Real. Previously the Bills had images of Historical characters, but at present the images of Brazilian animals are illustrated on the bills. The female character at one side of the bill represents Brazil as a Republic.

Brazil doesn’t allow tourists or travelers to use foreign currency bills and traveler checks are curtailed. Travelers have to exchange the currency before payment of bills.

language

Language is one of the strongest elements of Brazil’s national unity. Portuguese is spoken by nearly 100 percent of the population. The only exceptions are some members of Amerindian groups and pockets of immigrants, primarily from Japan and South Korea, who have not yet learned Portuguese. The principal families of Indian languages are Tupí, Arawak, Carib, and Gê.

There is about as much difference between the Portuguese spoken in Brazil and that spoken in Portugal as between the English spoken in the United States and that spoken in the United Kingdom. Within Brazil, there are no dialects of Portuguese, but only moderate regional variation in accent, vocabulary, and use of personal nouns, pronouns, and verb conjugations. Variations tend to diminish as a result of mass media, especially national television networks that are viewed by the majority of Brazilians. See The Media.

The written language, which is uniform all over Brazil, follows national rules of spelling and accentuation that are revised from time to time for simplification. They are slightly different from the rules followed in Portugal. Written Brazilian Portuguese differs significantly from the spoken language and is used correctly by only a small, educated minority of the population. The rules of grammar are complex and allow more flexibility than English or Spanish. Many foreigners who speak Portuguese fluently have difficulty writing it properly.

Because of Brazil’s size, self-sufficiency, and relative isolation, foreign languages are not widely spoken. English is often studied in school and increasingly in private courses. It has replaced French as the principal second language among educated people. Because Spanish is similar to Portuguese, most Brazilians can understand it and many can communicate in it, although Spanish speakers usually have difficulty understanding spoken Portuguese.

Issues

Brazil has the ninth largest economy in the world and the largest in Latin America.[1] It is a country of extremes, with outstanding cultural, social and ecological diversity. Modern industry and commerce has flourished alongside with tremendous inequality, currently, one of the most serious challenges for the country today. Despite the rich natural resources, rapid economic development, and the overall size of Brazil’s economy, the nation has major problems with povertyhungerdisease, and inadequate public services.

Brazilian society displays giant gaps between the city and the countryside, between regions, and between social classes. The income difference between rich and poor is among the most substantial in the world. As a result,Brazil has amongst the highest income inequality in the world, ranking 56.7 in the Gini coefficient index[2] — with the richest 10% of Brazilians receiving 50% of the nation’s income, while the poorest 10% receive less than 1%. Basic citizen rights, taken for granted in the developed world, are scarce in Brazil. Educationhealthsafety are deficient. However, several governments have been tackling those issues and the country is slowly improving several social related figures. Also, in the recent years, there has been a more pressure from the Brazilian society to attach more importance to social issues.

Poverty in Brazil is most visually represented by the various favelasslums in the country’s metropolitan areas and remote upcountry regions that suffer with economic underdevelopment and below-par standards of living. An attempt to mitigate these problems is the “Fome Zero” hunger-eradication program implemented by President Luiz Inácio Lula da Silva in 2003. Part of this is “Bolsa Família“,[3] a major anti-poverty program that gives money directly to impoverished families.

Lula’s government reduced 19.8% the rate of misery based on labour income during June 2002 and June 2006 according to Fundação Getúlio Vargas. In June 2006 the rate of misery is 18.57% of the population.[4]

The rate of poverty is in part attributed to the country’s economic inequality. Brazil ranks among the world’s highest nations in the Gini coefficient index of inequality assessment.

A study on the subject [5] shows that the poor segment constitutes roughly one third of the population, and the extremely poor make out 13% (2005 figures). However, the same study shows the income growth of the poorest 20% population segment to be almost in par with China, while the richest 10% are stagnating.

Brazil has serious problems with crime, especially in São PauloRio de JaneiroBelo HorizonteCuritibaSalvadorPorto Alegre and Recife with highest homicides rates by aggression in the country.[3] With roughly 23.8 homicides per 100,000 residents,[4] muggings, robberies, kidnappings[5] and gang violence[6] are common. Police brutality and corruption are widespread.[7][8] Inefficient public services,[9][10][11] especially those related to security, education and health, severely affect quality of life. Organized crime is well established in Rio de Janeiro and São Paulo, and include some major criminal organizations like Comando VermelhoAmigos dos Amigos and Primeiro Comando da Capital. In 2006 46,660 people were murdered in Brazil–a reduction when compared to 2005, during which 47,578 people were killed. The year of 2003 still holds the record for total number of murders in Brazil; that year alone 51,043 people were murdered.[12] Computer hacking and internet fraud have a strong presence in Brazil, with eight out of every ten of the world’s hackers from Brazil.[13]

Brasilia, the capital, was once spared the crime rates of other Brazilian cities, but now has significant crime problems.[14] Following the citywide trend of previous years, reports of residential burglaries continue to occur in the generally affluent residential sections of the city. Public transportation, hotel sectors and tourist areas are still the locations with the highest crime rates,[14] though statistics show that incidents can happen anywhere and at anytime. The majority of kidnappings in Brasilia continue to be the “quicknappings.”[14]


  

[Carjacking]] is common, particularly in major cities. Local citizens and visitors alike are often targeted by criminals, especially during public festivals such as the Carnaval.[15] More than 500,000 people have been killed by firearms in Brazil between 1979 and 2003, according to a new report by the United Nations.[16]

Gang-related violence is common throughout the Capital Brasilia. Most incidents have been directed at police, security officials and related facilities but gangs have also attacked official buildings, set alight public buses and robbed several banks.[17] May 2006 São Paulo violence began on the night of 12 May 2006 in São Paulo, Brazil. It was the worst outbreak of violence which has been recorded in Brazilian history and was directed against security forces and some civilian targets. By May 14 the attacks had spread to other Brazilian states including Paraná,Mato Grosso do SulMinas Gerais and Bahia.


  


Armored police car of Rio de Janeiro

Express kidnappings, where individuals are abducted and forced to withdraw funds from ATM machines to secure their release, are common in major cities including Rio de JaneiroSão PauloBrasilia,CuritibaPorto AlegreSalvador and Recife.[18] Petty crime such as pickpocketing and bag snatching is common. Thieves operate in outdoor markets, in hotels and on public transport.

Cases of piracy occur in some coastal areas of Brazil. Brazil has a long coast line with hundreds of bays and rivers. Most of these are believed to be without pirates. The more dangerous activities seemed to be centred around the Amazon river mouth and the region of Santos or Forteleza.[19]

Dealing with issues

The National Security Force

The National Public Security Force (NPSF) was established in June 2004 by the Ministry of Justice, to act in emergency situations. The NPSF is controlled by the National Security Bureau (Secretaria Nacional de Segurança) and brings together the best police states and the Federal Police. This group of elite police officers, similar to the American model of SWAT teams, was inspired by the peace forces of the United Nations (UN). With the setting up of troops, the federal government wanted to prevent the transmission of the Armed Forces to assist the state police in the fight against crime.

[edit]BOPE

BOPE (Batalhão de Operações Policiais Especiais, or Special Police Operations Battalion), is the elite group of the Military Police. BOPE’s exist in BrasíliaSão José and in many other cities. The most famous or infamous BOPE, is the BOPE-PMRJ (PMRJ being the ‘Rio de Janeiro military police). There may be other BOPEs in the State of Rio de JaneiroBrazil. Their missions are: break barricades constructed by drug traffickers; extract police officers or civilians injured in confrontations; serve high-risk arrest warrants; hostage rescues; suppress prison rebellions; and conduct special missions in rough terrain such as swamps or mountainous areas. Other states in Brazil have different names for their special operations groups.

What is Brazil known for

The Federal Republic of Brazil (Republica Federativa do Brasil) consists of 26 states and one Federal District, making it the 5th largest country in the world both in terms of area and population. The country borders every other South American nation except for Ecuador and Chile, and has 7,491 km of Atlantic coastline. The southeast region is the most industrialized and populous with the three main Brazilian cities, São PauloRio de Janeiro and Belo Horizonte, but since the 1960s the government has instituted programs to encourage migration to the north and west-central regions. The Brazilian economy is among the 10 largest in the world. The massive agricultural sector contributes to international trade, but most of the country’s wealth comes from the service and manufacturing sectors.

On the 22nd April of 1500, the first European expedition landed on the Brazilian coast at Bahia, led by Pedro Alvares Cabral, who named the land “Terra de Vera Cruz“ and claimed it for the Portuguese crown; but only three decades later the colonization of the new lands started with the territory division into “Capitânias Hereditárias”, which constited of 15 strips of land 350 km long from the coast to the countryside. But with the resistance of the local Indians the project failed, and so the Portuguese crown installed a central government and expelled the French from the states of Rio de Janeiro and Maranhão, and later the Dutch from Pernambuco.

During the XVIII century Portugal conquered vast amounts of land from Spain and the Brazilian territory grew fast, its population reaching 70.000 inhabitants, with the most important cities being, Rio de JaneiroOuro PretoCuiabáBelém and São Luís.

After decades of conflicts, on 7 September 1822 Dom Pedro I Prince of Portugal declared Brazil an independent country, and became the first King of “Reino Unido do Brasil” (United Kingdom of Brazil), which was first recognized as legitimate by England in exchange for trade advantages and later by Portugal.

By the end of the XIX century Brazil began receiving a large current of migration from Europe, which continued into the World Wars of the XX century. Today the country’s population consists mainly of immigrants from Portugal, Italy, Spain, Germany, Poland, Ukraine; Arabs most from Lebanon; Japanese (the biggest settlement outside Japan); descendents of African slaves. Indians count for only a few thousand, mainly in the northern states.

Although by the end of the XX century migration had decreased, Brazil continues to receive migrants especially from China, Korea, Argentina and Bolivia.

Brazil is known worldwide for its natural areas, with the Amazon forest and Pantanal swamps as the most important biodiversity sites in the world.

The history of high-rise construction in Brazil started with Jornal do Brasil and Sampaio Moreira and later with Edificio do Jornal A Noite andPrédio Martinelli, and during the military dictatorship the construction of cheap high-rises became common to supply the demand for houses. During the three last decades of the XX century the construction of skyscrapers increased and spread to virtually every big and medium Brazilian city. The most famous buildings in Brazil are Prédio Martinelli,Edifício ItáliaAltino Arantes, all located in São Paulo, Brasil’s skyscraper capital.

Government

Brazil is a federal republic with 26 states and a federal district. The 1988 constitution grants broad powers to the federal government, made up of executive, legislative, and judicial branches. The president holds office for 4 years, with the right to re-election for an additional 4-year term, and appoints his own cabinet. There are 81 senators, three for each state and the Federal District, and 513 deputies. Senate terms are 8 years, staggered so that two-thirds of the upper house is up for election at one time and one-third 4 years later. Chamber terms are 4 years, with elections based on a complex system of proportional representation by states. Each state is eligible for a minimum of 8 seats; the largest state delegation (Sao Paulo’s) is capped at 70 seats. This system is weighted in favor of geographically large but sparsely populated states.

Fifteen political parties are represented in Congress. Since it is common for politicians to switch parties, the proportion of congressional seats held by particular parties changes regularly. The major political parties are:

Workers Party (PT-center-left) 
Liberal Front Party (PFL-right) 
Brazilian Democratic Movement Party (PMDB-center) 
Brazilian Social Democratic Party (PSDB-center-left) 
Progressive Party (PP-right) 
Brazilian Labor Party (PTB-center-right) 
Liberal Party (PL-center-right) 
Brazilian Socialist Party (PSB-left) 
Popular Socialist Party (PPS-left) 
Democratic Labor Party (PDT-left) 
Communist Party of Brazil (PCdoB-left)

President Lula was elected with the support of an alliance composed of his own leftist Workers’ Party (PT), the center right Liberal Party (PL), the leftist National Mobilization Party (PMN), which currently only has two Deputies in the Chamber, the leftist Popular Socialist Party (PPS, formerly the PCB), and the leftist Communist Party of Brazil (PCdoB). The PPS as well as the large PMDB party left the PT-led governing coalition in December 2004. With these withdrawals, the coalition has a small majority in the Chamber of Deputies and a minority in the Senate. Party loyalty is weak, and deputies and senators who belong to the parties comprising the government coalition do not always vote with the government, but the government may also attract support from members who are not in the governing coalition.

Because of the mandatory revenue allocation to states and municipalities provided for in the 1988 constitution, Brazilian governors and mayors have exercised considerable power since 1989. Presidential, congressional, and gubernatorial elections last took place in October 2002. President Lula won the election with 61% of the vote. His challenger in the run-off was Jose Serra of the PDSB, former President Fernando Henrique Cardoso’s party. The next presidential elections will be held in October 2006. Municipal elections occurred in October 2004.

Principal Government Officials
President–Luiz Inacio Lula da Silva
Vice President–Jose Alencar Gomes da Silva
Minister-Chief Casa Civil (Chief of Staff)–Dilma Rousseff
Ambassador to the United States–Roberto Abdenur
Ambassador to the United Nations–Ronaldo Sardenberg
Ambassador to the OAS–Osmar Vladimir Chohfi

Brazil maintains an embassy in the United States at 3006 Massachusetts Avenue NW, Washington, DC 20008 (tel. 202-238-2700). Brazil maintains consulates general in New York, Chicago, and Los Angeles; and consulates in Miami, Houston, Boston, San Francisco, and Orlando.



 

research slasher movies February 9, 2009

Filed under: A2 Film Studies — jessica♥amy @ 10:51 am

The slasher film (rtf: salasā fēlam) (sometimes referred to as a body count or dead teenager movie) is a sub-genre of horror film typically involving a psychopathic killer (usually wearing a mask) who stalks and graphically murders a series of mostly adolescent victims in a typically random, unprovoked fashion, killing many within a single night. The huge box office success of John Carpenter’s Halloween (1978) helped spawn a long line slasher films inspired by the film and its scares which are now considered a standard slasher movie trope.

Contents [hide]

1 Overview

2 Origins

3 Golden age

4 Revival

5 Critical analysis

6 Notable Slasher Films

7 See also

8 External links

 

[edit]

Overview

The victims are usually teenagers or young adults who are away from mainstream civilization or far away from help and often involved in sexual activities, illegal drug use, or both. These films typically begin with the murder of a young woman and typically end with a lone female survivor who manages to subdue the killer. Although Alfred Hitchcock’s Psycho is often credited with creating the slasher genre, the first authentic slasher film was Black Christmas, released in 1974, followed by The Texas Chain Saw Massacre (later in ‘74) and Halloween in 1978. The success of Friday the 13th is usually charged with creating the “slasher boom” of the 1980s. Jaws 2, while technically not a slasher film, has a lot in common with these films as most of the shark’s victims are teenagers.

In a slasher film, the killer almost always uses unconventional weapons, such as knives, chainsaws, cleavers, and various blunt objects; rarely, if ever, does the killer use a gun, sword, or anything actually designed for use as a weapon. There is often a backstory that explains how the killer developed his or her violent mental state, and why s/he focuses primarily on a particular type of victim or haunts a particular location. The killer is almost always male, and is often able to withstand most or all of the victims’ attempts to defend themselves. Thus, even after being shot, stabbed, bludgeoned, electrocuted, burned, or drowned, the murderer is not only alive, but able to continue stalking his victims. While the killer is usually portrayed as “pure evil” (i.e., lacking any humanizing or sympathetic characteristics), there are some films which show the killer to be pitiable, or at the very least misunderstood. Notable among these are Silent Night, Deadly Night, Slaughter High, The Funhouse, Castle Freak, Creep, Offerings and Midnight Ride.

 

[edit]

Origins

Agatha Christie’s famous mystery novel (and subsequent play) And Then There Were None, set in an isolated location with a psychopathic killer murdering a series of hapless victims, can be seen as an early precursor to the genre. Christie’s theatrical adaptation even expands the concept, with the revised stage ending featuring the female protagonist having a showdown with the killer in the classic “final girl” tradition.

Alfred Hitchcock’s film Psycho (1960) is sometimes described as the mother of all slasher films. Although there are only two murders in the story, the idea of a disguised and insane killer came to prominence with this picture. However, unlike other slasher films, the characters in the film are well developed and revolve around a far more complex storyline. Indeed, the murderer’s insanity is also clearly explained, in comparison to other slasher film villains. In Psycho, the killer is arguably psychotic, rather than clearly psychopathic: he has obvious and bizarre delusions, such as the belief that his dead mother is still alive. Psycho was so influential that many critics see it as a turning point in cinema history. It marked the transition from the Gothic horror of vampires, were-wolves and monsters to modern issues and fears. The famous “shower murder” with its screeching violin soundtrack is perhaps the most famous scene in horror-film history. However, although it directly inspired the subsequent slasher genre, Psycho is more accurately categorized as a psychological horror/thriller.

Early examples of the slasher genre include Francis Ford Coppola’s Dementia 13, Herschell Gordon LewisBlood Feast (1963), Mario Bava’s Blood and Black Lace (1964) and Twitch of the Death Nerve (1971) (the latter known by over a dozen titles, including Bay of Blood and Carnage), Jim O’Connolly’s Tower of Evil (1972), Tobe Hooper’s 1974 classic The Texas Chain Saw Massacre, and Bob Clark’s Black Christmas (1974).

 

[edit]

Golden age

The films most often charged with igniting the slasher film “craze” of the 1980s are John Carpenter’s Halloween (1978) and Sean S. Cunningham’s Friday the 13th (1980), both of which spawned numerous sequels and countless imitators that endlessly recycled their predecessors’ character archetypes and plot. Halloween, though not the first film of its kind, was the first to introduce the concept of the slasher as an indestructible evil force and is often considered the film responsible for the rise of the slasher trend, popularizing many of what would become key elements in the genre. Black Christmas (1974), released four years earlier, had introduced many of the elements that were used in the higher-profile Halloween and many subsequent films. Directed by Bob Clark, the film featured point-of-view shots from the killer’s perspective and threatening phone calls made from inside the victim’s house, which would be reused by later filmmakers for decades to come.

Following a trend set by Black Christmas, Halloween, and Friday the 13th, many films of the era focused on holidays or specific dates, such as My Bloody Valentine, New Year’s Evil, Happy Birthday to Me, April Fool’s Day, Prom Night, Mother’s Day, and Silent Night, Deadly Night (followed by such others as Bloody Birthday, Hell Night, Terror Train, Visiting Hours, Mortuary, and Night Warning). During the height of the genre’s popularity, despite a strict formula developing within the genre, audience interest was maintained by developing new, increasingly “novel” ways for victims to be killed (as the Friday the 13th series is best known for), as well as increasingly graphic and realistic special effects (Some of the most effective were The Burning, The Prowler, and Maniac). Some series, such as Nightmare on Elm Street and later Child’s Play, added supernatural twists to the slasher formula, as well as comedic elements as the respective series progressed. Earlier films, such as Psycho and The Texas Chainsaw Massacre, were also revived and given a series of increasingly gory sequels in attempts to compete with other franchises. The genre arguably peaked in 1983, a year in which, according to the book Crystal Lake Memories, nearly 60% of all box-office takings were for slasher movies.

Long-running franchises in the genre tended to focus more and more on the returning villain than on surviving victims, effectively transforming characters once viewed as frightening monsters into anti-heroes who would be cheered on by audiences. Nevertheless, by the end of the 1980s audiences were tiring of “unstoppable” masked killers and predictable plots. The profitability of the slasher genre began to dwindle, and controversy over the subject matter would eventually persuade some studios to stop producing and distributing slasher films. Sequels to the most popular slasher series, as well as new series such as Leprechaun, would continue to be released in theaters or direct-to-video throughout the early to mid-1990s. However, few gained the success of the genre’s earlier productions, and even entries in the established Halloween, Friday the 13th and Nightmare on Elm Street sagas became less frequent.

 

[edit]

Revival

The slasher genre resurfaced into the mainstream in the mid 1990s, after being successfully deconstructed in Wes Craven’s Scream (1996). The film was both a critical and commercial success, which attracted a new generation to the genre. Two sequels followed, and the series was even parodied in Keenen Ivory WayansScary Movie (2000), which began its own series, parodying the entire horror-film genre.

Scream kicked off a new slasher cycle that still followed the basic conventions of the 1980s films, but managed to draw in a more demographically varied audience with improved production values, reduced levels of on-screen gore, increased self-referential humor, more character development, and better-known actors and actresses (often from popular television shows). This style continued for the duration of the 1990s with competing series such as I Know What You Did Last Summer, Urban Legend, Final Destination, Valentine, Cherry Falls, New Nightmare and Jason X

In 1998, the Halloween series was revived, playing off the success of the Scream franchise. The new film, Halloween: H20, was conceived as a direct sequel to 1981’s Halloween II, and would lead to one further sequel, Halloween: Resurrection. Shortly after, other “classic” slasher faces would also be revived: A nearly scene-for-scene remake of Psycho was released a few months later, in December of 1998. Chucky of the Child’s Play series also returned to the screen, first in Bride of Chucky and later with Seed of Chucky. In 2003, two of the largest slasher series, Nightmare on Elm Street and Friday the 13th, were combined by New Line Cinema in the film Freddy vs. Jason.

Another revival attempt came in 2003 when a remake of The Texas Chainsaw Massacre was released. It was financially successful, and a prequel, The Texas Chainsaw Massacre: The Beginning, was released in 2006. The success of TCM would soon lead to a slew of other slasher remakes, including The Hills Have Eyes, Black Christmas, The Hitcher, the “reimagining” of John Carpenter’s Halloween, Prom Night, My Bloody Valentine 3D and the upcoming Friday the 13th remake and A Nightmare on Elm Street prequel, which supposely will narrate the life of Fred Krueger before being burned.

While figures from the “golden age” of the slasher genre continue to be revived, new franchises have also appeared. Rob Zombie’s House of 1000 Corpses and The Devil’s Rejects introduced audiences to the murderous Firefly family, both films taking obvious inspiration from earlier works such as The Texas Chainsaw Massacre. In 2004, the first film in the Saw series was released into theaters, featuring much of the gore and sadism considered a staple of the 1980s slasher genre, but with a twist: the victims are now tricked into killing or harming themselves or others…in order to survive (A notion similarly used in the upcoming, WΔZ); However, FeardotCom, Turistas, Captivity, See No Evil, Wolf Creek, Dead Silence, Untraceable, Scar, Pathology and the new Hostel film series is also considered part of a more modern movement in horror loosely referred to as “horror porn”, “torture porn“, or “gornography”. As a whole, the genre has begun to return to a bloodier, more-shocking formula over Scream’s trendier aspects. The slasher films Behind the Mask: The Rise of Leslie Vernon and Hatchet aimed to return to the basic originality of the golden age in style and cinematography. The latter has been marketed as an old-school throwback to the 80’s classics, but is in fact more of a parody.

 

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Critical analysis

The slasher genre has been widely derided by critics, and has frequently come under fire from censorship advocates, such as Christian campaigner Mary Whitehouse, who once led a crusade against video nasties.

Roger Ebert famously coined the derogatory nickname “Dead Teenager Movies”, and has been accused of bourgeois elitism in his rampant derision of the genre. Meanwhile, Carol J. Clover defined the Final Girl stereotype in her book Men, Women and Chain Saws, an academic study of gender roles in the classic slasher film. Generally, editions in this category of cinema have been widely dismissed by most serious critics, and after a brief revival in the mid-90’s following on the surprise success of Scream (a more warmly received, self-aware parody of slasher films), the genre has since lost favour with wider audiences. However, there have been a few exceptions to this rule, most notably the Saw films.

 

Brief for magazine January 29, 2009

Filed under: Media - Main task — jessica♥amy @ 2:56 pm

I have decided to follow the print pathway and make a magazine. We have been asked to make a music magazine front cover, contents page and a double page spread. But I want to do it with a twist. I don’t want to make just any stereotypical music magazine. I am going to create and put together a Girls music magazine exclusively for girl teenagers aged between 15-25. I have decided to go down the print pathway because I enjoy putting together a front cover, contents page and a double page spread. I also think that it will be a bit of a challenge and I enjoy doing a challenge and trying out different things to see what I can put together. I feel that I am also better with writing other then making a short film. 

I have put together four possible ideas for my magazine. My first idea is just a basic music magazine. This magazine would be for both female and male and for the target audience of 15-25. It would include a double page spread article about a boy pop punk band, and would mainly have 4 other boy bands and solo male artist featured in the magazine. The front cover has a simple circular stripe background with a picture of a male solo artist to the left of the front cover. So this magazine would focus on just the boy bands and solo artist and give you information and interviews on them.

My second idea was going to be a magazine and once again the target audience would be for both sex, male and female but from the ages of 17-28. This magazine would focus on male and female solo and group artists. This magazine would be for the older audience making it more mature and include more in-depth/serious interviews about a featured artist. The front cover for this magazine would be just a plain background with a picture of the featured artist to the left of the page with various sub headings. It would have deep colours and fonts that stand out that come across quite harsh.

My third idea was going to be for the younger audience. The target audience for this would be for male and females at the age of about 10-15 and would include girl pop bands and boy pop bands interviews and posters. This magazine would come across more fun and stand out a lot more. The front cover would be very bright with the featured pop band picture in the middle of the page with pictures of other pop bands at the side showing what posters are free with the magazine. The colours used for this front cover would be bold and bright for example red, greens, yellows, blues. This is because I would want it to stand out to my target audience and for it not to come across as serious.

My last idea is going to be my final idea that I will create and put together. This magazine is going to exclusively be a girls music magazine. The front cover for this magazine is going to be very girly and “out there”. The background for the front cover is going to be thick stripes in different colour and in every other line of stripes will have star patterns in there. the featured artist picture will be in the middle of the page with sub headings around the picture to fill out the page. The mast head will be at the top of the page starting to the left of the page, next to the mast head will be the date of the magazine and the issue no. At the bottom of the front cover there will be the bar code and a border with writing in the border. The double page spread for this magazine will include a interview on the featured artists and various pictures of her. My magazine would focus on girl bands and solo artists but could let slip a boy band, like I have said before what girl doesn’t want to read about there favourite attractive boy band? With the magazine you will get a free poster of the featured artist inside. Inside of the magazine you can also find out about the latest albums that have just been released, gig dates for music artists, an article about another featured artist that is new out in the industry. This article would be there story about getting signed and getting noticed. Top 10 favourite artist of 2008, and many more.

I have decided to make my magazine exclusively for girls ages between 15-25 because its very rare that you see a girly music magazine that is only made for girls. The magazine will be the complete opposite of any stereotypical music magazine.