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Yet, as time went on, masses of American moviegoers lined up to midnight showings for the film: elevating it to cult status. This film’s poor artifice and excessive themes of sexuality subverted conventional Hollywood filmmaking. Rocky Horror departs from the mainstream elements of narrative, character development, high production value, and conservative values. Through excess, Rocky Horror departs from the norm and is a celebratory affirmation of Hollywood rather than a challenge. Its motion pictures are tied closely with the Academy, setting the standard for film production. With films such as Casablanca, Ben-Hur, The Godfather, Citizen Kane, and Rocky having all won Oscars, Hollywood is an example of good film and determines the proper conventions in filmmaking. To be successful, any serious filmmaker must adopt similar techniques and follow the Hollywood standard. To appeal to such a large audience, these mainstream films are made to a higher level of quality, for higher quality demands attention. The “Hollywood style has functioned historically as a set of norms” that focus upon narration with the film being “like a photographed play” (Bordwell, Staiger, and Thompson 5 and 24. The conventional films that both rule the box office and the Academy are made with the Hollywood trademarks of high production value and fine storytelling. While it hasn’t won any Oscars, the film has maintained relevance among dedicated fans to this day with midnight showings occurring alongside contemporary Hollywood movies every weekend. The fact that it appeals to a niche audience directly opposes the Hollywood system of production that targets mass audiences. Its captivating success can then be attributed to its success at developing an excessive showcase of poor filmmaking that not only subverts Hollywood’s standards, but also affirms it in Rocky Horror’s bad filmmaking. It is a compilation of random, out-of-place elements from cheesy B-movies with tributes to science fiction aliens and the overplayed Transylvanian Castle. Yet, it is this excess of “bad” that takes the audience out of the moment, forcing them to pay attention to the film’s style rather than the narrative. According to Susan Sontag, “the essence of camp is its love of the unnatural: or artifice and exaggeration” (Sontag 275. Rocky Horror intentionally highlights its cheap sets, shoddy props, and cheesy costumes. The aliens, Riffraff and Magenta, are dressed in ostentatiously fake space costumes, evoking cheesy space invader movies from the 50’s.

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She's still upset Benson and Stabler never got together, is rooting for Shea Coulee to dominate a future Drag Race All Stars season, and hopes to one day walk-and-talk down a hallway with Aaron Sorkin. Tagged Debra Messing Eric McCormack Matt Bomer Megan Mullally Samira Wiley Sean Hayes Will and Grace Post navigation Schitt’s Creek Review: The Hike (Season 5 Episode 13) Whiskey Cavalier Review: Five Spies and a Baby (Season 1 Episode 6) Leave a Reply Cancel reply Comment Name Email Website Yes, please add me to your mailing list. While British historians squirm about Shekhar Kapur's representation of Queen Elizabeth I -- as the Virgin Queen who wasn't and played naughty with Robert Dudley, the Earl of Leicester -- another film set 350 years later is dogged by fresh accusations. First, over the choice of actors -- Dracula famed Christopher Lee playing Jinnah and Indian actor Shashi Kapoor cast as the sutradhar (narrator), a role that many think is that of the angel Gabriel. Then, the script. Though the film was first commissioned by then president Farooq Leghari to commemorate the golden jubilee of Pakistan's birth, Prime Minister Nawaz Sharief asked Cultural Affairs Minister Mushahid Hussain to scrutinise the script when the film was being shot in Pakistan. Now, it is the after life of its three important players -- Gandhi, Jinnah and Nehru -- that lies in question. A moral distinction between good or evil calculated by a divine source which takes these human souls to heaven or hell. With the film slated for release this summer, a recent magazine report suggests that Jinnah shows Gandhi and Nehru left behind while Jinnah ascends an illuminated staircase to heaven. Whether this means Gandhi and Nehru are just left behind or are banished to hell is an inference left to the audience to decide. According to the report: ' Kapoor decides who goes to hell and to heaven. Aimed at correcting Jinnah's portrayal in Richard Attenborough's Oscar-winning Gandhi, Jinnah claims to present an accurate and honest presentation of the man popularly known in Pakistan as Quaid-i-Azam -- the people's leader. Attenborough's Jinnah had a 10-minute presence in a three-and-a-half hour film and was portrayed by Alyque Padamsee as someone who scowled all the time and clearly despised Gandhi. Indian history sees Jinnah as an obdurate leader who would settle for nothing less than a sovereign state for the Muslims. However, in Indian historical accounts, he is overshadowed by Gandhi and Nehru throughout the freedom struggle. Many historians from across the border obviously feel Jinnah stands misrepresented. Ahmed maintains the black and white characters of Gandhi may have made for good cinema, but it was poor history. He, however, reveals that the concluding scene has a surrealistic appeal and is set in a computer room where Nehru and Gandhi make statements on India.

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Explicitly marked quotes (i. . the material placed between 184 Last, but not least: Terry Pratchett, for giving us something to annotate in the first place; for giving me permission to use quotes from his articles in the APF; and for having to put up with increasing numbers of fans who, perhaps because of the APF, have begun to think he is incapable of writing anything truly original. Page Numbers Up to APF v7a. , each annotation was identified (in addition to the relevant quote from the book) by two page numbers: one for the Gollancz hardcover and one for the Corgi paperback. Unfortunately, this system has a number of drawbacks. EDITORIAL COMMENTS APF v9. , August 2004 One minor problem is that I have never liked the look of those double page numbers. A more serious problem is that having two page numbers is a maintenance headache. Double the numbers means double the chance of mistakes. And since I don’t own Terry’s books in both hardcover and paperback editions myself, I have to rely on volunteers to supply fully half of the data I need: all the page numbers for the editions of the books I don’t have. Thankfully, so far I have had the help of volunteers who have done a stellar job on this, but it does still mean that I can never just add an annotation without having to go bother someone else for the second page number. This makes annotating a two-step process, which is especially tiresome now that APF updates are supposed to happen in more frequent incremental steps. The most serious drawback, however, and the one that has made me truly reconsider the whole setup, is fairly recent, and caused by the fact that there are now so many different editions of Terry’s books available that the percentage of readers to whom either of the page numbers I supply means anything useful, is shrinking, and will only get smaller over time. Not only do we now have American editions in widespread use, but we also have reissues of the older Corgi paperbacks and Gollancz hardcovers, both with page counts that are different from the original versions. Finally, I think the most useful aspects of the page numbers is that they provide an ordering of the list of annotations for a given book. Had Terry written in chapters, I probably would never have used page numbers at all, but merely listed the annotations on a per-chapter basis. I strongly suspect that the actual page numbers are used more often by me as editor than by the vast majority of APF readers.

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Directory of African Film- Makers and Films. London: Flicks Books, 1992. . Africa at the Pictures. London: National Film Th eatre, 1993. . Celebrating African Cinema. London: Africa at the Pictures, 2003. peciale, Alessandra, ed. Th ackway, Melissa. Africa Shoots Back: Alternative Perspectives in Sub- Saharan Francophone African Film. African Cinema. Natal: Critical Arts 7, no. 12 (1993). Ukadike, Nwachukwu Frank. Berkeley: University of California Press, 1994. . Questioning African Cinema: Conversations with Filmmakers.

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