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Orange construction signs block the route; if there were ever a moment a masked man was going to walk out from the woods, this was it. I eventually find an alternative route to the Punxsutawney Cobblestone Hotel, the one hotel in town. And sure enough, there's a waist-high groundhog figurine at the entrance of this town that's home to Punxsutawney Phil and the Groundhog Day tradition. What Punxsutawney is Talking About: A father and his 16-year-old daughter were injured Monday when a gasoline-powered engine exploded, according to WJAC. Punxsutawney's Must-See Political Spot: It's actually 54 miles southwest of Punxsutawney, but if you're in the neighborhood, you might as well go see the Trump House in Youngstown, Pennsylvania. The home is painted red, white and blue, with a giant cut-out of Donald Trump out front. Even though it's been up since the campaign, you'll still see people slow down when they drive past it and people parking across the street to snap pics. Regular readers will know I'm a political art obsessive, and I knew I needed to track this down. It was commissioned by the owner of a nearby golf course, who told me his goal was to make a Trump Instagram account. It's 139 miles from our nation's capital to our former capital, Philadelphia.

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The anxious state in horror film is representative of the anxious state and affect in nation- formation. The genre is also representational of irony in the anxious state of nation and citizen-formation. T apping on the viewer’s innermost fears and anxiety, the horror f ilm commands the suspension of rational disbelief as integral in its viewing. The viewing itself is a sadomasochistic act: one knows that it is frightful yet enjoys the perverse pleasure in the viewing. Such perverse pleasure allows for individual and social categories to remain constantly in a flux, a carnivalesque moment of drawing pleasure from the intensification of anxieties. The excess is what is also constitutive of a resistant reading, transgressing the very limits of its own mode of cinematic and social productions, as also mentioned b y Sklar and Musser. As popular cinema is deemed excessive, a resistant reading becomes a double reading: how is popular cinema’s mode of production able t o contain and not contain its own underlying premises and practices, and what are the ways in which popular cinema is able to defy its own mode of production (including reception). In so reading popular cinema, allegories of the nation are also evoked, similar to ar t cinema’s capacity to quote larger national constructs of identity and nation. A resistant reading in popular cinema is a political reading of the limits and excess of the mode of cinematic and social productions. Horror films are often set in familiar spaces, in homes and in small c ommunities, evocative of the ever-present danger and fear in the everyday sites and spaces.

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In Mark 8:30 the disciples were instructed to tell no man that Jesus was the Messiah. Luke 8:48 is the parallel passage of Jairus’ daughter (Mark 5:43). But in Genesis 11:11, Shem begat Arphaxad, which begat Sa’-lah. Why is there an additional person, Ca-i-nan, in Luke’s account. This explains why Cainan was left out in Genesis 11. All the prophets of the Old Testament only foretold the coming of God’s kingdom (see Matthew 3:2). John the Baptist was more than a prophet, since he was the forerunner of Christ (vv. 6,27). In fact he was the greatest among the prophets of the Old Testament (v. 8), because he had the distinct privilege of announcing Christ’s arrival.

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Laura Leighton, Michael Hayden, and Richard Crenna star. In The Tomorrow Man, Julian Sands plays an android trying to save Earth’s future while Giancarlo Esposito is an engineer in on the plot and agrees to intermittently fix his robotic malfunctions. Demme also directed the features Melvin and Howard (1980), Something Wild (1986), Married to the Mob (1988), Philadelphia (1993), Beloved (1998), and others. He has also produced many films. His TV work includes the notable hour-long adaptation for PBS’s American Playhouse of Kurt Vonnegut Jr. €™s short story, Who Am I This Time? (1982), starring Christopher Walken and Susan Sarandon as community theatre actors performing Tennessee Williams’s A Streetcar Named Desire. Demme, who also directed music videos, was an executive producer on SUBWAYStories and directed the segment Subway Car from Hell, featuring Bill Irwin. Dennehy won a Golden Globe and a Screen Actors Guild Award for his performance in Death of a Salesman (2000). Dennehy was nominated for Emmy Awards for his performances in A Killing in a Small Town (1990), The Burden of Proof (1992), To Catch a Killer (1992), Murder in the Heartland (1993), Death of a Salesman, and Our Fathers (2005).

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