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It's crazy how much variation there has been in either picture or sound on this movie over the years. While technically not an old lady, I think it still fits pretty well, and it's hard not to choose Zelda from Pet Sematary, since she's haunted me ever since I was a youngling. This was a super easy one for me since not only is it a damn fine remake, it's one of my favorite movies period. Haha I just noticed as I write this, I picked Kurt Russell two days in a row. Sounds like fun. If anyone wants to join, I wanna see all your choices. So for October 1st it's the best moustache in horror. It was hard not choosing Sam Elliott, but Kurt Russell's moustache in Bone Tomahawk was just soo epic. I had to leave out some of big favorites, but these ones are just top of the pops for me right now. Really, there's way more than these three, but these ones just don't get enough love and no matter how many times I try to convince people to watch them, nobody listens. Oh well, their loss, as they're all VERY awesome. Remember when that used to be a thing on my channel for a bit. This creepy masterpiece became available yesterday, and I (of course) had it pre-ordered. It easily joins the ranks of my all-time favorite horror films, and it's currently my favorite film of 2018. Day 1 kicks off with one of my favorites that I don’t hear to many talk about We Are Still Here (2015). Too bad there wasn’t enough room to add The Jerk and The Muppet Movie but we got 9 winners up there already.


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Hardy and Shaffer also throw in a miscellany of “olde” motifs, some from Frazer, some from elsewhere, to realize their film. For example, Howie is put to sleep with the “Hand of Glory,” a dead woman’s hand burned as a candle that induces a deep sleep: this also appears in Frazer’s discussion of homeopathic magic (35). This magical belief is not linked to the Beltane festival or pagan human sacrifice rites, but it is there in the filmic mix. Frazer also discussed the use of virgins, like Howie, in human sacrifice, although these rites are explicitly (and significantly) non-European. Elsewhere in the film we can see other forms of contagious and imitative magic rites being performed, like the small frog May Morrison puts into Myrtle’s mouth to transfer her daughter’s sore throat to the amphibian or the animistic costumes worn in the May Day procession, including the Hobby-Horse. These “bits” of action and mise-en-scene are intended to evoke a feeling of authenticity within the diegesis, but instead, because of their original disparate temporal and spatial contexts, the effect is one of a folkloric amusement park. Allan Brown (2000) noted that in the creation of Sergeant Howie, “Shaffer and Hardy’s perfect sacrifice would be a checklist, would contain all the attributes which had made one a perfect sacrifice. From a folkloric perspective, the problem here (and elsewhere within the film) is that the idea of a “checklist” of attributes is a literary contrivance and unlikely to be found in practice beyond the fact that, as I noted previously, the victims in the wicker colossus would probably have been criminals or witches or both and their burning would have purged evil influences from the society (Frazer 1963, 757). This demonstrates, quite explicitly, that often when popular culture forms do folklore, they use all of it, every bit they can get their hands on, regardless of original context, so that the results are often an undifferentiated quagmire that does little to explore the people being represented. Instead, it unproblematically reproduces the ideology of the film’s creators. Hardy and Shaffer’s folkloristic fallacy, however, goes deeper still: the filmmakers are solely dependent on (and uncritical of) a single source for their material. Victorian anthropology and folklore studies tended to conceive the world in grand master narratives; based on surface comparisons, world cultures were seen to celebrate more or less the same calendrical and life cycle ceremonies; any differences were seen as unimportant cultural deviances. These ideas were later popularized by Joseph Campbell, after World War II, as the monomyth, his Hero with a Thousand Faces (1988)—that all cultures shared the same myths, just in different guises. This approach, while superficially appearing to be egalitarian, is in actuality purely colonial: only from a point of cultural hegemony can one hold one’s culture up as a template for other cultures and say that they are more or less the same. The more ethnographic studies, beginning with Malinowski for British anthropology and Boas for American anthropology, particularly after World War II, tended to embrace a more insider-oriented, experiential dimension to cultural practices. In other words, what Hardy and Shaffer attempted to do in The Wicker Man was unproblematically literalize a colonialist agenda that sees the Celtic nations as an undifferentiated whole and does not distinguish between the other cultural influences that may have affected Frazer’s descriptions of the Beltane and sacrificial rites.


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4. You have a newfound respect for blind people. 5. You half-expect dogs to talk and sprout wings. 6. Looking out to the sky, you want to so badly spot six flying bird kids. 7. You’d kill to be a bird kid. 8. You’re neither Team Edward nor Jacob. We have cookies (last I checked there was hot chocolate too) 2. You get a cool dark cape that covers your whole body! 4. Practice with me people: MWAHAHAHAHA cough cough! 5. You get to walk out of shadows mysteriously and freak out the good guy!


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This search for meaning is associated with anxiety which in turn is characterised byincreased vigilance and a bias to interpret other experiences in a threatening way - e. . other 'symptoms' (see Ch. 30). Nowadays we often rely on doctors or one's own medical knowledge to provide the diagnosis. The diagnosis, in theory, should reduce our anxiety, although this may not happen if it is bad news for us. On the other hand, if no clear reason can be found, our anxiety may continue, along with greater attention to symptoms and a greater inclination to place a sinister interpretation on these. However, some individuals may, by nature, be more anxious in this regard and become caught up in a vicious cycle in which they are obsessed with their pain and other 'symptoms'. Where the pain has been with you for a year, you may know what is causing it, but be more depressed than anxious, because you are still in pain. Now, suppose that you know that over the next hour or so the pain is going to fade. Is it easier for you to ignore it than if you had reason to believe that the same pain is going to become progressively worse. Consider now that you have a constant pain somewhere that stops you working. Finally, how tolerant as a rule are you of pain, or for that matter, any noxious or adverse experience or event. Are you a stoic who accepts that suffering is a necessary part of your life, or do you think that your pain is something that shouldn't happen, perhaps yet another misfortune that life has thrown at you. Of course, your choice in this matter will be limited by the severity of the pain you are experiencing. Everyday pains such as the pain of a headache allow one the luxury of a choice of philosophical attitudes from acceptance and a search for meaning, to the attitude 'This shouldn't happen to me' and an immediate recourse to medication.


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1979. A disturbance in the mirror a study of the religious perspective in the poetry of Sylvia Plath. Thesis (M. . --University of Nevada, Reno. Sand, Kendall Michele. 2004. Writing the shadow subversive language in the works of Sylvia Plath and Alejandra Pizarnik. Sarot, Ellin. 1979. Snared in an evil time responses to war in the work of W. . Yeats, Wilfred Owen, and Sylvia Plath. Thesis (Ph. D. --Columbia University, 1979.