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Stephen king impact on american literature
How did stephen king influence american literature
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‘’Stranger Things’’- a love letter to the 80s ‘’Stranger Things’’ is a Netflix original sci-fi series that graced our screens in the summer of 2016. It is based off a time when classic science fiction tales enthralled audiences with such works such as ‘’Alien’’, ‘’Back to the Future’’, and ‘’E.T.’’, so the show is reminiscent of many classic 80’s movie elements, doused in nostalgia. It is clear the creators of ‘’Stranger Things’’, The Duffer Brothers, know the era, one could say, inside out and upside down, and this shines through. The series follows the curious occurrences in a small Indiana town in 1983 when a 12-year-old boy, Will (Noah Schnapp), goes missing without a trace. Will’s mother, Joyce Byers (Winona Ryder), starts a frenzied investigation into the disappearance, seeking the help of local authorities. At the same time, Will’s friends carry out their own investigation, but instead of their friend, they cross paths with a strange, nameless girl. …show more content…
They add to the nostalgic quirkiness of the show. ‘’Stranger Things’’ is one of the highest-ranking Netflix shows, and rightly so. It is atmospheric, captivating, dark and even frightening in the right places, yet light in some others, like watching a more modern take on a fairy-tale mixed with ‘’X-files’’. It is like a full-featured movie, complete with strong, professional and believable performances from all actors, beautiful cinematography and special effects, complete with a wonderful 80s soundtrack. This show is a throwback to an era that was popular for its dodgy fashion, classic pop, rock and the many films that define the science fiction genre today. It is greatly influenced by many of the era’s reigning creators such as Spielberg, Stephen King just to name a couple and manages to bring these iconic elements into one, making ‘’Stranger Things’’ almost like a love letter to the
With the arrival of the TV repair man we get more sense of the sci-fi
In this essay I will discuss the way in which the generic marker ‘The visual surface of Science Fiction presents us with a confrontation between those images to which we respond as “alien” and those we know to be familiar’ can be applied to Blade Runner and to what end.
The Hounds of Tindalos is a short science fiction story containing many and varied elements that have been long associated with the genre of science fiction. This essay will identify these elements, examining their placement within this short text and also the interchange of these elements with the characteristics of other genres, more specifically, horror. Belknap Long, the author, was clearly intent of incorporating the elements of horror within the genre of science fiction and this amalgamation of these two genres was a popular combination employed by future horror and SF writers. Perhaps the inclusion of horror within the SF genre is a comment in itself about perceptions of SF held by writers, the elements of horror being a cautionary warning to those in the science world.
His experimental and unique perverse screenwriting has shocked and inspired numerous people. His aesthetics painted horror vividly and presented itself dramatically. His musical and cinematic vision was a healthy extension of his devilishly, clever, and demented mind. His modes of publication with music, film and print, had and still a tremendous fanbase. He has gained our attention in every media related forum and we can’t look away, even if we try. He has left us cheering, screaming and on the edge of our seats. We leave feeling bad about ourselves for watching his visual storytelling unfold. “You know, it’s like, I’m going to sit here for 90 minutes and watch these guys get fucked up with no hope. That’s what I love about these films, you walk out feeling bad about yourself, saying “Why did I enjoy that? What does this say about me as a person?” It is a cathartic experience that horror lovers can have again and again. Not acting on those horrific urges, but instead, becoming one of his characters that were just never really understood and that evil is real. Evil never dies and revenge always wins or at least in horror
Tibbetts, John C. The Gothic Imagination: Conversations on Fantasy, Horror, and Science Fiction in the Media. Basingstoke: Palgrave Macmillan, 2011. Print.
Over the years Ridley Scott’s Blade Runner has become a cult classic in the science fiction and film noir genre. The film covers a wide variety of reoccurring themes and motifs throughout the entire film, such as the most noticeable ones like the reoccurring eyes representing the window to the soul and the origami figures symbolizing artificial representation. While those motifs are on the surface and are relatively noticeable to the first time viewer, other themes are not so obvious and won’t appear until reviewing the movie over several times. As one begins to break down Blade Runner from scene to scene, they will discover these larger underlining themes seamlessly woven into the mise en scene
Stephen King often called; “Master of Horror” is a well-known author for his horror stories, and science fiction novels. He had many influences on how has written his books. King has also faced many hardships within his life.
One might argue that the scariest horror films are those films which horrors portray a sense that something of that nature might actually happen in the real world. The beauty of horror films is that anything could theoretically be possible, like Freddy Krueger sticking his tongue through Nancy’s phone as he says, “I’m your boyfriend now, Nancy” or a horde of zombies stampeding through the cities of the United States wiping out humanity in its path. If one thinks about it long enough, anything we can perceive could happen. However, there is a line between the pure science fiction and those horror films which attempt to tackle a more realistic, social, cultural, psychological, or political problem in society.
Hodges, L., 2008. Mainstreaming Marginality: Genre, Hybridity, and Postmodernism in The X-Files. In: J. P. Tellote, ed. 2008. The Essential Science Fiction Television Reader. Kentucky: Kentucky University Press, pp.231-246.
Steven Spielberg is a one of the kind man who has entertained several generations and more to come with his ability to place his visions on the big screen.
Modern day horror films are very different from the first horror films which date back to the late nineteenth century, but the goal of shocking the audience is still the same. Over the course of its existence, the horror industry has had to innovate new ways to keep its viewers on the edge of their seats. Horror films are frightening films created solely to ignite anxiety and panic within the viewers. Dread and alarm summon deep fears by captivating the audience with a shocking, terrifying, and unpredictable finale that leaves the viewer stunned. (Horror Films)
Up until recently television has been the most prominent medium of entertainment and information in our lives. Nothing could beat Saturday morning cartoons, the six o'clock news and zoning out from the world by the distractions of prime time sitcoms. It is all of these things and more that formed television into what was thought to be the ultimate entertainment medium, that is, up until now. Television in the twenty-first century is not the television our parents watched or in fact what we watched as children. Today’s generation are no longer satisfied with the traditional television experience. Today’s audience no longer has to follow the network’s predetermined schedule nor is television the one dimensional experience it used to be. Viewers no longer need to schedule a fixed time in order to gather information or watch their favourite show (Smith 5). They can record it with the push of the DVR (Digital Video Recording) button or watch it on a device and obtain background information via the Internet. In addition, viewers now have the opportunity to interact with, share, and produce their own material from their favourite show (5). In order to not lose the authenticity of television, media theorists have created transmedia. This new twist on television gives the user more control and more involvement than ever before. The concept has been termed as transmedia storytelling. The online journal Infoline defines transmedia storytelling in its January 2014 issue as “social, mobile, accessible and re-playable.” Originally coined in the 1990’s it was not until 2003 when Henry Jenkins, a professor of communications at the University of Southern California, wrote his article “Transmedia Storytelling” that the term began being ...
Television has come a long way since it was first introduced. Originally, it was thought that the masses that watch television enjoyed the more simple shows that would tell you exactly what was going on from start to finish. In Steven Johnson’s article, “Watching TV Makes You Smarter”, Johnson argues that this is actually not the case. In fact, Johnson argues that much more people enjoy shows that involve multi threading, or multiple plots that are all connected.
Absurdist media is characterized by its intentional incoherency, and David Lynch's Blue Velvet is a prime example of such. It is sometimes difficult to differentiate between what is symbolic, and what is weird for the sake of weird. Are continuity errors, such as a dress changing between frames, intentional or just sheer mistake or coincidence? Throughout absurdist media these questions types of questions are frequently asked, but not always answered. Despite its somewhat bizarre structure, Blue Velvet, the story of a small town mystery is carried through its setting, major and minor characters, and symbols.
Netflix debuted its trailer for season two of Stranger Things during the 2017 Super Bowl (“Netflix Super Bowl”). The commercial employs strong references to the experiences of 1980’s youth. Before being introduced to the subject of the message, viewers are compelled by a grainy clip from a vintage 1980 Kellogg’s Eggo commercial, with the famous phrase “L’eggo my Eggo”, followed by the rapid sight of a rotating neon arcade sign (Grebey). The name “Eleven” is shouted, a group of prepubescent boys in Ghostbusters costumes pedal frantically on their bikes, a hazmat-suited individual dons a flamethrower, and a succession of clips build suspense towards the unveiling of a looming figure in the distant sky. Finally, the Stranger Things theme song