Podcast appearances and mentions of Harry M Benshoff

Strip naked and knock over a baby carriage because we're gleefully covering the Universal Monster with the biggest ego and the largest body count: James Whale's The Invisible Man (1933). Hear about all of the adaptation problems with H.G. Wells' source material! Gasp at the way the FX were accomplished! Groan whenever Flora is onscreen doing absolutely nothing! Plus: MVP Una O'Connor, Kemp's tragic/hilarious death, and a "dick out" queer reading References: > Eric Langberg. “Director James Whale draws us in and then makes us root against The Invisible Man (1933)” Medium > Harry M. Benshoff. Monsters in the Closet Questions? Comments? Snark? Connect with the boys on Twitter, Instagram, Youtube, Letterboxd, Facebook, or join the Facebook Group to get in touch with other listeners > Trace: @tracedthurman > Joe: @bstolemyremote Be sure to support the boys on Patreon!  Theme Music: Alexander Nakarada   Learn more about your ad choices. Visit megaphone.fm/adchoices

53. Bölüm: Sinemada melodramın ustası olarak kabul edilen yönetmen Douglas Sirk'e ayırdığımız program serisinin üçüncü ve son  bölümü. Önceki programlarda yönetmenin hayatından kesitler ve geri plan bilgisi vardı.   Bu defa da Sirk'ün 1955 yılında çektiği ve zaman içinde bir kült filme evrilen “All that heaven allows”; bizde bilinen adıyla, “Her Şey Senin İçin”e yakından bakıyor; bazı sahnelerin analizini yapıyoruz. Bu konuyla ilgili olarak John Cheever Dev Radyo (öykü incelemesi)  ve Rebel without a cause / Asi Gençlik (iki bölümlük film okuma serisi)  bölümlerine Derslik Podcast arşivinden ulaşabilirsiniz. Yararlandığım KaynaklarRobert B. Pippin. 2021. Douglas Sirk: Filmmaker and Philosopher. Bloomsbury Publishing: London.Victoria L. Evans. 2019. Douglas Sirk, Aesthetic Modernism and the Culture of Modernity. Edinburgh Unversity Press: Edinburgh. Harry M. Benshoff & Sean Griffin. 2009. America on film. Wiley-Blackwell: West Sussex.Tom Ryan. 2020. The Films of Douglas Sirk: Exquisite Ironies and Magnificent Obsessions. University Press of Mississippi.Harry M. Benshoff & Sean Griffin. 2009. America on Film. Wiley-Blackwell.William H. Phillips. 1999. Film: An Introduction. Bedford/St. Martin's."Sirk, Douglas." Encyclopædia Britannica Online.  2020. Encyclopædia Britannica Online, 2020-07-02. Web.Veysel Atayman & Tuncer Çetinkaya. 2016. Popüler Sinemanın Mitolojisi. Ayrıntı Yayınları.

52. Bölüm: Sinemada melodramın ustası olarak kabul edilen yönetmen Douglas Sirk'e ayırdığımız program serisinin ikinci bölümü. Önceki programda yönetmenin hayatından kesitler vardı.  Bu defa da Sirk'ün 1955 yılında çektiği ve zaman içinde bir kült filme evrilen “All that heaven allows”; bizde bilinen adıyla, “Her Şey Senin İçin”e yakından bakmaya başlıyoruz. Yararlandığım KaynaklarHarry M. Benshoff & Sean Griffin. 2009. America on film. Wiley-Blackwell: West Sussex.Tom Ryan. 2020. The Films of Douglas Sirk: Exquisite Ironies and Magnificent Obsessions. University Press of Mississippi. Harry M. Benshoff & Sean Griffin. 2009. America on Film. Wiley-Blackwell. William H. Phillips. 1999. Film: An Introduction. Bedford/St. Martin's. "Sirk, Douglas." Encyclopædia Britannica Online.  2020. Encyclopædia Britannica Online, 2020-07-02. Web.Veysel Atayman & Tuncer Çetinkaya. 2016. Popüler Sinemanın Mitolojisi. Ayrıntı Yayınları. 

In this special Frightgown exclusive from June 2021, Joe interviews the godfather of queer horror, Professor Harry M. Benshoff, about his definitive text, Monsters in the Closet, as well as why queer horror has exploded in recent years, iconic films from each decade and his favorite under the radar queer horror text (hint: it's an early pre-cursor to Saw?!)FYI: The interview was done on Zoom so the audio isn't great. If you want to see the video, hit up our YouTube channel.Questions? Comments? Snark? Connect with the boys on Twitter, Instagram, Youtube, Letterboxd and/or Facebook, or join the Facebook Group to get in touch with other listeners> Trace: @tracedthurman> Joe: @bstolemyremoteBe sure to support the boys on Patreon! See acast.com/privacy for privacy and opt-out information.

42. Bölüm: The Lion King – Aslan Kral, 1994 yılında Rob Minkoff ve Roger Allers tarafından yönetilen bir Disney animasyonu. Film hayvanlar aleminde  geçse de bizi bize anlatır. Nasıl mı? Bu kayıtta filmin farklı okumalarını yapıyoruz. Kulak verin.  Yararlandığım kaynaklarAnnalee Ward. The Lion King's Mythic Narrative. Journal of Popular Film & Television, 01956051, Winter96, Vol. 23, Issue 4.Harry M. Benshoff and Sean Griffin. America on Film: Representing Race, Class, Gender, and Sexuality at the Movies. 2004. Wiley-Blackwell.John Morton (1996) Simba's Revolution: Revisiting History and Class in The Lion King, Social Identities, 2:2, 311-317Joel Best and Kathleen S. Lowney. The Disadvantage of a Good Reputation: Disney as a Target for Social Problems Claims. The Sociological Quarterly , Summer, 2009, Vol. 50, No. 3 (Summer, 2009), pp. 431-449R. Gooding-Williams. (1995) 'Disney in Africa and the Inner City: on Race and Space in The Lion King', Social Identities, 1 (2): 373–79.Stephanie Mastrostefano. "Gender and Ideology in Disney's Beast Fables" (2013). Honors Projects Overview. 85.

Episode 2 is all about Frankenstein's goofier, gayer sibling, The Bride of Frankenstein (1935), also directed by James Whale. Also, we would like to apologize for Dorian's mic issues this week. It should be fixed by next week, but that's what's up with all the static! Content warnings for the film include violence, fire/burning, drowning, religion/Christianity unrealistic medical trauma. Themes that may be distressing include ableism and homophobia. Material Referenced: Film Sissies, essay by Gary Morris The Celluloid Closet, revised edition, Vito Russo, pg. 50 Sexual Subversion: Bride of Frankenstein, essay by Gary Morris Monsters in the Closet, Harry M. Benshoff, pg. 49

Episode 039 - Rondo Hatton: The Pearl of Death (1944) / House of Horrors (1946) / The Brute Man (1946)     NOTES, SOURCES, & FURTHER READING For an overview of Universal Horror in general, the bible remains Tom Weaver, Michael Brunas, and John Brunas’ Universal Horrors: The Studio’s Classic Films, 1931-1946 (second edition, McFarland & Company, Inc., 2007) For more on the workings of Universal during the Classical Hollywood era, we recommend chapters 1, 6, 13, 18, and 23 of Thomas Schatz’s The Genius of the System: Hollywood Filmmaking in the Studio Era (1988) Very few scholars have devoted much ink to Rondo Hatton over the years.  Aside from the Weaver/Brunas/Brunas tome, our main source of information on the reluctant thespian has been Cory Legassic’s ‘“The Perfect Neanderthal Man”: Rondo Hatton as The Creeper and the Cultural Economy of 1940s B-Films’ in Recovering 1940s Horror Cinema: Traces of a Lost Decade (Lexington Books, 2015). For more on Martin Kosleck, consult Harry M. Benshoff’s Monsters in the Closet: Homosexuality and the horror film (Manchester University Press, 1997).  There’s not much there, but the quality of the information surpasses its brevity. James O’Neill’s Terror on Tape (Billboard Books, 1994) includes capsule reviews of The Pearl of Death and The Brute Man, but inexplicably omits House of Horrors despite mentioning it in the other reviews. John Stanley’s Creature Features: The Science Fiction, Fantasy, and Horror Movie Guide (updated edition, Berkley Boulevard, 2000) includes capsule reviews of all three Creeper films discussed in this episode.   Intro Music: The Pearl of Death Main Titles by Paul Sawtell Outro Music: The Bute Man Main Titles