Elm Street Research Articles

Remaking horror: Hollywood's new reliance on scares of old

Remaking Horror chronicles the American horror genre in its development of remake titles from the 1930s to 21st century films. The book investigates Gus Van Sant's 1998 remake of Alfred Hitchcock's Psycho (1960) as the watershed moment when the horror genre opened its doors to the possibility of that horror movie--classic, modern, B-movie, and more--might be remade for contemporary audiences. Staple horror franchises--Halloween (1978), Friday the 13th (1980), and A Nightmare on Elm Street (1984)--are highlighted along with their remake counterparts in order to illustrate how the genre has embraced a phenomenon of remake productions and what the future of horror holds for American cinema. More than 25 original films, their remakes, and the movies they influenced are presented in detailed discussions throughout the text.

Brownfield Development Selection Using Multiattribute Decision Making

AbstractBrownfields are potential development opportunities for the communities in which these old industrial sites sit. The Western Pennsylvania Brownfields Center at Carnegie Mellon University has developed and tested a multiattribute decision-making process for complex brownfield development selection. Local community organizers (in this case, Main and Elm Street managers) collected data on site attributes related to environmental conditions, demographics, development potential, infrastructure conditions, and market realities. Concurrently, decision makers [in this case, the Board of Directors of Keystone Community Oriented Real Estate (CORE) Services (KCS), a subsidiary of the Pennsylvania Downtown Center, with a mission to promote real estate development in Main and Elm Street neighborhoods and business districts] weighted the attributes consistent with their priorities and the availability of resources. Then, weights are applied to the attributes collected by the community organizers to estimate a t...

Elm Street's Gothic Roots: Unearthing Incest in Wes Craven's 1984 Nightmare

ABSTRACT This article examines Wes Craven's A Nightmare on Elm Street as borrowing as much from the tropes and types of the nineteenth-century English Gothic novel as the 1980s slasher film. It explores how Wes Craven uses the figure of the doppelganger, the types of the angel and the monster, and the theme of repressed incest to craft a contemporary Gothic movie. This reading yields the conclusion that the protagonist, Nancy Thompson, was molested by her father, Donald Thompson. Nancy reciprocates these taboo feelings, and Freddy Krueger serves as a doppelganger for both, facilitating a double reading of the film.

Discussion

Oakland, Calif. From the Divisions of Plastic and Reconstructive Surgery, Stanford University, and the University of California, San Francisco. Received for publication May 31, 2011; accepted June 1, 2011. Disclosure:The authors have no financial interest in any of the products, devices, or drugs mentioned in this Discussion or the article being discussed. Ronald P. Gruber, M.D.; 3318 Elm Street, Oakland, Calif. 94609, [email protected]

Focus on lasers and imaging

Focus on lasers and imaging

Alone on Elm Street

The 2010 remake of A Nightmare on Elm Street, directed by Samuel Bayer, is indebted to Wes Craven's 1984 original as well as other predecessors for its horror effects—but it avoids the exploration of community and politics that made the earlier films compelling.

Focus on photonics and biomedical optics

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Discussion

Oakland, Calif. Received for publication June 10, 2009; accepted June 11, 2009. Disclosures:The author designs instruments for Padgett, Integra, and Miltex. All royalties go to the Plastic Surgery Educational Foundation. Ronald P. Gruber, M.D.; 3318 Elm Street; Oakland, Calif. 94609; [email protected]

The Radiologist Assistant: Best New Thing Since Sliced Bread or Trojan Horse?

Starting in 1912, Otto Frederick Rohwedder’s original experiments met with opposition from bakers, who thought that sliced bread would quickly go stale. His initial prototype design held the bread firmly together with metal pins and was unsuccessful. Sixteen years later innovator Rohwedder had perfected a piece of equipment that not only cut bread into slices but also wrapped it in waxed paper. The first loaf of sliced bread was sold on July 7, 1928 (possibly at a bakery in Battle Creek, Michigan). By 1933, American bakeries were turning out more sliced bread than unsliced. A spring-loaded pop-up toaster designed by Charles Strife suddenly made sense. The Chillicothe, Missouri Constitution-Tribune of July 7, 1928, carried a story of the new machine’s first use at M.F. Bench’s Chillicothe Baking Company, 100 Elm Street, in Chillicothe, Missouri. According to the story, Mr Bench assisted Rohwedder in fine-tuning the new bread-slicing machine. So—sliced bread may have been born in Chillicothe, Missouri. Obviously, [the phrase] “the best thing since sliced bread” cannot be older than 1928, but there is no record of its use before 1969. But what was the best thing before sliced bread? That’s the real puzzle. (1)

The Outsider: Anthony Simmons

This interview with veteran British Film director Anthony Simmons gives an account of Simmons’ career in the context of a declining industry in the 1970s. It offers previously unknown production background to films such as Black Joy and The Optimists of Elm Street, as well as Simmons incursions into television drama via Armchair Theatre and genre shows such as the Profession.

Dogville Characterized by The Grapes of Wrath: European Identity Construction through American Genre Conventions

Dogville's (Lars von Trier, DK, 2003) widely recognized anti-Americanism is most apparent in the end credits, a montage of documentary photographs of American deprivation, accompanied by David Bowie's Young American critics have reacted strongly to the film and to the credits' photomontage. Many photographs are of the Great Depression of the 1930s, the time frame of Dogville's story. The Farm Security Administration's photographs in Dogville's credit sequence particularly recall another fiction film set in the Depression years, The Grapes of Wrath ( John Ford, US, 1940), based on John Steinbeck's novel-both Steinbeck and Ford were inspired by the FSA photos. A closer look at the FSA pictures and a specific analysis of some crucial scenes in The Grapes of Wrath may help to explain what it is about Dogville's European outlook on America that is so disturbing for Americans. More significantly, a closer look at The Grapes of Wrath helps to focus on Dogville's Europeaness. Both Dogville and The Grapes of Wrath are critical about the narrow mindedness of local communities, notoriously unable to deal with the arrival of refugees into the relative quiet of their own circle. The Grapes of Wrath explicitly depicts the fate of Oklahoman victims of capitalist agricultural reform, and ultimately legitimizes Roosevelt's New Deal federal policies overcoming regional protectionism. Dogville allegorizes the contemporary plight of economic refugees and political asylum seekers and ultimately represents the revengeful consequences of misunderstanding the intruder's motives for fleeing. The Grapes of Wrath is a road movie depicting the construction of identity of the American people, a newly created self-invention in a settler society. Dogville, on the other hand, with its dead-end community, may metonymically depict the disintegration of American identity, but at least also presents us with the reluctance of Europeans to overcome their own nation-state confines. Dogville's Credit Sequence Dogville the DVD includes coverage of the press conferences in Cannes 2003 and other PR materials. The film's production notes and von Trier's ironic statements about the legitimacy of his judgments as an outsider regarding American mores, both in Dogville and in his media-hyped performances at the Cannes film festival, have generated attention beyond the scope of film journalism. The production notes and the Cannes events relate Dogville to Casablanca (Michael Curtiz, US, 1942). In von Trier's own words: I went to Cannes with Dancer in the Dark, and I was criticized by some American journalists for making a film about the USA without ever having been there. This provoked me because, as far as I can recall, they never went to Casablanca when they made Casablanca . . . Although I must say, I am better informed about the USA than the people who made Casablanca were about Casablanca.1 Hollywood never really bothered about the actual Casablanca before releasing Curtiz's Casablanca in 1942, so why should von Trier be required to check whether or not his depiction of small-town America would be an accurate representation of moral crisis during the Depression of the 1930s? This jesterlike gesture, of course, was meant as a provocation, and it should not be taken all too seriously as an argument qualifying von Trier for moral judgment or political criticism. And of course, Casablanca has not been canonized because of its accurate representation of Casablanca, but because it is recognized as a great Hollywood studio film. Even though representations may appear to be questioned here, then, representational accuracy is not von Trier's major issue. Not that accuracy is beyond von Trier's interest; his concern for a narrative, voiceover solution to the fact that there are no elms in the Rocky Mountains and thus no elms on Elm Street in Dogville proves otherwise. But then again, Elms are not important for moral judgment, American appropriations of the so-called universal human condition are. …

Discussion

Oakland, Calif. Received for publication June 30, 2005. Ronald P. Gruber, M.D.; Department of Plastic and Reconstructive Surgery; Stanford University; University of California, San Francisco; 3318 Elm Street; Oakland, Calif. 94609; [email protected]

COMPUTER IMAGING AND SURGICAL REALITY IN AESTHETIC RHINOPLASTY

Departments of Plastic and Reconstructive Surgery, Stanford University and University of California, San Francisco Correspondence to Dr. Gruber, 3318 Elm Street, Oakland, Calif. 94609, [email protected] Editor's note: Dr. Gruber's letter was sent to us as an invited Discussion; because of an error in transmission, it did not reach us in time to accompany the article it relates to.

Discussion

Oakland, Calif. Received for publication March 16, 2005. Ronald P. Gruber, M.D., 3318 Elm Street, Oakland, Calif. 94609, [email protected]

Focus on Lasers and Optics

Focus on Lasers and Optics

SWS Group, Inc.

AbstractFinance Intermediaries & Services (MIC: 8.7 SIC: 6211 NAIC:523110)SWS Group is engaged as a full‐service securities and banking firm delivering a broad range of investment, commercial banking and related financial services to individual, corporate and institutional investors, broker/dealers, governmental entities and financial intermediaries. Co. operates through three business segments: Brokerage Group, Banking Group, and Asset Management Group.

Undergraduate student enrollment: a dream come true or a nightmare on Elm Street? - from the editor

Undergraduate student enrollment: a dream come true or a nightmare on Elm Street? - from the editor

Pharmacist's role in a cardiac rehabilitation program.

Journal Article Pharmacist’s role in a cardiac rehabilitation program Get access Ryan T. Kammer, PHARM.D. Ryan T. Kammer, PHARM.D. Clinical Pharmacist and Student Co-Coordinator The Moses H. Cone Memorial Hospital, 1200 North Elm Street, Greensboro, NC 27401 Search for other works by this author on: Oxford Academic Google Scholar American Journal of Health-System Pharmacy, Volume 61, Issue 15, 1 August 2004, Pages 1593–1595, https://doi.org/10.1093/ajhp/61.15.1593 Published: 01 August 2004

A House in the Nation's Attic

This review essay examines the exhibition Within These Walls. . . , a permanent exhibit, which opened May 16, 2001 at the National Museum of American History, Behring Center. The exhibit's primary artifact is a Georgian-style house once located at Sixteen Elm Street in Ipswich, Massachusetts. In interpreting the house, the exhibit focuses on five families who resided in the house and whose stories span 200 years of American history from colonial settlement and revolution, through abolition, immigration, and World War II. With its practice of social history, Within These Walls. . . represents a radical reinterpretation of Sixteen Elm Street, a building which first came to the Smithsonian in 1963 and was used to illustrate the transfer of building technology and craft practices from England to America. As an example of how museums can reinterpret their collections, Within These Walls . . . provides an inspirational model, demonstrating that old objects have new stories to tell.

Caudal Nasal Deviation; Bahman Guyuron, M.D., and Ramin A. Behmand, M.D.

Received for publication December 23, 2002. Ronald P. Gruber, M.D. Division of Plastic and Reconstructive Surgery Stanford University 3318 Elm Street Oakland, Calif. 94609 [email protected]