... critical moments: the two screams which open and close the narrative sequence. Drawing on Julia Kristeva’s notion of the abject—“the in-between, the ambiguous, the composite”—I analyze the positions of two important figures in the text...

... was horrible. Which one to choose r Story 4: I I All the images of our imagination are real. ' , Story 5: I 'There is no story 5.' , The space offscreen is emphasized not only by Raynal's repeated looks left, but by the exaggerated sound ofa fierce scuffle, a woman screaming...

..., looks in the direction of the fence. Of course she does not see anything. At that moment there is a blinding flash of light. A child falls, letting out a short scream. Other children and their mothers fall, screaming, then petrifying, turning to stone, apparently a consequence of the nuclear...

... there and since “there” is the secret word of the day, the playhouse can erupt-has to erupt-in a communal scream. I scream, you scream, we all scream. Pee-wee’s writing produces in- stantaneous results: Captain Carl shows up immediately, as if sum- moned by the letter...

... behind, admonishing, “Don’t listen to her!” The mother-in-law’s rasping voice and the piercing scream of Zouina’s mother recall Roland Barthes’s discussion of “the grain of the voice,” wherein the material body as the locus for the production of language offers a level of signifcation more...

... these events, I have watched the archive of such images of women s protests and marches grow rapidly, scrolling through millions of results online. The typical image captures a large group of protesters, usually women, either look- ing somber and downcast or screaming into the camera with their hands raised...

... the women with the equip- ment. She begins screaming as she runs and then comes to an abrupt halt . . . She is out of breath and begins to cry. “Distortion. Let’s do it again.” Camera Obscura 82, Volume 28, Number 1 doi 10.1215/02705346-2016978 © 2013 by Camera Obscura Published...

... is in the throes of labor, Ben’s friends sit outside listening in agony to her screams. One of the friends keeps insisting that something is wrong, although Debbie and his friends assure him that what he is hearing is normal. Refusing to be convinced, he goes to see what the trouble is. Meanwhile, Ben...

..., and, in particular, to the capacity of sopranos to provoke intense pleasure and unplea~ureI am proposing that a coherent line of inquiry can be built upon elements found in three major texts: Project for a Scientific Psychology (1895), in which Freud isolates the neonate’s scream...

... ~ 2: A woman in corner of a • 26 bare room silently screams, rns f,m + ~ M,N writhes, urinates. A woman lying on couch, m,m, • 27 rncu...

... on a train repeats Bruno’s destabilizing question -“Aren’t you Guy Haines?” -Guy and Ann silently leave the compartment. Guy has learned not to talk to strangers. However, the silence of conjugal closure echoes with the screams of the carousel sequence that precedes and produces it. Guy’s...

... and medicine. In this respect, the piece is clearly reminiscent of The Silent Scream, a 1984 National Right-to-Life production that claimed to show a real-time ultrasound abortion from the point of view of a 12-week-old fetus. Indeed, like The Silent Scream, S’Aline’s Solution appears to present...

...: man. In the trophyroom, Eve and Rainsford discover, first, the stuffed heads, and then Martin’s body. Rainsford: So that was it. Thus, in the course of the film, the title, like the doorknocker, is decomposed into semes of danger, games and extremity (Eve’s screams...

... Screaming: Modern Hollywood Horror and Comedy by William Paul. Cambridge University Press, 1993. $29.95. Stalinism and Soviet Cinema edited by Richard Taylor and Derek Spring. 1.51 Routledge, 1993. $59.95. Postmodernism and the En-Gendering of Marcel Duchamp by Amelia Jones. Cambridge...

... populist political stance and debatable feminism explain its staggering popularity. “In space, no one can hear you scream,” the promo poster tantalizes. It shows a cracked egg, backlit harshly. Dared to discover the source of this soundless Alien (Ridley Scott, 1979) 88 scream, we go...

... one complicit with other antagonists. The threatening potential of the telephone has been a dominant and long-running theme in its fictional cultural repre- sentation. Wes Craven’s recent Scream movies use the telephone both to announce the killer(s) and to deliver the victims to their death...

..., Nancy snarks back, “We are the weirdos, Mister.” This early scene provoked a raucous set of campy audience reactions both in the theater and online. Audiences loudly screamed Nancy's line along with her, refusing the bus driver's (and the film's) reading of the characters as helpless girls. A GIF...

... — nearly two hundred of them — a good many of them were dotty- blotty poltergeist lms, scratching and screaming rapes of the eye and ear, some gone before you could sneeze, others lingering on for hours. A handful were exciting, adventurous works which justi es Knokke’s agonies and ecstasies...

... the Rose, and on and on in a pattern of infinite regress that signals the impossibility of knowing the diva. As the stage fills with drag queen divas screaming Seger’s lyrics, the hall-of-mirrors effect intensifies: there is no real diva here, only a series of deflec- tions and reflections...

..., but . . ” These utterances coexist in my look, whch is the simultaneous adoption of the divergent looks of Eve and - Rainsford. 17. The arrow plants itself in the wall of the cave. Eve, still boggle- eyed, lets out a scream; Rainsford remains imperturbably calm. In or- der to reinforce Eve’s hot-in contrast...