The Spanish lycanthrope arrived successfully to Spanish screens with The Mark of the Wolfman (Eguiluz, 1968), introducing iconic actor and scriptwriter Paul Naschy as…
The Spanish lycanthrope arrived successfully to Spanish screens with The Mark of the Wolfman (Eguiluz, 1968), introducing iconic actor and scriptwriter Paul Naschy as werewolf Waldemar Daninsky. This persona would be later developed in more depth in The Werewolf Versus the Vampire Woman (Klimovsky, 1970) and Curse of the Devil (Aured, 1972). Furthermore, Daninsky’s construction responded to the historical repressive context of Francoist Spain, and the strong ideal of masculinity imposed and promoted under the fascist regime (Pulido, 2012).
After a long hiatus in the horror genre, the more recent film Game of Werewolves (Martínez Moreno, 2011) revisits the figure of the Spanish lycanthrope by introducing two different sets of characters embodying two different types of masculinity and, more significantly, by linking the strong, traditional male identity to the myth of the werewolf, paying homage to Waldemar Daninsky.
Thus, through the film’s historically contextualized textual analysis, the chapter seeks to study the myth of the werewolf in twenty-first-century Spain, in relation to the changes in the masculine identity and the historical context to which it refers, exploring the struggle of men to move from the traditional male identity imposed during the dictatorship to a more progressive one.
Traditional visions of masculinity are inextricably linked to some tropes believed as ‘essential’ in men such as valour or strength. If a man fails in comply with these…
Traditional visions of masculinity are inextricably linked to some tropes believed as ‘essential’ in men such as valour or strength. If a man fails in comply with these ‘essences’, then he fits into a form of deviant masculinity that transforms him into an Other.
Now, what happens with the issues of ageing in masculinity? The ageing man slowly but naturally loses all the aspects that made him ‘manly’ enough, becoming instead a double of himself. Men are doomed to fail as their bodies start to malfunction.
Two horror films highlight ageing and failed masculinity as a way to engage with these new concerns. Bubba Ho-Tep (Don Coscarelli, 2012) and Late Phases (Adrián García Bogliano, 2014) revolves around two aged heroes (Elvis Presley in the former, an ageing war veteran in the latter) who live within retirement communities. There, in the last years of their life, both men must face supernatural menaces: a walking mummy and a werewolf respectively. Facing supernatural horror, the ageing heroes must compensate their failing masculinity – a body that does not work as well as it used to do – with new forms of empathy and manliness.
Uniting film studies with investigations on masculinity and ageing, we propose to read these two films to point the ways in which both stories engage with the cultural politics of ageing masculinity.
This paper aims to demonstrate how commercially available tabletop games can be effective tools to teach information literacy and present a list of best practices to…
This paper aims to demonstrate how commercially available tabletop games can be effective tools to teach information literacy and present a list of best practices to improve instructor’s chances of success with this pedagogical method.
Librarians from two separate institutions with complementary experiences analyze the theory of game-based learning with tabletop games, present an example of game-based information literacy instruction in practice and suggest four best practices for this method of instruction.
This paper demonstrates that educators by combining sound pedagogical practices to connect the educational content to what rules of games ask of students can effectively find a balance between enthusiastic engagement and higher-order information literacy learning outcomes.
This paper can be used to guide librarians looking for creative and sound methods to engage students using tabletop games to teach information literacy.
The authors have unique theoretical and practical knowledge with joining pedagogy and tabletop games in the information literacy classroom. While there is a lot of literature on games in academic libraries, there is only one other paper on using a commercially available tabletop game to teach information literacy.
The contemporary zombie genre is known for exploring what the end will look like, with its widespread infection, chaos and violence – all images that resonate in a post-9/11 America. These zombie narratives also speak to a present-day America with their emphasis on diminishing individuality and agency. Unlike early Haitian incarnations of the zombie figure, the modern zombie terrifies because no singular agent possesses the victim’s mind. In contrast, the light-hearted CW television show, iZombie (2015–) rethinks the zombie paradigm. Not only does it envision how zombies would manifest in everyday life, without the requisite apocalypse, but it also subverts the antiquated gender politics common to the genre by providing viewers with a female zombie protagonist, Olivia Moore (Rose McIver) who is not only highly functional, but also female and with plenty of agency. Moore, through whose eyes the show is told, absorbs personality traits and memories belonging to the brains she eats, from frat boy to alcoholic, stripper to housewife. This device creates such a cornucopia of roles for McIver to explore that it brings to mind the work of American photographer Cindy Sherman, providing a rare multi-dimensional woman on TV. iZombie also takes the contemporary zombie text’s reliance on the trop of infection one step further. This chapter not only examines iZombie’s unusual female point of view, but also its portrayal of ‘zombie-ness’ as a chronic contagious illness with many similarities to HIV.
The chapter will document the Canadian reaction, as reflected in the demand of New Zealand, that Canada fundamentally alters its dairy supply management system in order to…
The chapter will document the Canadian reaction, as reflected in the demand of New Zealand, that Canada fundamentally alters its dairy supply management system in order to participate in the Trans-Pacific Partnership negotiations. The Canadian government has resolutely refused to do so, supported wholeheartedly by dairy farmers throughout the country. This is in part because of the effect such an action would have on rural spaces and the debilitating result it would have on Canadian dairy production. As well, the chapter will address the issue of the cost of dairy products in New Zealand as compared with Canada. Part of this analysis will focus on the role of supermarkets in determining the price structure of milk in both Canada and New Zealand. Finally, the chapter will offer an examination of the New Zealand system as represented by Fonterra and the Canadian system as epitomized by dairy supply management.