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	<title>Obsessed With Film &#187; History of Cinema</title>
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		<title>The Halloween Franchise – The Nights He Came Home</title>
		<link>http://www.obsessedwithfilm.com/movie-news/the-halloween-franchise-%e2%80%93-the-nights-he-came-home.php</link>
		<comments>http://www.obsessedwithfilm.com/movie-news/the-halloween-franchise-%e2%80%93-the-nights-he-came-home.php#comments</comments>
		<pubDate>Thu, 18 Oct 2007 10:25:40 +0000</pubDate>
		<dc:creator>Tom Fallows</dc:creator>
				<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[History of Cinema]]></category>
		<category><![CDATA[Horror]]></category>
		<category><![CDATA[Movie News]]></category>
		<category><![CDATA[Spoilers]]></category>

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		<description><![CDATA[In Hollywood there is nothing more terrifying than an original idea. It’s a fear born from the unknown, fear that audiences won’t get it, fear that it won’t do ‘good business.’ For nervous studio executives, both the movie franchise and the remake are a reassuring comfort blanket. These are movies that already have a guaranteed audience and producers can relax in the knowledge that the same idea has made money before.

Rob Zombie’s Halloween (2007) is in the rare position of being both a franchise movie and a direct remake of John Carpenter’s 1978 classic. That Zombie’s film raked in a massive $30.6 million on its opening weekend is hardly surprising. Nor should it be surprising that the film is a mess – lacking originality, insight, and, worst of all, scares.

But fans of the original have little reason to complain. Over nearly three decades and seven sequels the franchise has already been beaten to a bloody pulp. For the most part these sequels are borderline remakes anyway and stick rigidly to the template laid down in by Carpenter’s original.

On Halloween night murderous bogeyman Michael Myers returns to his home town of Haddonfield, Illinois to wreak bloody retribution on the town’s sex ...]]></description>
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		<title>The Cabinet of Dr. Caligari: Suffering creates art?</title>
		<link>http://www.obsessedwithfilm.com/classic-movies/55-the-cabinet-of-dr-caligari-1920-robert-wiene.php</link>
		<comments>http://www.obsessedwithfilm.com/classic-movies/55-the-cabinet-of-dr-caligari-1920-robert-wiene.php#comments</comments>
		<pubDate>Sat, 04 Aug 2007 12:07:29 +0000</pubDate>
		<dc:creator>Matt Holmes</dc:creator>
				<category><![CDATA[Classic Movies]]></category>
		<category><![CDATA[History of Cinema]]></category>
		<category><![CDATA[The-Cabinet-of-Dr.-Caligari-Review]]></category>

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		<description><![CDATA[
"Like the fella says, in Italy for 30 years under the Borgias they had warfare, terror, murder, and bloodshed, but they produced Michelangelo, Leonardo da Vinci, and the Renaissance. In Switzerland they had brotherly love - they had 500 years of democracy and peace, and what did that produce? The cuckoo clock" -Harry Lime, The Third Man
In the climate of 1919, the aftermath of World War I weighed heavy on the globe's conscious, no where more so than Germany where Kaiser Wilhelm's power trip had cost them everything. Many lives had been lost, the economy was now a disaster and the social climate of the country was at it's lowest point in decades as they had felt cheated by their government into getting involved in a war that should never have taken place.

Remarkably despite all this (or maybe because of this) it would be German cinema that would prove to be the most creative, exciting and artistic for many years to come, leaving the 'safe style' of the American formula behind. Just one year after 'the war to end all wars' was finally over, a script written by first time writers Carl Mayer and Hans Janowitz immediately caught the attention ...]]></description>
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		<title>The Battle for Blade Runner: Examining the Cutting of the Classic Film</title>
		<link>http://www.obsessedwithfilm.com/specials/the-battle-for-blade-runner-examining-the-cutting-of-the-classic-film.php</link>
		<comments>http://www.obsessedwithfilm.com/specials/the-battle-for-blade-runner-examining-the-cutting-of-the-classic-film.php#comments</comments>
		<pubDate>Tue, 31 Jul 2007 21:47:12 +0000</pubDate>
		<dc:creator>Michael Kaminski</dc:creator>
				<category><![CDATA[Feature Articles]]></category>
		<category><![CDATA[History of Cinema]]></category>

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		<description><![CDATA[Much talk has gone over the impending video release of Blade Runner, now in Ridley Scott’s definitive version called “The Final Cut.” This of course replaces 1992’s “Director’s Cut,” but as the upcoming release shows, this is only the tip of the iceberg as there are actually five different versions of the film that have been released over the years, all significantly different. The editing of Blade Runner is a complicated and sometimes messy subject, a film that never could fully be executed to the director’s original vision but one that Scott stubbornly refused to let die. It has been a slow process of over twenty years but finally a true version of the film has emerged. But let’s start at the beginning.

Scott’s first rough cut was shown to Warner Brothers executives in September of 1981 and was a disaster. The film was thought to be dull and confusing. Scott went back to work on the film and had Harrison Ford record a voice-over track; it was not written by the film’s screenwriters but by a friend of the executive producer, and Scott was quite displeased with it. Harrison Ford had vehemently opposed the idea of narration from the beginning, ...]]></description>
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