#mitchell lichtenstein

[cinematicjourney]

Teeth (2007) | dir. Mitchell Lichtenstein

[pierppasolini]

Miami Vice - 1.12 - Little Prince

[fearsmagazine]

TEETH - Review

SYNOPSIS: “Dawn O’Keefe is an evangelical Christian teen with a powerful secret not even she understands – when men violate her, her body bites back. Literally. From Pulitzer Prize and Tony-winner Michael R. Jackson (A Strange Loop) and Anna K. Jacobs (POP!),TEETH, based on the cult classic film of the same name, is a fierce, rapturous, and savagely entertaining new musical crackling with irrepressible desire and ancient rage – a dark comedy conjuring the legend of one girl whose sexual curse is also her salvation.” - Press Release

REVIEW: In 2007 filmmaker Mitchell Lichtenstein, the son of artist Roy Lichtenstein, unleashed his tale of a contemporary American female teenager who discovers her body possesses a physical secret when she encounters male violence, vagina dentata; a myth that is found across cultures and eras, about a vagina that has a lethal set of teeth.

In the stage adaptation of Lichtenstein’s vision, Anna K. Jacobs and Michael R. Jackson successfully retain the story's essence while making it fresh for a theater audience. In this adaptation, the lead character, Dawn's home life is restructured, with her father now portrayed as a charismatic preacher and her brother, Bard, still grappling with issues from their youth but influenced by technology rather than as a heavy metal/skinhead. These changes create a more dynamic structure for their dysfunctional family unit. Notably, the myth plays a more central role in the stage adaptation, and the supporting cast of teenage promise keeper girls serve as a Greek chorus. My guest and I both felt that the staging had a feel of Stepehen King’s “Carrie,” his novel, DePalma’s film and maybe the rival of the play. TEETH reaches its climax in a visually captivating and chaotic clash of religious conservatism and feminism, expertly staged in a way that surpasses Frank Oz's never fully realized ending in the film adaptation of "Little Shop of Horrors." Incorporating many of the contemporary social sexual issues in our zeitgeist with satire makes for an extremely entertaining and thought provoking theatrical experience.

The musical numbers were a delight. The combination of traditional Broadway musical songs and 70's and 80's pop songs in Jacobs' music was excellent. Jackson's lyrics added to the story and provided a splendid blend of humor and drama. While some of the lyrics were risqué, they never felt as shocking as something from "South Park" by Trey Parker and Matt Stone. Jacobs and Jackson provided some magical musical moments that showcased the entire cast's vocal abilities. Choreographer Raja Feather Kelly did a remarkable job in creating dance routines, despite having to work in horrific moments at times.

The production design, set, lighting, SFX, and sound designs are all of Broadway caliber. The stage design employs impressive elements with subtle movements that contribute to the narrative. At certain moments, all of these elements come together to create a truly magical theater experience. The set design takes advantage of every inch of space in bringing the story to life. Most of the play's costumes are effective, they become more creative and interesting in the final act.

The cast of TEETH is nothing short of brilliant. Lead actress Alyse Alan Louis shines in her portrayal of Dawn. Her performance effortlessly blends innocence, comedic timing, powerful vocals, and a nuanced handling of sensual scenes. Meanwhile, her male counterparts—Steven Pasquale, Jason Gotay, Will Connolly, and Jared Loftin—face a daunting task. Not only do they create memorable characters, but they also navigate multiple roles and costume changes with ease, all the while delivering captivating musical numbers that showcase their talents. This ensemble cast is truly exceptional, and one can only hope that they will grace us with a cast recording of the show.

Michael R. Jackson, the Pulitzer Prize and Tony-winner of "A Strange Loop," has created a show that is consistently selling out. My guest, who was initially unaware of the show's premise and the creative team, was astounded upon learning about it at the end. They were also unfamiliar with the source material, which left them with a strong desire to seek it out. From my perspective, any adaptation that inspires viewers to seek out the original work is a significant accomplishment. "TEETH" ranks among my legendary theater experiences, akin to my cherished memories of attending the original Broadway productions of "Little Shop of Horrors," "Phantom of the Opera," "Les Misérables," and "Hadestown," that come to mind. "TEETH" offers an unforgettable and haunting theatrical experience that should not be missed.

TEETH contains intense violence, blood and gore, sexual content, and strong language. Age Recommendation: Teeth is appropriate for audiences ages 17+. The play runs approximately 1 hour and 55 minutes with no intermission.. Performances are Tuesday through Sunday at 7:30 PM, with matinees Saturday and Sunday at 2:30 PM. Tickets are $120.00 plus $2.00 fee. Tickets are now on sale at https://my.playwrightshorizons.org/events. For more information, visit www.playwrightshorizons.org/shows/plays/teeth/#play-body.

Review By: Joseph B Mauceri

[toomuchlovereviews]

Teeth (2007)

⭐️⭐️⭐️ .5

Alexa, play VBS by Lucy Dacus!!!!!

I am impressed with the correct terminology used in this movie outside of the medical environment. Nothing crazy, I just think it should be noted. Hell yeah, vulvas!

ALSO: It should be stated that Dawn did nothing wrong!!!! Yes, chastity rules for some and sex rules for others, but she did what she had to do to survive. Such a wild scene of her spiralling in front of the youth group, I felt genuine terror for her. Her fear and coming to terms with what is inside her (allegory for growing up/new sexuality?) and the way the group (church) dismisses it as temptation was palpable.

The craziest part was wondering who was the bigger monster? What was between Dawn’s legs or the men that tried to mess with it? (And I think we all know that answer to that question.)

Watch this for:

the very intense climax (for lack of a better phrase)

“he had it coming”

Similar titles:

Ginger Snaps trilogy (allegory for growing up and womanhood)

American Mary (2012) (she did nothing wrong!!!)

[2ndaryprotocol]

The cult horror comedy ‘Teeth’ opened in US theaters this week 15 years ago. 🦷🩸💀

“𝚅𝚊𝚐𝚒𝚗𝚊 𝚍𝚎𝚗𝚝𝚊𝚝𝚊! 𝙸𝚝'𝚜 𝚠𝚑𝚊𝚝 𝚒𝚗𝚜𝚒𝚍𝚎'𝚜 𝚖𝚎. 𝚃𝚑𝚎 𝚍𝚘𝚌𝚝𝚘𝚛 𝚜𝚊𝚒𝚍 𝚜𝚘. 𝙰 𝚑𝚎𝚛𝚘 𝚑𝚊𝚜 𝚝𝚘 𝚌𝚘𝚖𝚎 𝚊𝚗𝚍 𝚌𝚘𝚗𝚚𝚞𝚎𝚛 𝚝𝚑𝚎𝚖!”

[genevieveetguy]

The toothed vagina appears in the mythology of many and diverse cultures all over the world. In these myths, the story is always the same. The hero must do battle with the woman. The toothed creature can break her power.

Teeth, Mitchell Lichtenstein (2007)

[moviesandmania]

TEETH (2007) More reviews of dark comedy horror

‘It’s what’s inside that counts’ Teeth is a 2007 American comedic horror film written and directed by Mitchell Lichtenstein, about a teenage girl who has teeth in her vagina. Plot: Dawn O’Keefe (Jess Weixler) is a teenage spokesperson for a Christian abstinence group called The Promise. She attends groups with her two friends, Alisha (Julia Garro) and Phil (Adam Wagner). One evening after giving…

[strathshepard]

Roy and Dorothy Lichtenstein in 1968. Photo by Jack Mitchell

[moonlight]

In these myths, the story is always the same. The hero must do battle with the woman. The toothed creature can break her power.

TEETH (2007) dir. Mitchell Lichtenstein

[dailyflicks]

The myth springs from a primitive masculine dread of the mysteries of women and sexual union. Fears of weakness, impotence. It is a nightmare image of the power and horror of female sexuality. Teeth (2007) dir. Mitchell Lichtenstein

[cinematicjourney]

Teeth (2007) | dir. Mitchell Lichtenstein

[lvdbbooks]

2023年9月15日

【新入荷・新本】

Various Artists Newspaper, Primary Information, 2023

416 pages. 9.75 x 13.38 Inches. Paperback. Edition of 4500.

価格：7,480円（税込）

/

1968年から1971年にかけてスティーヴ・ローレンスが発行し、ピー���ー・ヒュージャーとアンドリュー・ウルリックが編集に携わったニューヨーク発のタブロイド誌『Newspaper』の復刻版。

『Newspaper』は、言葉を使わず、写真だけを掲載した定期刊行物で、14号にわたって40人以上のアーティストの異質な活動を取り上げています。新しい作品と並行して流用された素材を掲載することに編集の重点を置き、1960年代後半の現代社会を象徴するハイカルチャーとローカルチャーの視覚的言語を体系化しようとしました。美術史的な言説からはほとんど見落とされているが、当時のアメリカで活躍し、尊敬されていた多数のアーティストと、新興のクィア・アーティストの仲間たちを紹介しています。

『Newspaper』は、1969年に創刊されたアンディ・ウォーホルの『Interview』や、レス・レヴィンの『Culture Hero』に先駆けるアーティストが発行するタブロイド誌のひとつですが、他のタブロイド紙とは対照的に、『Newspaper』はイメージに特化していました。

その全14号が初めてこの一冊にまとめられています。

Published by Steve Lawrence and edited with Peter Hujar and Andrew Ullrick, Newspaper was published in New York City between 1968 and 1971.

Newspaper was a wordless, picture-only periodical thatran for fourteen issues and featured the disparate practices of over forty artists. With an editorial focus on placing appropriated material alongside new works, the periodical sought to codify a visual language of high and low culture that represented contemporary society in the late 1960s. While largely overlooked in art-historical discourse, Newspaper showcased many of the most revered artists working in the United States at the time, as well as an emerging coterie of queer artists.

The mid to late sixties was a flourishing period for artists experimenting with new media formats such as books, records, and magazines to create or distribute their work. Newspaper was one of the first artist-published tabloids of its era, preceding Andy Warhol’s Interview and Les Levine’s Culture Hero, both of which debuted in 1969. However, in contrast to other tabloids, Newspaper focused strictly on images.

At a time when photography was not being exhibited regularly in galleries, Newspaper provided an alternative exhibition space for the medium and some of the era’s greatest photographers. The publication’s large size and unbound format encouraged readers to take it apart and hang its pages, which was how Newspaper was installed at the Museum of Modern Art’s influential Information show in 1970.

This is not to say that Newspaper only existed within the narrow confines of the art world, far from it. It lived within (and shared contributors with) a robust network of underground and queer periodicals like The New York Review of Sex, Rags, and Gay Power, among others. Yet, unlike many of these tabloids, Newspaper has largely disappeared from the discourse around underground magazines, queer publishing, and artists’ periodicals.

All fourteen issues of Newspaper are compiled in this volume for the first time.

Featured artists include: Diane Arbus, Art Workers Coalition, Richard Avedon, Clyde Baines, Sheyla Baykal, Peter Beard, Brigid Berlin, Richard Bernstein, Ann Douglas, Paul Fisher, Maurice Hogenboom, Peter Hujar, Scott Hyde, Christo and Jeanne-Claude Javacheff, Ray Johnson, Edwin Klein, Yayoi Kusama, Gerald Laing, Dorothea Lange, Steve Lawrence, Jeff Lew, Roy Lichtenstein, Frank Mercado, Duane Michals, Jack Mitchell, Forrest “Frosty” Myers, Billy Name, Stephen Paley, Warner Pearson, Jurgen Warner Piepke, Charles Pratt, Joseph Raffael, Mel Ramos, Lilo Raymond, Ruspoli-Rodriguez, Lucas Samaras, Alan Saret, Bill Schwedler, Leni Sinclair, Norman Snyder, Elizabeth Staal, Stanley Stellar, Terry Stevenson, Paul Thek, Andrew Ullrick, Andy Warhol, William T. Wiley, and May Wilson.

[girlvenge]

Independent & highly selective multi-muse, full of characters written through a lens of "the vengeful woman" whilst studying [and portraying] the monstrosity of femininity. Listed below are the muses featured on this blog, delicately woven and written by the women-in-horror queen herself, Isha. ᥫ᭡

* Film.

Jennifer Check, Jennifer's Body (2009) dir. Karyn Kusama. Faceclaim: Megan Fox. Canon to film events & headcanon based.

Dawn O'Keefe, Teeth (2007) dir. Mitchell Lichtenstein. Faceclaim: TBD. Canon to film events & headcanon based.

Baby Firefly, House of 1000 Corpses (2003) dir. Rob Zombie. Faceclaim: Sherri Moon Zombie. Canon to film events & headcanon based.

Chrissie, Texas Chainsaw Massacre: The Beginning (2006) dir. Jonathan Liebesman. Faceclaim: TBD. Canon to film events.

Tamara Riley, Tamara (2005) dir. Jeremy Haft. Faceclaim: Jenna Dewan. Canon to film events & headcanon based.

Paige Prescott, Valentine (2001) dir. Jamie Blanks. Faceclaim: Denise Richards. Canon to film events.

Helen Shivers, I Know What You Did Last Summer (1997) dir. Jim Gillespie. Faceclaim: Sarah Michelle Gellar. Canon to film events.

* TV.

.

* MISC.

.

[visuallanguageemma]

thematic research: exploring horror and connection to girlhood

I feel deeply connected to horror, which is strange because I have not engaged much in the horror genre previously, or in the most obvious way, which would be through film.

I shared this sentiment with the women around me, prompting me to research and explore this link between horror and girlhood.

I began to form my own opinions - women could be attracted to horror because it is one of the few genres where they are represented so broadly, centrally and with complexity.

The final girl trope is a recurring cinematic trope where a resilient woman survives against all odds, such as Halloween's (1978) Laurie Strode or Nightmare on Elm Street's (1984) Nancy Thompson.

Raw, Julia Ducournau (2016) / Suspiria, Luca Guadagnino (2018)

Teeth, Mitchell Lichtenstein (2007) / Carrie, Brian De Palma (1976)

The Monstrous Feminine

Introduced by Barbara Creed's 1993 book 'The Monstrous Feminine: Film, Feminism and Psychoanalysis. This provided an essential framework for understanding the ways women are represented in horror. The monstrous, in horror, is represented by placing focus on the way that women are sources of horror themselves and not just victims or heroic final girls.

Creed further states, that the horror genre associates female monstrosity with fears of sexuality, the maternal body and reproduction.

Julia Kristeva's Theory of the Abject is built upon by Creed's Monstrous Feminine, by arguing that the female body is depicted particularly in its biological capacities (menstruation, pregnancy, lactation) as abject. Carrie (1976) and the Xenomorphs in Alien (1979).

The Key Themes of Creed's Monstrous Feminine

The Monstrous Mother - Maternal figures are depicted as overbearing and possessive, at the extreme of maternal traits such as nurturing and protecting. Examples of this are Psycho (1960, Misery (1990) and Coraline (2009).

Monstrous Sexuality - Genitalia and the female reproductive system is prevalent in creature design, directly portraying vaginas as monsters. Examples of this are Teeth (2007) and Jennifers Body (2009)

Witches - Witches are history's most significant vilification of women. Their crimes included: defying societal norms, financial independence, association with other women, infertility and activity outside of marriage. Prominent horror examples include the 2018 and 1977 Suspriria

I used the following videos for research:

[sorotrax-sideblog]

Teeth (2007)

directed by Mitchell Lichtenstein

PUSSY LIKE A GUILLOTINE???????

[yeowangies]

horror movies that aren't as popular or that haven't had that much of a good marketing or reviews that I think are Great!

thirst (2009, dir. park chan wook), black sheep (2006, dir. jonathan king), the village (2004, m. night shyamalam), the exorcism of emily rose (2005, dir. scott derrickson), teeth (2007, dir. mitchell lichtenstein), the mist (2007, dir. frank darabont), repulsion (1965, dir. roman polanski), the invasion of the body snatches (1978, dir. phillip kaufman), audition (1999, dir. takashi miike), 10 cloverfield lane (2016, dir. dan trachtenberg), creep (2014, dir. patrick brice).

Special mention because this is a horror movie but it's also animated and so good: scooby doo on zombie island (1998, dir. jim stenstrum).

(i know some of these movies are fairly popular, especially to people who enjoy horror, but if you wanna check out films that aren't in most people's top ten list, these are super good)