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The Lie of the Land' by Toby Whithouse - TONE DRAFT - 22/11/16 1 PUBLIC INFORMATION FILM
DOCTOR WHO SERIES 10 EPISODE 8 "X" by Toby Whithouse TONE DRAFT (DRAFT TWO) 22/11/16 (SHOOTING BLOCK 6) DW10: EP 8 'The Lie of the Land' by Toby Whithouse - TONE DRAFT - 22/11/16 1 PUBLIC INFORMATION FILM. 1 Space. The sun rising over the peaceful blue Earth. VOICE OVER The Monks have been with us from the beginning. Primordial soup: a fish heaves itself from the swamp, its little fins work like pistons to drag itself up the bank, across the sandy earth. The most important and monumental struggle in the planet’s history. It bumps into the foot of a Monk, waiting for it. VOICE OVER (CONT’D) They shepherded humanity through its formative years, gently guiding and encouraging. Cave paintings: primitive man. Before them, what can only be a Monk. It holds a spear, presenting it to the tribe of men. VOICE OVER (CONT’D) Like a parent clapping their hands at a baby's first steps. Another cave painting: a herd of buffalo, pursued by the men, spears and arrows protruding from their hides. Above and to the right, watching, two Monks. Benign sentinels. VOICE OVER (CONT’D) They have been instrumental in all the advances of technology and culture. Photograph: Edison, holding a lightbulb. The arm and shoulder of a Monk next to him, creeping into the frame. VOICE OVER (CONT’D) They watched proudly as man invented the lightbulb, the telephone, the internet... Photograph: the iconic shot of Einstein halfway through writing the equation for the theory of relativity on a blackboard. -
Mcsporran, Cathy (2007) Letting the Winter In: Myth Revision and the Winter Solstice in Fantasy Fiction
McSporran, Cathy (2007) Letting the winter in: myth revision and the winter solstice in fantasy fiction. PhD thesis http://theses.gla.ac.uk/5812/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] Letting the Winter In: Myth Revision and the Winter Solstice in Fantasy Fiction Cathy McSporran Thesis submitted for the degree of Doctor of Philosophy Department of English Literature, University of Glasgow Submitted October 2007 @ Cathy McSporran 2007 Abstract Letting the Winter In: Myth-Revision and the Winter Solstice in Fantasy Fiction This is a Creative Writing thesis, which incorporates both critical writing and my own novel, Cold City. The thesis explores 'myth-revision' in selected works of Fantasy fiction. Myth- revision is defined as the retelling of traditional legends, folk-tales and other familiar stories in such as way as to change the story's implied ideology. (For example, Angela Carter's 'The Company of Wolves' revises 'Red Riding Hood' into a feminist tale of female sexuality and empowerment.) Myth-revision, the thesis argues, has become a significant trend in Fantasy fiction in the last three decades, and is notable in the works of Terry Pratchett, Neil Gaiman and Philip Pullman. -
Colonial Exhibitions, 'Völkerschauen' and the Display of the 'Other' by Anne Dreesbach
Colonial Exhibitions, 'Völkerschauen' and the Display of the 'Other' by Anne Dreesbach The term 'Völkerschau' became common in the 19th century and denoted the exhibition of members of particular ethnic groups, above all for commercial reasons. The term is primarily used in scholarly research to distinguish Hagenbeck-in- fluenced exhibitions from those that came earlier. Between the founding of the Reich and the 1930s, there were about 400 'Völkerschauen' in Germany. Each exhibition followed a certain presentation model, which drew upon the stereo- types about the various populations being depicted. In a recursive 'cycle of stereotypes', the exhibition affirmed and ac- tivated the visitors' already ingrained prejudices and encouraged them to form new ones. In the wake of talking films and, later, long-distance tourism, 'Völkerschauen' disappeared from the German public eye in the 1930s. TABLE OF CONTENTS 1. Beginnings 2. The structure of a 'Völkerschau' 3. Advertising and mode of presentation 4. 'Völkerschauen' and colonial propaganda 5. 'Völkerschauen' and science 6. The end of the 'Völkerschau' 7. Appendix 1. Sources 2. Bibliography 3. Notes Indices Citation Beginnings The practice of putting 'exotic' people on display began in Europe in the early modern period, when European explor- ers (ᇄ Media Link #ab) made their way to every corner of the globe. Sailors brought people with them from the newly explored areas, much as they might present foreign objects, plants and animals to prove the exoticism and wealth of previously unknown countries.1 These 'exotic' people were then exhibited by their 'discoverers' at royal courts or public fairs. Christopher Columbus (1451–1506) (ᇄ Media Link #ac) himself brought seven 'Arawak Indians' of the West Indies (ᇄ Media Link #ad) home to Europe from his first trip (ᇄ Media Link #ae). -
(Re)Presentation in the Toronto Zoo's Canadian Domain By
Walking the Noble (Savage) Path: The Didactics of Indigenous Knowledge (Re)Presentation in the Toronto Zoo's Canadian Domain By Danielle Lorenz A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts In The School of Canadian Studies Carleton University Ottawa, Ontario ©2012 Library and Archives Bibliotheque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-91558-5 Our file Notre reference ISBN: 978-0-494-91558-5 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distrbute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
2005 – Building for the Future
2005 – 2006 2005 – Building for the future Working with communities is an important part of ZSL’s effort to involve local people in the welfare of their wildlife Reading this year’s Living Conservation report I am struck by the sheer breadth and vitality of ZSL’s conservation work around the world. It is also extremely gratifying to observe so many successes, ranging from our international animal conservation and scientific research programmes to our breeding of endangered animals and educational projects. Equally rewarding was our growing Zoology at the University of financial strength during 2005. In a year Cambridge. This successful overshadowed by the terrorist attacks collaboration with our Institute of in the capital, ZSL has been able to Zoology has generated numerous demonstrate solid and sustained programmes of research. We are financial growth, with revenue from our delighted that this partnership will website, retailing, catering and business continue for another five years. development operations all up on last Our research projects continued to year. influence policy in some of the world’s In this year’s report we have tried to leading conservation fields, including give greater insight into some of our the trade in bushmeat, the assessment most exciting conservation programmes of globally threatened species, disease – a difficult task given there are so risks to wildlife, and the ecology and many. Fortunately, you can learn more behaviour of our important native about our work on our award-winning* species. website www.zsl.org (*Best Website – At Regent’s Park we opened another Visit London Awards November 2005). two new-look enclosures. -
Colonial Exhibitions and Human Zoos
Colonial Exhibitions From Wikipedia, the free encyclopedia A colonial exhibition was a type of international exhibition intended to boost trade and bolster popular support for the various colonial empires during the New Imperialism period, which started in the 1880s with the scramble for Africa. The British Empire Exhibition of 1924–5 ranked among these expositions, but perhaps the most notable was the rather successful 1931 Paris Colonial Exposition, which lasted six months and sold 33 million tickets. Paris's Colonial Exhibition debuted on 6 May 1931, and encompassed 110 hectares of the Bois de Vincennes. The exhibition included dozens of temporary museums and façades representing the various colonies of the European nations, as well as several permanent buildings. Among these were the Palais de la Porte Dorée, designed by architect Albert Laprode, which then housed the Musée permanent des Colonies, and serves today as the Cité nationale de l'histoire de l'immigration. An anti-colonial counter-exhibition was held near the 1931 Colonial Exhibition, titled Truth on the Colonies and was organized by the French Communist Party. The first section was dedicated to the crimes made during the colonial conquests, and quoted Albert Londres and André Gide's criticisms of forced labour while the second one made an apology of the Soviets' "nationalities' policy" compared to "imperialist colonialism". Germany and Portugal also staged colonial exhibitions, as well as Belgium, which had a Foire coloniale as late as 1948. Human zoos were featured in some of these exhibitions, such as in the Parisian 1931 exhibition. Through the 1950s, Africans and Native Americans Were Kept In Zoos As Exhibits By M.B. -
Imperialism (And Humans) on Display: the 1904 World's Fair
Imperialism (and Humans) on Display: The 1904 World’s Fair By Matt Goerss Summer Fellowship 2010 Lesson #3: Meet Me in St. Louis, Meet Me at… the Human Zoo? Abstract: The 1904 World’s Fair in St. Louis included two “living exhibits,” which today would be referred to as human zoos. One of the exhibits was meant to display the progression and culture of indigenous peoples from around the world, and the other was meant to introduce visitors to the many nations of the Philippine Islands, a territory that had been conquered by the United States in 1898. In this lesson, students will investigate the purpose of these living exhibits, the people who were displayed in them, and the appropriateness of such displays. Students will read primary source documents and oral histories and will analyze photographs of the living exhibits to gain an understanding of the historical context of the displays that were among the most popular of all of the exhibits at the 1904 World’s Fair. Essential Questions: • How did the human zoos at the 1904 World’s Fair reflect American imperialism in the early-1900s? • What is the purpose of a human zoo, and how was it used at the 1904 World’s Fair? • How did visitors to the World’s Fair experience the human zoos? • Are human zoos ethical? Assessment: Students will be assessed based on their ability to analyze the numerous readings and photographs related to living exhibits. Students will also be assessed based on their diary entry at the end of the lesson and the application of their knowledge of human zoos to the final project in this unit. -
Pedzisai Maedza (Cape Town) the Kaiser's Concubines: Re-Membering African Women in Eugenics and Genocide1 1 Introduction This Pa
PhiN-Beiheft 13/2017: 159 Pedzisai Maedza (Cape Town) The Kaiser's Concubines: Re-Membering African Women in Eugenics and Genocide1 This paper investigates the memory of colonial mass violence and atrocities as articulated, pre- served and transmitted through the performance Exhibit B by Brett Bailey. Particular focus is placed on the collusion of racism and colonial sciences towards African women's bodies. It traces the systematic use of sexual violence and the institutionalisation of rape during and in the after- math of the 1904 to 1908 German aggression in present day Namibia. This sexual aggression on prisoners of war and colonial subjects in and outside of concentration camps found expression and was echoed in racist sciences such as eugenics and racial hygiene. People like Eugen Fischer gained recognition and fame for notorious studies on 'racial hygiene', through forced sterilisation experiments on racially mixed people in Namibia and Germany, the majority of whom were born as a result of these institutional rapes. Exhibit B is a performance exhibition that deploys perfor- mance to animate genocide memory and photographs from the colonial ethnographic archive. I use Exhibit B as a case study to investigate how performance enacts this memory to transmit knowledge about the past in response to the 'social amnesia' accompanying unacknowledged gen- ocides. I examine the deployment of performance in animating archival texts to create ephemeral images. In doing so, I explore how the images tell (hi)stories through performance as well as the contemporary political usage and reception of images. I make the case that performance envelops time and creates an alternate historiographic repository for gendered genocide memory. -
Human Zoos MATHIS GASSER
Human Zoos MATHIS GASSER Will you find yourself in a zoo? Zoos — facilities where typically wild animals are kept, cared for by zookeepers, displayed to the public and in some cases bred — have been around for over 200 years. Throughout history people have been put in enclosures as well — prisons being the first to come to mind. Below we will go through some zooish examples and scenarios. Top: A man walking at low tide at Lau Fau Shan on July 3, 2015, with the fast-developing city of Shenzhen (metropolitan population of 23 million) on mainland China seen in the background. Courtesy Bobby Yip/Reuters[1] Bottom: In the wake of the 2004 tsunami, this Sentinelese tribe member aims his bow and arrow at a Coast Guard helicopter. Human Animals Before entering the human zoo, there is the animal question. Human brains are, evolutionarily speaking, more evolved than the brains of any other species. Chimpanzees, dolphins, elephants, dogs come close in some areas, but you know. Covid-19 is a stark reminder just how deeply we are linked to the wider human-animal-plant ecosystem. Viruses have traveled from animals to humans and vice versa — called ‹reverse zoonosis›— since their evolutionary divergence ca. 5 to 7 million years ago.[2] We tend to overlook how changes we bring to environments affect us in turn. As Christine Kreuder Johnson from the Epicenter for Disease Dynamics notes, «spillover of viruses from animals is a direct result of our actions involving wildlife and their habitat. The consequence is they’re sharing their viruses with us.»[3] ln the late 1960s zoologist Desmond Morris wrote The Naked Ape and The Human Zoo, comparing human and animal behavior. -
A Young-Old Face : out with the New and in with the Old Hewett, RJ
A young-old face : out with the new and in with the old Hewett, RJ Title A young-old face : out with the new and in with the old Authors Hewett, RJ Type Book Section URL This version is available at: http://usir.salford.ac.uk/id/eprint/34862/ Published Date 2018 USIR is a digital collection of the research output of the University of Salford. Where copyright permits, full text material held in the repository is made freely available online and can be read, downloaded and copied for non-commercial private study or research purposes. Please check the manuscript for any further copyright restrictions. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. PART ONE THE DOCTOR AND HIS COMPANIONS 1 1 A Young-Old Face Out with the New and in with the Old in Doctor Who Richard Hewett Introduction ‘I approve of your new face, Doctor - so much more like mine.’ This line, spoken by the now ancient, enervated and seemingly dying Davros in ‘The Magician’s Apprentice’, is just one of many age-related barbs directed at the Twelfth Doctor during Peter Capaldi’s reign, serving as a constant reminder that the Time Lord is no longer (if, indeed, his on-screen self ever was)1 a young man. Throughout his tenure, friends and foes alike highlighted the latest incarnation’s wrinkled, somewhat cadaverous visage, grey hair, and scrawny body, the Doctor being variously described as a ‘desiccated man crone’ (‘Robot of Sherwood’), a ‘grey-haired stick insect’ (‘Listen’), and a ‘skeleton man’ (‘Last Christmas’). -
The Refugee on Finding the Missing Link in the Evolution of the Human
t 2 ANOTHER OTHER: THE REFUGEE ON FINDING THE MISSING LINK IN THE EVOLUTION OF THE HUMAN ZOO LUKAS MÜSEL these people [refugees] […] were no longer […] consid- ered and hardly pretended to be active enemies […] but they were and appeared to be nothing but human beings whose very innocence from every point of view, and es- pecially that of the persecuting government was their greatest misfortune. (Arendt 1994 294, f.) Refugees are the price humanity is paying for the global economy. (Zizek n.p.) As children we are exposed to stories about ghosts; sto- ries about strange beings residing on the threshold be- tween life and death. These stories fascinate us; we are instantly drawn in by the marvellously strange and un- canny world they create. At the same time, however, we fear that this ‘other-world’ is not entirely shut off from the ‘real world’. We fear that this imagined world might encroach upon ours and that its impalpable inhabitants 39 might harm us. It is not the factual ghosts that haunt us but the stories creating the ghosts. Departing from this thought, the present paper will argue that Exhibit B1 uses the human zoo format as an intertext to link the colonial past to the current political situation by con- necting ‘the colonial’ subject with ‘the refugee’: quite literally both of them are ghosts – they once were hu- man, but they are not quite human anymore. They are not quite here nor quite there; they are the uncanny on the threshold between life and death, between “bios” and “zoē”, caught in a “zone of indistinction” (Agam- ben 1998 12, 19, 109)2. -
European Encounters in the Age of Expansion by Guido Abbattista
European Encounters in the Age of Expansion by Guido Abbattista This article reconstructs the expansion of Europe overseas and the multiple forms of encounters between European navigators, explorers, conquerors, colonizers, merchants and missionaries and "other" peoples and cultures over the course of four centuries. There has always been a double aspect to such encounters. At an immediate and practical level, conquest, colonization and trade led to modes of domination or coexistence and multi-faceted transcultural rela- tionships. In Europe, such encounters with "otherness" led to attempts to explain and interpret the origins and nature of racial and cultural (linguistic, religious and social) diversity. At the same time, observation of alien societies, cultures and religious practices broadened the debate on human social forms, leading to a critical reappraisal of European Christian civilization. TABLE OF CONTENTS 1. Preliminary remarks 2. Encounters: With whom, where and when? 3. Who are they, where do they come from, how do they live? 4. Other civilizations, other histories 5. Close encounters of a third kind 6. Appendix 1. Sources 2. Bibliography Citation Preliminary remarks Now the Great Map of Mankind is unrolled at once; and there is no state or Gradation of barbarism, and no mode of refinement which we have not at the same instant under our View. The very different Civility of Europe and of China; the barbarism of Persia and Abyssinia, the erratic manners of Tartary, and of Arabia. The Sav- age state of North America, and of New Zealand.1 Written to the historian of America William Robertson (1721–1793) (ᇄ Media Link #ab) just one year after the Ameri- can Declaration of Independence of 1776, these words of the philosopher Edmund Burke (1729–1797) (ᇄ Media Link #ac) expressed a European awareness of being in a privileged position to observe and understand the world's racial and cultural diversity.