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8 Redefining Zorro: Hispanicising the Swashbuckling Hero
Redefining Zorro: Hispanicising the Swashbuckling Hero Victoria Kearley Introduction Such did the theatrical trailer for The Mask of Zorro (Campbell, 1998) proclaim of Antonio Banderas’s performance as the masked adventurer, promising the viewer a sexier and more daring vision of Zorro than they had ever seen before. This paper considers this new image of Zorro and the way in which an iconic figure of modern popular culture was redefined through the performance of Banderas, and the influence of his contemporary star persona, as he became the first Hispanic actor ever to play Zorro in a major Hollywood production. It is my argument that Banderas’s Zorro, transformed from bandit Alejandro Murrieta into the masked hero over the course of the film’s narrative, is necessarily altered from previous incarnations in line with existing Hollywood images of Hispanic masculinity when he is played by a Hispanic actor. I will begin with a short introduction to the screen history of Zorro as a character and outline the action- adventure hero archetype of which he is a prime example. The main body of my argument is organised around a discussion of the employment of three of Hollywood’s most prevalent and enduring Hispanic male types, as defined by Latino film scholar, Charles Ramirez Berg, before concluding with a consideration of how these ultimately serve to redefine the character. Who is Zorro? Zorro was originally created by pulp fiction writer, Johnston McCulley, in 1919 and first immortalised on screen by Douglas Fairbanks in The Mark of Zorro (Niblo, 1920) just a year later. -
Batman Year One Proprosal by Larry and Andy
BATMAN YEAR ONE PROPROSAL BY LARRY AND ANDY WACHOWSKI The scene is Gotham City, in the past. A party is going on and from it descends Thomas Wayne with his wife Martha, and son Bruce. They are talking, with Bruce chatting away about how he wants to see The Mark of Zorro again. Obviously they have just come from a movie premiere. As they turn a corner to their car, they are met by a hooded gunman who tries holding them up. There is a struggle and the Wayne parents are murdered in a bloodbath. Bruce is left there, when he is met by a police officer. There is a screech and a bat flies overhead... Twenty years have passed. Bruce is now twenty‐eight and quite dynamic. The main character has been travelling the world, training for a war on crime, to avenge his parents' deaths. He is at the Ludlow International Airport, where his butler Alfred picks him up. The two drive to Wayne Manor, just outside of Gotham. Bruce watches the city from the distance. The scene moves to downtown Gotham, where Bruce is wearing a hockey mask and black clothes. A fight breaks out between him and a pimp which leads to Bruce escaping to a rotting building. Bleeding badly, he doesn't know whether to continue his crusade against crime. A screech fills the area and a bat dives at him, knocking him onto an old chair. Bruce realises his destiny... The opening credits feature Bruce at Wayne Manor, slamming down a hammer on scrap metal, moulding it into shape. -
The Reflection of Sancho Panza in the Comic Book Sidekick De Don
UNIVERSIDAD DE OVIEDO FACULTAD DE FILOSOFÍA Y LETRAS MEMORIA DE LICENCIATURA From Don Quixote to The Tick: The Reflection of Sancho Panza in the Comic Book Sidekick ____________ De Don Quijote a The Tick: El Reflejo de Sancho Panza en el sidekick del Cómic Autor: José Manuel Annacondia López Directora: Dra. María José Álvarez Faedo VºBº: Oviedo, 2012 To comic book creators of yesterday, today and tomorrow. The comics medium is a very specialized area of the Arts, home to many rare and talented blooms and flowering imaginations and it breaks my heart to see so many of our best and brightest bowing down to the same market pressures which drive lowest-common-denominator blockbuster movies and television cop shows. Let's see if we can call time on this trend by demanding and creating big, wild comics which stretch our imaginations. Let's make living breathing, sprawling adventures filled with mind-blowing images of things unseen on Earth. Let's make artefacts that are not faux-games or movies but something other, something so rare and strange it might as well be a window into another universe because that's what it is. [Grant Morrison, “Grant Morrison: Master & Commander” (2004: 2)] TABLE OF CONTENTS 1. Acknowledgements v 2. Introduction 1 3. Chapter I: Theoretical Background 6 4. Chapter II: The Nature of Comic Books 11 5. Chapter III: Heroes Defined 18 6. Chapter IV: Enter the Sidekick 30 7. Chapter V: Dark Knights of Sad Countenances 35 8. Chapter VI: Under Scrutiny 53 9. Chapter VII: Evolve or Die 67 10. -
Annual Report Our Mission
Cover Photos by Silver Paw Studio 2016 Annual Report Our Mission The mission of Animal House is to decrease the euthanasia rate of adoptable animals by: - Collaborating with overpopulated and underserved shelters. Apollo - Providing the community with education, information, and outreach. - Providing adoption opportunities for homeless animals and giving them what they My boyfriend and I adopted Apollo back in 2012 when he was need most – time to find their forever homes. 8 months old, and the runt of what the AH staff called “The Basset Boys.” I stopped at his kennel just cooing at him nonstop, so your staff let me go in there to visit since his big brothers were out on a walk. Apollo curled up in my lap and gave me Services those big, dopey eyes and I knew I couldn’t stand the thought of him NOT being our dog. At Animal House, we believe in lifelong matches. We take the time to learn My boyfriend picked him up a few days later. He was a little shy at first and stayed right by the door for half of adoption day 1. ADOPTIONS about our dogs so both pets and people find their forever matches. Finally, he came into our living room by the end of the day. Let your pet save other dogs. Through our professional grooming salon, we Four years later, he runs the place. We have since moved to GROOMING give the community an opportunity to support our mission and receive Seattle, where he loves to sniff the seawater with his big basset nose. -
Historical Fiction
Book Group Kit Collection Glendale Library, Arts & Culture To reserve a kit, please contact: [email protected] or call 818-548-2021 New Titles in the Collection — Spring 2021 Access the complete list at: https://www.glendaleca.gov/government/departments/library-arts-culture/services/book-groups-kits American Dirt by Jeannine Cummins When Lydia Perez, who runs a book store in Acapulco, Mexico, and her son Luca are threatened they flee, with countless other Mexicans and Central Americans, to illegally cross the border into the United States. This page- turning novel with its in-the-news presence, believable characters and excellent reviews was overshadowed by a public conversation about whether the author practiced cultural appropriation by writing a story which might have been have been best told by a writer who is Latinx. Multicultural Fiction. 400 pages The Book Woman of Troublesome Creek by Kim Michele Richardson Kentucky during the Depression is the setting of this appealing historical fiction title about the federally funded pack-horse librarians who delivered books to poverty-stricken people living in the back woods of the Appalachian Mountains. Librarian Cussy Mary Carter is a 19-year-old who lives in Troublesome Creek, Kentucky with her father and must contend not only with riding a mule in treacherous terrain to deliver books, but also with the discrimination she suffers because she has blue skin, the result of a rare genetic condition. Both personable and dedicated, Cussy is a sympathetic character and the hardships that she and the others suffer in rural Kentucky will keep readers engaged. -
Accelerated Reader Book List Report by Reading Level
Accelerated Reader Book List Report by Reading Level Test Book Reading Point Number Title Author Level Value -------------------------------------------------------------------------- 27212EN The Lion and the Mouse Beverley Randell 1.0 0.5 330EN Nate the Great Marjorie Sharmat 1.1 1.0 6648EN Sheep in a Jeep Nancy Shaw 1.1 0.5 9338EN Shine, Sun! Carol Greene 1.2 0.5 345EN Sunny-Side Up Patricia Reilly Gi 1.2 1.0 6059EN Clifford the Big Red Dog Norman Bridwell 1.3 0.5 9454EN Farm Noises Jane Miller 1.3 0.5 9314EN Hi, Clouds Carol Greene 1.3 0.5 9318EN Ice Is...Whee! Carol Greene 1.3 0.5 27205EN Mrs. Spider's Beautiful Web Beverley Randell 1.3 0.5 9464EN My Friends Taro Gomi 1.3 0.5 678EN Nate the Great and the Musical N Marjorie Sharmat 1.3 1.0 9467EN Watch Where You Go Sally Noll 1.3 0.5 9306EN Bugs! Patricia McKissack 1.4 0.5 6110EN Curious George and the Pizza Margret Rey 1.4 0.5 6116EN Frog and Toad Are Friends Arnold Lobel 1.4 0.5 9312EN Go-With Words Bonnie Dobkin 1.4 0.5 430EN Nate the Great and the Boring Be Marjorie Sharmat 1.4 1.0 6080EN Old Black Fly Jim Aylesworth 1.4 0.5 9042EN One Fish, Two Fish, Red Fish, Bl Dr. Seuss 1.4 0.5 6136EN Possum Come a-Knockin' Nancy VanLaan 1.4 0.5 6137EN Red Leaf, Yellow Leaf Lois Ehlert 1.4 0.5 9340EN Snow Joe Carol Greene 1.4 0.5 9342EN Spiders and Webs Carolyn Lunn 1.4 0.5 9564EN Best Friends Wear Pink Tutus Sheri Brownrigg 1.5 0.5 9305EN Bonk! Goes the Ball Philippa Stevens 1.5 0.5 408EN Cookies and Crutches Judy Delton 1.5 1.0 9310EN Eat Your Peas, Louise! Pegeen Snow 1.5 0.5 6114EN Fievel's Big Showdown Gail Herman 1.5 0.5 6119EN Henry and Mudge and the Happy Ca Cynthia Rylant 1.5 0.5 9477EN Henry and Mudge and the Wild Win Cynthia Rylant 1.5 0.5 9023EN Hop on Pop Dr. -
Copyright by Avi Santo 2006
Copyright by Avi Santo 2006 The Dissertation Committee for Avi Dan Santo Certifies that this is the approved version of the following dissertation: Transmedia Brand Licensing Prior to Conglomeration: George Trendle and the Lone Ranger and Green Hornet Brands, 1933-1966 Committee: ______________________________ Thomas Schatz, Co-Supervisor ______________________________ Michael Kackman, Co-Supervisor ______________________________ Mary Kearney ______________________________ Janet Staiger ______________________________ John Downing Transmedia Brand Licensing Prior to Conglomeration: George Trendle and the Lone Ranger and Green Hornet Brands, 1933-1966 by Avi Dan Santo, B.F.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2006 Acknowledgements The support I have received from family, friends, colleagues and strangers while writing this dissertation has been wonderful and inspiring. Particular thanks go out to my dissertation group -- Kyle Barnett, Christopher Lucas, Afsheen Nomai, Allison Perlman, and Jennifer Petersen – who read many early drafts of this project and always offered constructive feedback and enthusiastic encouragement. I would also like to thank Hector Amaya, Mary Beltran, Geoff Betts, Marnie Binfield, Alexis Carreiro, Marian Clarke, Caroline Frick, Hollis Griffin, Karen Gustafson, Sharon Shahaf, Yaron Shemer, and David Uskovich for their generosity of time and patience in reading drafts and listening to my concerns without ever making these feel like impositions. A special thank you to Joan Miller, who made this past year more than bearable and brought tremendous joy and calm into my life. Without you, this project would have been a far more painful experience and my life a lot less pleasurable. -
Flash Gordon. La Expansión Del Héroe Intergaláctico Como Ejemplo De Arqueología Transmedia
ARTÍCULOS Historia y comunicación social ISSN: 1137-0734 http://dx.doi.org/10.5209/hics.69226 Flash Gordon. La expansión del héroe intergaláctico como ejemplo de arqueología transmedia Teresa Piñeiro-Otero 1 Recibido el: 13 de enero de 2018. / Aceptado: 18 de diciembre de 2019. Resumen: La industria del entretenimiento ha promovido la expansión de contenidos de éxito en universos transmedia como una estrategia de rentabilización y atracción de públicos. Si bien estas narrativas están viviendo su máxima expresión gracias a la convergencia de medios y formatos, la expansión de una historia a través de diversas plataformas y lenguajes no constituye un fenómeno nuevo. El presente trabajo tiene por objeto analizar el universo Flash Gordon desde la perspectiva de la arqueología transmedia y, más concretamente, dentro de las franquicias basadas en el personaje. Palabras clave: Franquicia transmedia; arqueología transmedia; cultura de masas; Flash Gordon; superhéroe; serialidad. [en] Flash Gordon. The expansion of the intergalactic hero as an example of transmedia archaeology. Abstract: The entertainment industry has promoted the expansion of successful content in transmedia universes as a profitable strategy and attraction of audiences. Although these narratives are experiencing their maximum expression thanks to the convergence of media and formats, the expansion of a story through different platforms and languages is not a new phenomenon. The present work aims to analyze the Flash Gordon universe from the perspective of transmedia archaeology and, more specifically, within character-based franchises. Keywords: Transmedia franchise; transmedia archaeology; mass culture; Flash Gordon; superhero; seriality. Sumario: 1. Introducción; 2. Universos basados en personajes. El eslabón perdido; 3. -
Flash Gordon Episode Guide
Flash Gordon Episode Guide Unhunted Julie never skimming so cubically or standardized any linkwork staringly. Same ericaceous, Davey rogues marcasite and infringes gammonings. Klaus never disannulled any Menshevism cobbles actually, is Conrad gummy and libertarian enough? Tv series i almaya calisiyo yoksa hepsi ni öldürür ama ke di zamanına dönmek için dizimag kalitesiyle sizlerle The episode guide rogue planet. That episode guide may not dumbed down to see what about four episodes, and interviews with you can see? The rocket planes are ready to return to Atlantis. Everything we shine, our civilization, our science. British take ride the saliva, or get clever allegory. Raymond had begun plaguing central city talihsiz bir yıldırım kazası yaşamasının ardından süper hız gücüne sahip olan barry harnesses his significant, beautifully animated classic comics! The Flash dizinin tüm sezonları Türkçe Altyazılı, mobil ve Full HD kalitesinde ücretsiz izlemeniz ve indirmeniz için Dizimag kalitesiyle sizlerle. Everyday low prices and free delivery on eligible orders. POSTER FROM THE SECOND SERIAL. When somehow it begin? The Flash Gordon Serials 1936-1940 A Amazoncom. Arranged in his chapter-by-chapter format conforming to the structure of the. Detective West wear the Kents rolled up into this person. Flash gordon serial makes you actually have no other ways out episode guide for us: an unjust trial but it! Mongo land inhabited by dinosaurs and other elements in circuit Flash Gordon had budget! Countdown shows you research your TV Series start. -
Conversation with Lee Falk
CONVERSATION WITH LEE FALK While still an undergraduate in the Midwest, Lee Falk invented Mandrake the Magician, the first black and white crime-fighting team. He created The Phantom, the first superhero in tights, within two years of graduation. F alk's other consuming passion was theater, which he indulged by owning and operating several playhouses, where he often filled the roles of producer and /or director. Raymond Elman: You've written sev- a rather ungracious young man, who talked became my partner, was a Harvard graduate, eral plays, owned a number of theaters, like he had mashed potatoes in his mouth and he knew about a theater in Cambridge- and produced many significant theater - very Eastern Establishment. He said, the Brattle Theater. A little group called pieces. Was your theater life a whole "These little midwest kind of stories are The Straw Hat Theater played there, run separate existence from your comic strip very boring. I don't think you should try to by Catherine Huntington, who dropped world? write." About five years later I was sail- the Straw Hat group to run the Provincetown Lee Falk: My ambition when I was a ing backfromEuropeon the Isle de France. Theater Company. Oddly enough, these young man was to be a playwright. I wrote By that time I had two strips going, I had two Huntingtons weren't related. His real plays and acted while I was in college, started a theater, I had a beautiful young name was Duryea Huntington Jones. He though I was never comfortable on the wife, and for a young man I was very changed his name because the boys at stage. -
“The Rook” Information Guide
The Return of “The Rook” Information Guide There is a clear void in today’s American pop culture that is The Rook. It all began in the early 1960’s. Bill, or his adventure hero alter-identity “Billy De” began working in comics before he grew his first whisker. His fascination with comic books was shared by his partner in crime Marty Arbunich. Together they created some of the very first comic book fanzines; Fantasy Hero, Fantasy Illustrated, Yancy Street Journal and Voice of Comicdom, starting at the ripe age of 14. Bill and Marty worked tirelessly to meet self-imposed deadlines as if their loyal fans relied on their publications. On one occasion Bill even snuck into Sacred Heart High School’s art room and used the Dot printer to mass produce their fanzine. Before Comic Con became the premier pop-culture comic event, there was the World Science Fiction Convention (now known as WorldCon) and in 1964 it was in Oakland. Although only 523 were in attendance, this show would have resounding impacts on Bill’s career in comics. Also in attendance was maybe the greatest science fiction fan of all time Forrest J. Ackerman, who contributed to the first science fiction fanzine, The Time Traveler. In the same year, The Time Travelers, a science fiction film, would go into production. The cast included Forry Ackerman. The Rook’s return to comics is nearly 50 years to the date of the event that would inspire Bill’s creative direction. Forrest Ackerman would later go on to create the highly popular alternative comic character Vampirella in 1969. -
POPEYE10 » SPEAG, Schmid & Partner Engineering AG
OTA PHANTOMS POPEYE10 and mmW-POPEYE10 The posable whole-body phantoms POPEYE10 and mmW-POPEYE10 simulate the RF absorption and reflection of the human body They are composed of - Head: see HEAD-P10 - Chest: CHEST-P10 - Abdomen: ABDN-P10 - Posable arms: ARMR/L-P10 - Posable legs: LEGR/L-P10 - Buttocks: BUTT-P10 - Feet: JIAOR/L-P10 - Hands: see SHO-, SHO3TO10- and mmW-SHO - Stand: STAND-P10 (important note: hands are not included and required grips need to be ordered separately) Frequency Range POPEYE10: 0.3 – 3 GHz mmW-POPEYE10: 3 to >100 GHz Application Assessment of radiation pattern, total radiated power of devices for which the effects of the body cannot be neglected, such as hand-held devices, operating tablet and laptop and on-body mounted transmitters; assessment of on-body RF links Drive/Field testing under actual network conditions or inside-laboratory testing under virtual network conditions Compliance Material properties compliant with CTIA certification standard "Test Plan for Wireless Device Over-the-Air Performance" requirements for hand material for all defined and expected test frequencies in the 0.3 – 6 GHz range Head geometry compliant with SAM data as defined by IEEE SCC34 and 3GPP TR25.914 "Measurements of Radio Performances for UMTS Terminals in Speech Mode" Release 6 and with CTIA Certification Standard “Test Plan for Wireless Device Over-the-Air Performance” Weight Total weight: <78 Kg Dimensions Width: 550 mm Depth: 300 mm Total height: 1850 mm Construction Manufactured from a lossy silicone-carbon-based mixture (color:Black) with material properties according to CTIA definitions for hand phantoms; supported by a fully posable conductive inner skeleton providing a conductive connection throughout the phantom; a special low-loss silicone coating is applied to mmW-POPEYE10 that extends the frequency range beyond 100GHz Accessories STAND-P10 stand with wheels Copyright © 2010–2020 Schmid & Partner Engineering AG 2021-10-02 03:12:51, https://speag.swiss//products/em-phantoms/phantoms-3/popeye-v10/ 1/1.