Lostology: Transmedia Storytelling and Expansion/Compression Strategies
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L'équipe Des Scénaristes De Lost Comme Un Auteur Pluriel Ou Quelques Propositions Méthodologiques Pour Analyser L'auctorialité Des Séries Télévisées
Lost in serial television authorship : l’équipe des scénaristes de Lost comme un auteur pluriel ou quelques propositions méthodologiques pour analyser l’auctorialité des séries télévisées Quentin Fischer To cite this version: Quentin Fischer. Lost in serial television authorship : l’équipe des scénaristes de Lost comme un auteur pluriel ou quelques propositions méthodologiques pour analyser l’auctorialité des séries télévisées. Sciences de l’Homme et Société. 2017. dumas-02368575 HAL Id: dumas-02368575 https://dumas.ccsd.cnrs.fr/dumas-02368575 Submitted on 18 Nov 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution - NonCommercial - NoDerivatives| 4.0 International License UNIVERSITÉ RENNES 2 Master Recherche ELECTRA – CELLAM Lost in serial television authorship : L'équipe des scénaristes de Lost comme un auteur pluriel ou quelques propositions méthodologiques pour analyser l'auctorialité des séries télévisées Mémoire de Recherche Discipline : Littératures comparées Présenté et soutenu par Quentin FISCHER en septembre 2017 Directeurs de recherche : Jean Cléder et Charline Pluvinet 1 « Créer une série, c'est d'abord imaginer son histoire, se réunir avec des auteurs, la coucher sur le papier. Puis accepter de lâcher prise, de la laisser vivre une deuxième vie. -
The Long Con of Civility
University of Connecticut OpenCommons@UConn Connecticut Law Review School of Law 2021 The Long Con of Civility Lynn Mie Itagaki Follow this and additional works at: https://opencommons.uconn.edu/law_review Recommended Citation Itagaki, Lynn Mie, "The Long Con of Civility" (2021). Connecticut Law Review. 446. https://opencommons.uconn.edu/law_review/446 CONNECTICUT LAW REVIEW VOLUME 52 FEBRUARY 2021 NUMBER 3 Article The Long Con of Civility LYNN MIE ITAGAKI Civility has been much on the minds of pundits in local and national political discussions since the 1990s. Periods of civil unrest or irreconcilable divisions in governance intensify concerns about civility. While its more archaic definitions refer to citizenry and civilization, civility is often promoted as the foundation or goal of deliberative democracies. However, less acknowledged is its disciplinary, repressive effects in maintaining or deepening racial, gendered, heteronormative, and ableist hierarchies that distinguish some populations for full citizenship and others for partial rights and protections. In Part I, I examine a recent series of civility polls, their contradictory results, and how these contradictions can importantly expose the fissures of our contemporary moment and our body politic. In Part II, I describe the historical background of civility around race, gender, and sexuality and the unacknowledged difficulty in defining civility and incivility. In Part III, I extend this discussion to address the recent cases before the Supreme Court concerning LGBTQ+ employment discrimination and lack of accessibility. In conclusion, I identify what it would mean to analyze civility in terms of dignity on the basis of these cases about the equal rights and protections of their LGBTQ+ and disabled plaintiffs. -
COVID Chronicle by Karen Wilkin
Art September 2020 COVID chronicle by Karen Wilkin On artists in lockdown. ’ve been asking many artists—some with significant track records, some aspiring, some I students—about the effect of the changed world we’ve been living in since mid-March. The responses have been both negative and positive, sometimes at the same time. People complain of too much solitude or not enough, of the luxury of more studio time or the stress of distance from the workspace or—worst case—of having lost it. There’s the challenge of not having one’s usual materials and the freedom to improvise out of necessity, the lack of interruption and the frustration of losing direct contact with peers and colleagues, and more. The drastic alterations in our usual habits over the past months have had sometimes dramatic, sometimes subtle repercussions in everyone’s work. Painters in oil are using watercolor, drawing, or experimenting with collage; makers of large-scale paintings are doing small pictures on the kitchen table. Ophir Agassi, an inventive painter of ambiguous narratives, has been incising drawings in mud, outdoors, with his young daughters. People complain of too much solitude or not enough, of the luxury of more studio time or the stress of distance from the workspace or—worst case—of having lost it. Many of the artists I’ve informally polled have had long-anticipated, carefully planned exhibitions postponed or canceled. In partial compensation, a wealth of online exhibitions and special features has appeared since mid-March, despite the obvious shortcomings of seeing paintings and sculptures on screen instead of experiencing their true size, surface, color, and all the rest of it. -
Council File No. /J- /':35 ~ Council District No
COUNCIL FILE NO. /J- /':35 ~ COUNCIL DISTRICT NO. t3 APPROVAL FOR ACCELERATED PROCESSING DIRECT TO CITY COUNCIL The attached Council File may be processed directly to Council pursuant to the procedure approved June 26, 1990, (CF 83-1075-S1) without being referred to the Public Works Committee because the action on the file checked below is deemed to be routine and/or administrative in nature: _} A Future Street Acceptance. _} B. Quitclaim of Easement(s). _} C. Dedication of Easement(s). _ } D. Release of Restriction(s). 2.] E. Request for Star in Hollywood Walk of Fame. _} F. Brass Plaque(s) in San Pedro Sport Walk. _} G. Resolution to Vacate or Ordinance submitted in response to Council action. _} H. Approval of plans/specifications submitted by Los Angeles County Flood Control District. APPROVAL/DISAPPROVAL FOR ACCELERATED PROCESSING: / APPROVED DISAPPROVED* 1, 1. Council Office of the District V2. Public Works Committee Chairperson *DISAPPROVED FILES WILL BE REFERRED TO THE PUBLIC WORKS COMMITTEE. Please return to Council Index Section, Room 615 City Hall City Clerk Processing: Date ____ notice and report copy mailed to interested parties advising of Council date for this item. Date ____ scheduled in Council. AFTER COUNCIL ACTION: Send copy of adopted report to the Real Estate Section, Development Services Division, Bureau of Eng ineering (Mail Stop No. 515) for further processing. ____} Other: PLEASE DO NOT DETACH THIS APPROVAL SHEET FROM THE COUNCIL FILE ACCELERATED REVIEW PROCESS - E Office of the City Engineer Los Angeles California To the Honorable Council AUG 2 3 2012 Of the City of Los Angeles Honorable Members: C. -
ENGLISH 2810: Television As Literature (V
ENGLISH 2810: Television as Literature (v. 1.0) 9:00 – 10:15 T/Th | EH 229 Dr. Scott Rogers | [email protected] | EH 448 http://faculty.weber.edu/srogers The Course The average American watches about 5 hours of television a day. We are told that this is bad. We are told that television is bad for us, that it is bad for our families, and that it is wasting our time. But not all television is that way. Some television shows have what we might call “literary pretensions.” Shows such as Twin Peaks, Homicide: Life on the Street, The Wire, Buffy the Vampire Slayer, Firefly, Veronica Mars, Battlestar Galactica, and LOST have been both critically acclaimed and the subject of much academic study. In this course, we shall examine a select few of these shows, watching complete seasons as if they were self-contained literary texts. In other words, in this course, you will watch TV and get credit for it. You will also learn to view television in an active and critical fashion, paying attention to the standard literary techniques (e.g. character, theme, symbol, plot) as well as televisual issues such as lighting, music, and camerawork. Texts Students will be expected to own, or have access to, the following: Firefly ($18 on amazon.com; free on hulu.com) and Serenity ($4 used on amazon.com) LOST season one ($25 on amazon.com; free on hulu.com or abc.com) Battlestar Galactica season one ($30 on amazon.com) It is in your best interest to buy or borrow these, if only to make it easier for you to go back and re-watch episodes for your assignments. -
LOST with a Good Book
The Lost Code: BYYJ C`1 P,YJ- LJ,1 Key Literary References and Influ- Books, Movies, and More on Your Favorite Subjects Heart of Darkness by Joseph Conrad CAS A CONR/ eAudiobook LOST on DVD A man journeys through the Congo and Lost Complete First Season contemplates the nature of good and evil. There are several references, especially in relation to Lost Season 2: Extended Experience Colonel’s Kurtz’s descent toward madness. Lost Season 3: The Unexplored Experience Lost. The Complete Fourth Season: The Expanded The Stand by Stephen King FIC KING Experience A battle between good and evil ensues after a deadly virus With a Good Book decimates the population. Producers cite this book as a Lost. The Complete Fifth Season: The Journey Back major influence, and other King allusions ( Carrie , On Writing , *Lost: Complete Sixth & Final Season is due for release 8/24/10. The Shining , Dark Tower series, etc.) pop up frequently. The Odyssey by Homer FIC HOME/883 HOME/ CD BOOK 883.1 HOME/CAS A HOME/ eAudiobook LOST Episode Guide Greek epic about Odysseus’s harrowing journey home to his In addition to the biblical episode titles, there are several other Lost wife Penelope after the Trojan War. Parallels abound, episode titles with literature/philosophy connections. These include “White especially in the characters of Desmond and Penny. Rabbit” and “Through the Looking Glass” from Carroll’s Alice books; “Catch-22”; “Tabula Rosa” (philosopher John Locke’s theory that the Slaughterhouse-Five by Kurt Vonnegut FIC VON human mind is a blank slate at birth); and “The Man Behind the Curtain” A World War II soldier becomes “unstuck in time,” and is and “There’s No Place Like Home” ( The Wonderful Wizard of Oz ). -
Treball De Fi De Grau Títol
Facultat de Ciències de la Comunicació Treball de fi de grau Títol Autor/a Tutor/a Departament Grau Tipus de TFG Data Universitat Autònoma de Barcelona Facultat de Ciències de la Comunicació Full resum del TFG Títol del Treball Fi de Grau: Català: Castellà: Anglès: Autor/a: Tutor/a: Curs: Grau: Paraules clau (mínim 3) Català: Castellà: Anglès: Resum del Treball Fi de Grau (extensió màxima 100 paraules) Català: Castellà: Anglès: Universitat Autònoma de Barcelona Índice 1. INTRODUCCIÓN ...................................................................................................... 2 Motivación personal: ............................................................................................. 2 2. MARCO TEÓRICO ................................................................................................... 3 2.1 BAD ROBOT ....................................................................................................... 3 2.2 JEFFREY JACOB ABRAMS ............................................................................... 5 2.3 BAD ROBOT: PRODUCCIONES CINEMATOGRÁFICAS Y SELLO PROPIO .... 7 3. METODOLOGÍA ..................................................................................................... 10 4. INVESTIGACIÓN DE CAMPO ................................................................................ 13 4.1 UNA NARRATIVA AUDIOVISUAL ÚNICA ........................................................ 13 4.1.1 PARTÍCULAS NARRATIVAS ......................................................................... 13 4.1.1.1 -
Defining the Digital Services Landscape for the Middle East
Defining the Digital Services landscape for the Middle East Defining the Digital Services landscape for the Middle East 1 2 Contents Defining the Digital Services landscape for the Middle East 4 The Digital Services landscape 6 Consumer needs landscape Digital Services landscape Digital ecosystem Digital capital Digital Services Maturity Cycle: Middle East 24 Investing in Digital Services in the Middle East 26 Defining the Digital Services landscape for the Middle East 3 Defining the Digital Services landscape for the Middle East The Middle East is one of the fastest growing emerging markets in the world. As the region becomes more digitally connected, demand for Digital Services and technologies is also becoming more prominent. With the digital economy still in its infancy, it is unclear which global advances in Digital Services and technologies will be adopted by the Middle East and which require local development. In this context, identifying how, where and with whom to work with in this market can be very challenging. In our effort to broaden the discussion, we have prepared this report to define the Digital Services landscape for the Middle East, to help the region’s digital community in understanding and navigating through this complex and ever-changing space. Eng. Ayman Al Bannaw Today, we are witnessing an unprecedented change in the technology, media, and Chairman & CEO telecommunications industries. These changes, driven mainly by consumers, are taking Noortel place at a pace that is causing confusion, disruption and forcing convergence. This has created massive opportunities for Digital Services in the region, which has in turn led to certain industry players entering the space in an incoherent manner, for fear of losing their market share or missing the opportunities at hand. -
LOST "Raised by Another" (YELLOW) 9/23/04
LOST “Raised by Another” CAST LIST BOONE................................Ian Somerhalder CHARLIE..............................Dominic Monaghan CLAIRE...............................Emilie de Ravin HURLEY...............................Jorge Garcia JACK.................................Matthew Fox JIN..................................Daniel Dae Kim KATE.................................Evangeline Lilly LOCKE................................Terry O’Quinn MICHAEL..............................Harold Perrineau SAWYER...............................Josh Holloway SAYID................................Naveen Andrews SHANNON..............................Maggie Grace SUN..................................Yunjin Kim WALT.................................Malcolm David Kelley THOMAS............................... RACHEL............................... MALKIN............................... ETHAN................................ SLAVITT.............................. ARLENE............................... SCOTT................................ * STEVE................................ * www.pressexecute.com LOST "Raised by Another" (YELLOW) 9/23/04 LOST “Raised by Another” SET LIST INTERIORS THE VALLEY - Late Afternoon/Sunset CLAIRE’S CUBBY - Night/Dusk/Day ENTRANCE * ROCK WALL - Dusk/Night/Day * INFIRMARY CAVE - Morning JACK’S CAVE - Night * LOFT - Day - FLASHBACK MALKIN’S HOUSE - Day - FLASHBACK BEDROOM - Night - FLASHBACK LAW OFFICES CONFERENCE ROOM - Day - FLASHBACK EXTERIORS JUNGLE - Night/Day ELSEWHERE - Day CLEARING - Day BEACH - Day OPEN JUNGLE - Morning * SAWYER’S -
The Expression of Orientations in Time and Space With
The Expression of Orientations in Time and Space with Flashbacks and Flash-forwards in the Series "Lost" Promotor: Auteur: Prof. Dr. S. Slembrouck Olga Berendeeva Master in de Taal- en Letterkunde Afstudeerrichting: Master Engels Academiejaar 2008-2009 2e examenperiode For My Parents Who are so far But always so close to me Мои родителям, Которые так далеко, Но всегда рядом ii Acknowledgments First of all, I would like to thank Professor Dr. Stefaan Slembrouck for his interest in my work. I am grateful for all the encouragement, help and ideas he gave me throughout the writing. He was the one who helped me to figure out the subject of my work which I am especially thankful for as it has been such a pleasure working on it! Secondly, I want to thank my boyfriend Patrick who shared enthusiasm for my subject, inspired me, and always encouraged me to keep up even when my mood was down. Also my friend Sarah who gave me a feedback on my thesis was a very big help and I am grateful. A special thank you goes to my parents who always believed in me and supported me. Thanks to all the teachers and professors who provided me with the necessary baggage of knowledge which I will now proudly carry through life. iii Foreword In my previous research paper I wrote about film discourse, thus, this time I wanted to continue with it but have something new, some kind of challenge which would interest me. After a conversation with my thesis guide, Professor Slembrouck, we decided to stick on to film discourse but to expand it. -
LOST the Official Show Auction
LOST | The Auction 156 1-310-859-7701 Profiles in History | August 21 & 22, 2010 572. JACK’S COSTUME FROM THE EPISODE, “THERE’S NO 574. JACK’S COSTUME FROM PLACE LIKE HOME, PARTS 2 THE EPISODE, “EGGTOWN.” & 3.” Jack’s distressed beige Jack’s black leather jack- linen shirt and brown pants et, gray check-pattern worn in the episode, “There’s long-sleeve shirt and blue No Place Like Home, Parts 2 jeans worn in the episode, & 3.” Seen on the raft when “Eggtown.” $200 – $300 the Oceanic Six are rescued. $200 – $300 573. JACK’S SUIT FROM THE EPISODE, “THERE’S NO PLACE 575. JACK’S SEASON FOUR LIKE HOME, PART 1.” Jack’s COSTUME. Jack’s gray pants, black suit (jacket and pants), striped blue button down shirt white dress shirt and black and gray sport jacket worn in tie from the episode, “There’s Season Four. $200 – $300 No Place Like Home, Part 1.” $200 – $300 157 www.liveauctioneers.com LOST | The Auction 578. KATE’S COSTUME FROM THE EPISODE, “THERE’S NO PLACE LIKE HOME, PART 1.” Kate’s jeans and green but- ton down shirt worn at the press conference in the episode, “There’s No Place Like Home, Part 1.” $200 – $300 576. JACK’S SEASON FOUR DOCTOR’S COSTUME. Jack’s white lab coat embroidered “J. Shephard M.D.,” Yves St. Laurent suit (jacket and pants), white striped shirt, gray tie, black shoes and belt. Includes medical stetho- scope and pair of knee reflex hammers used by Jack Shephard throughout the series. -
Trauma, Fear, and Paranoia Lost and the Culture of 9/11
Trauma, fear, and Paranoia Lost and the Culture of 9/11 rachEl aldrich onE of thE Most popular tElEvision shoWs of thE last dEcadE, Lost (2004-2010) con- foundEd Many of its viewers With its tWisting, convolutEd plotlinEs. this articlE is an EXploration of thE Many ElEMEnts of thE shoW ovEr its first few, dynaMic yEars that ultiMatEly weavE togEthEr to forM a suBtlE, suBvErsivE iMagE of post-9/11 aMEri- can sociEty. through an EXaMination of spEcific charactErs, and thE cast as a WholE, as well as various distinctly tErroristic and apocalyptic coMponEnts of thE shoW’s plot, Lost is rEvEalEd as Both a rEproduction and a critical rE-iMagination of thE aMErican rEsponsE to thE EvEnts of sEptEMBEr 11th, 2001. Lost BEcoMEs not MErEly an artifact of post-9/11 aMErican sociEty But a MEans through Which viewers arE invitEd to sEE Ways in Which our World can groW and changE. The events of September 11, 2001, not only permanently subtle. The first scene of the pilot episode depicts Jack disfigured the face of New York City and greatly changed Shephard (Matthew Fox), a surgeon and the main charac- the lives of thousands of Americans, but also created a cul- ter of the series, sprawled on the ground in the middle of tural shockwave in America that is still felt today. Ameri- the jungle. He is wearing a tattered business suit and looks can society was transformed almost immediately after the remarkably like a corpse. The positioning of his body and attacks; this response to terror can be seen in much of the his costuming is meant to align him with those many vic- visual culture that followed.