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Arisia 2010 Pocket Program
Maps Quick Ref ARISIA 2011 Main Events Dealers January 14-17 ARISIA BOSTON 2010 Friday NEW LOCATION: Westin Boston Saturday Waterfront Hotel $130/night Sunday Monday Participant Schedules Fan GoH: RenŽ Walling Artist GoH: Josh Simpson Writer GoH: Kelley Armstrong POCKET PROGRAM Webcomic GoH: Shaenon Garrity Pre-Registration $25 until 2010-01-20 B 1st Floor Paul MAPS HOTEL Revere Garage A Main Program Ops Entrance Masquerade, Bone Marrow & Blood Drive President’s CD Gift Sign-ups Fan Tables Shop D Registration Crispus Attucks William Dawes Molly Pitcher Business Center A B Info Desk BC Elevators Arisia Sales Prefunction Thomas Paine Haym President’s B President’s A Solomon Coat Food Cart Check A Front Desk EscalatorsBathrooms Bridge to Garage/ Health Club 2nd Floor (stairs) 201 202 203 204 205 Rooms 207–223 Volunteer Lounge Bathrooms Elevators Aquarium Cambridge Rooms 212–224 Con Ops Atrium & Security Con Suite MAPSHOTEL Escalators Hotel Area Zephyr Patio No access Crow’s Nest: 3rd floor Atrium to Lobby Dealers’ Row: 3rd floor BU Lounge: 10th floor Zephyr Fast Track: Empress (14th floor) Rooms 237–256 Restaurant & Bar Art Show: Charles View (16th floor) QUICK REFERENCE QUICK REFERENCE Access/Handicapped Services go to Information Desk Filk (all night) Crispus Attucks Anime Room Haym Solomon Friday–Sunday 11pm–late Fri/Sat/Sun 7pm–6am Monday after teardown Arisia TV Channel 41 Films Molly Pitcher Movies, live ballroom events, etc. Friday 4pm–1am SciFi Channel replaces BBC channel for the con. Saturday 7pm–1am Art Show Charles View (16th floor) Sunday 6pm–1am Monday 9am–11am (audience choice vote 9am sharp) Friday 6pm–9pm Food Options Saturday 10am–8pm Sunday 10am–8pm Hotel Restaurant on second floor. -
Super! Drama TV April 2021
Super! drama TV April 2021 Note: #=serial number [J]=in Japanese 2021.03.29 2021.03.30 2021.03.31 2021.04.01 2021.04.02 2021.04.03 2021.04.04 Mon Tue Wed Thu Fri Sat Sun 06:00 06:00 TWILIGHT ZONE Season 5 06:00 TWILIGHT ZONE Season 5 06:00 06:00 TWILIGHT ZONE Season 5 06:00 TWILIGHT ZONE Season 5 06:00 #15 #17 #19 #21 「The Long Morrow」 「Number 12 Looks Just Like You」 「Night Call」 「Spur of the Moment」 06:30 06:30 TWILIGHT ZONE Season 5 #16 06:30 TWILIGHT ZONE Season 5 06:30 06:30 TWILIGHT ZONE Season 5 06:30 TWILIGHT ZONE Season 5 06:30 「The Self-Improvement of Salvadore #18 #20 #22 Ross」 「Black Leather Jackets」 「From Agnes - With Love」 「Queen of the Nile」 07:00 07:00 CRIMINAL MINDS Season 10 07:00 CRIMINAL MINDS Season 10 07:00 07:00 STAR TREK Season 1 07:00 THUNDERBIRDS 07:00 #1 #2 #20 #19 「X」 「Burn」 「Court Martial」 「DANGER AT OCEAN DEEP」 07:30 07:30 07:30 08:00 08:00 THE BIG BANG THEORY Season 08:00 THE BIG BANG THEORY Season 08:00 08:00 ULTRAMAN towards the future 08:00 THUNDERBIRDS 08:00 10 10 #1 #20 #13「The Romance Recalibration」 #15「The Locomotion Reverberation」 「bitter harvest」 「MOVE- AND YOU'RE DEAD」 08:30 08:30 THE BIG BANG THEORY Season 08:30 THE BIG BANG THEORY Season 08:30 08:30 THE BIG BANG THEORY Season 08:30 10 #14「The Emotion Detection 10 12 Automation」 #16「The Allowance Evaporation」 #6「The Imitation Perturbation」 09:00 09:00 information[J] 09:00 information[J] 09:00 09:00 information[J] 09:00 information[J] 09:00 09:30 09:30 THE GREAT 09:30 SUPERNATURAL Season 14 09:30 09:30 BETTER CALL SAUL Season 3 09:30 ZOEY’S EXTRAORDINARY -
Hearing Nostalgia in the Twilight Zone
JPTV 6 (1) pp. 59–80 Intellect Limited 2018 Journal of Popular Television Volume 6 Number 1 © 2018 Intellect Ltd Article. English language. doi: 10.1386/jptv.6.1.59_1 Reba A. Wissner Montclair State University No time like the past: Hearing nostalgia in The Twilight Zone Abstract Keywords One of Rod Serling’s favourite topics of exploration in The Twilight Zone (1959–64) Twilight Zone is nostalgia, which pervaded many of the episodes of the series. Although Serling Rod Serling himself often looked back upon the past wishing to regain it, he did, however, under- nostalgia stand that we often see things looking back that were not there and that the past is CBS often idealized. Like Serling, many ageing characters in The Twilight Zone often sentimentality look back or travel to the past to reclaim what they had lost. While this is a perva- stock music sive theme in the plots, in these episodes the music which accompanies the scores depict the reality of the past, showing that it is not as wonderful as the charac- ter imagined. Often, music from these various situations is reused within the same context, allowing for a stock music collection of music of nostalgia from the series. This article discusses the music of nostalgia in The Twilight Zone and the ways in which the music depicts the reality of the harshness of the past. By feeding into their own longing for the reclamation of the past, the writers and composers of these episodes remind us that what we remember is not always what was there. -
The Barbara Johnson Reader a John Hope Franklin Center Book the Barbara Johnson Reader the Surprise of Otherness
The Barbara Johnson Reader A John Hope Franklin Center Book The Barbara Johnson Reader The Surprise of Otherness Barbara Johnson edited by melissa feuerstein bill johnson gonzález lili porten keja valens With an Introduction by judith butler and an Afterword by shoshana felman Duke University Press Durham and London 2014 © 2014 Duke University Press Afterword © 2014 Shoshana Felman All rights reserved Printed in the United States of America on acid- free paper ∞ Designed by April Leidig Typeset in Minion Pro by Westchester Publishing Services Library of Congress Cataloging-in-Publication Data The Barbara Johnson reader : the surprise of otherness / edited by Melissa Feuerstein, Bill Johnson Gonzalez, Lili Porten, and Keja Valens, with an introduction by Judith Butler and an afterword by Shoshana Felman. pages cm “A John Hope Franklin Center Book.” Includes bibliographical references and index. isbn 978-0-8223-5419-2 (pbk : alk. paper) isbn 978-0-8223-5403-1 (cloth : alk. paper) 1. Johnson, Barbara, 1947–2009. 2. Feminist literary criticism. I. Feuerstein, Melissa. II. Johnson Gonzalez, Bill, 1970– iii. Porten, Lili. IV. Valens, Keja, 1972– pn98.w64b37 2014 801.'95092—dc23 2013045003 Contents Ac know ledg ments vii Editors’ Preface xi Personhood and Other Objects: The Figural Dispute with Philosophy by Judith Butler xvii Barbara Johnson by Barbara Johnson xxvii part i | Reading Theory as Literature, Literature as Theory 1 The Critical Diff erence: BartheS/BalZac 3 2 Translator’s Introduction to Dissemination (abridged) 14 3 Poetry and Syntax: -
The Life and Times of Penny Arcade. Matthew Hes Ridan Ames Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1996 "I Am Contemporary!": The Life and Times of Penny Arcade. Matthew heS ridan Ames Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Ames, Matthew Sheridan, ""I Am Contemporary!": The Life and Times of Penny Arcade." (1996). LSU Historical Dissertations and Theses. 6150. https://digitalcommons.lsu.edu/gradschool_disstheses/6150 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Season 5 Article
N.B. IT IS RECOMMENDED THAT THE READER USE 2-PAGE VIEW (BOOK FORMAT WITH SCROLLING ENABLED) IN ACROBAT READER OR BROWSER. “EVEN’ING IT OUT – A NEW PERSPECTIVE ON THE LAST TWO YEARS OF “THE TWILIGHT ZONE” Television Series (minus ‘THE’)” A Study in Three Parts by Andrew Ramage © 2019, The Twilight Zone Museum. All rights reserved. Preface With some hesitation at CBS, Cayuga Productions continued Twilight Zone for what would be its last season, with a thirty-six episode pipeline – a larger count than had been seen since its first year. Producer Bert Granet, who began producing in the previous season, was soon replaced by William Froug as he moved on to other projects. The fifth season has always been considered the weakest and, as one reviewer stated, “undisputably the worst.” Harsh criticism. The lopsidedness of Seasons 4 and 5 – with a smattering of episodes that egregiously deviated from the TZ mold, made for a series much-changed from the one everyone had come to know. A possible reason for this was an abundance of rather disdainful or at least less-likeable characters. Most were simply too hard to warm up to, or at the very least, identify with. But it wasn’t just TZ that was changing. Television was no longer as new a medium. “It was a period of great ferment,” said George Clayton Johnson. By 1963, the idyllic world of the 1950s was disappearing by the day. More grittily realistic and reality-based TV shows were imminent, as per the viewing audience’s demand and it was only a matter of time before the curtain came down on the kinds of shows everyone grew to love in the 50s. -
Dolemite Is My Name
DOLEMITE IS MY NAME Written by Scott Alexander and Larry Karaszewski FINAL IN THE BLACK We hear Marvin Gaye's "What's Goin' On" playing softly. VOICE I ain't lying. People love me. INT. DOLPHIN'S - DAY CU of a beat-up record from the 1950s. On the paper cover is a VERY YOUNG Rudy, in a tuxedo. It says "Rudy Moore - BUGGY RIDE" RUDY You play this, folks gonna start hoppin' and squirmin', just like back in the day. A hand lifts the record up to the face of RUDY RAY MOORE, late '40s, black, sweet, determined. RUDY When I sang this on stage, I swear to God, people fainted! Ambulance man was picking them off the floor! When I had a gig, the promoter would warn the hospital: "Rudy's on tonight -- you're gonna be carrying bodies out of the motherfucking club!" We see that we are in a RADIO BOOTH. A sign blinks "On The Air." The DJ, ROJ, frowns at the record. ROJ "Buggy Ride"? RUDY Wasn't no small-time shit. ROJ GodDAMN, Rudy! That record's 1000 years old! I've got Marvin Gaye singin' "Let's Get It On"! I can't be playin' no "Buggy Ride." (beat) Look, I have 60 seconds. I have to cue the next tune. Hm! Rudy bites his lip and walks away. Roj tries to go back to his job. He reaches for a Sly Stone single -- when Rudy suddenly bounds back up. RUDY How about "Step It Up and Go"? That's a real catchy rhythm-and-blues number. -
Twilight Zone Series 4: Science and Superstition Checklist
Twilight Zone Series 4: Science and Superstition Checklist Base Cards # Card Title [ ] 217 The Last Night of a Jockey [ ] 218 The Last Night of a Jockey [ ] 219 The Last Night of a Jockey [ ] 220 The Last Night of a Jockey [ ] 221 The Last Night of a Jockey [ ] 222 The Last Night of a Jockey [ ] 223 Mr. Bevis [ ] 224 Mr. Bevis [ ] 225 Mr. Bevis [ ] 226 Mr. Bevis [ ] 227 Mr. Bevis [ ] 228 Mr. Bevis [ ] 229 The Bard [ ] 230 The Bard [ ] 231 The Bard [ ] 232 The Bard [ ] 233 The Bard [ ] 234 The Bard [ ] 235 The Passersby [ ] 236 The Passersby [ ] 237 The Passersby [ ] 238 The Passersby [ ] 239 The Passersby [ ] 240 The Passersby [ ] 241 Dead Man's Shoes [ ] 242 Dead Man's Shoes [ ] 243 Dead Man's Shoes [ ] 244 Dead Man's Shoes [ ] 245 Dead Man's Shoes [ ] 246 Dead Man's Shoes [ ] 247 Back There [ ] 248 Back There [ ] 249 Back There [ ] 250 Back There [ ] 251 Back There [ ] 252 Back There [ ] 253 The Purple Testament [ ] 254 The Purple Testament [ ] 255 The Purple Testament [ ] 256 The Purple Testament [ ] 257 The Purple Testament [ ] 258 The Purple Testament [ ] 259 A Piano in the House [ ] 260 A Piano in the House [ ] 261 A Piano in the House [ ] 262 A Piano in the House [ ] 263 A Piano in the House [ ] 264 A Piano in the House [ ] 265 Night Call [ ] 266 Night Call [ ] 267 Night Call [ ] 268 Night Call [ ] 269 Night Call [ ] 270 Night Call [ ] 271 A Hundred Yards Over the Rim [ ] 272 A Hundred Yards Over the Rim [ ] 273 A Hundred Yards Over the Rim [ ] 274 A Hundred Yards Over the Rim [ ] 275 A Hundred Yards Over the Rim [ ] 276 A Hundred -
Kachemak Bay, Alaska: an Exploration of People and Place
Kachemak Bay, Alaska: An Exploration of People and Place Exhibit Evaluation I had not realized the commitment and value of each individual to the community. -Visitor Prepared for the Pratt Museum by Visitor Studies Services 2004 Kachemak Bay, Alaska: An Exploration of People and Place Exhibit Evaluation by Wendy Meluch of Visitor Studies Services, 2004 Abstract Extensive research of the exhibit, Kachemak Bay, Alaska: An Exploration of People and Place shows it to be popular and effective with visitors on every communication and affective goal set forth in the Exhibit Master Plan. Research also finds that Community Collaborators who helped to create exhibit elements found the experience deeply meaningful and satisfying, meeting every desired cognitive, affective and behavioral outcome established for the collaboration programs. Pre- and post-test surveys of the exhibit as a whole, and specific elements in it, and two observational studies in the exhibit involved nearly 600 visitors to the Pratt Museum. In most studies, Travelers and Area Residents used distinct survey instruments and are considered separately for analysis. Over 30 Community Collaborators responded to lengthy questionnaire forms, sharing deeply personal experiences and revelations about their participation. ii Acknowledgements Just as the Kachemak Bay Exhibit could only be birthed by extensive collaboration among many talented and smart individuals, so this research was born of the cooperative efforts of many capable people. Betsy Webb, Curator of Collections at the Pratt Museum and wearer of many other hats as well, was instrumental to every phase of this research. The hundreds of visitor surveys could not have been conducted without Gale Parsons and Shannon Riley, and their careful guidance of the Museum’s summer interns. -
Idioms-And-Expressions.Pdf
Idioms and Expressions by David Holmes A method for learning and remembering idioms and expressions I wrote this model as a teaching device during the time I was working in Bangkok, Thai- land, as a legal editor and language consultant, with one of the Big Four Legal and Tax companies, KPMG (during my afternoon job) after teaching at the university. When I had no legal documents to edit and no individual advising to do (which was quite frequently) I would sit at my desk, (like some old character out of a Charles Dickens’ novel) and prepare language materials to be used for helping professionals who had learned English as a second language—for even up to fifteen years in school—but who were still unable to follow a movie in English, understand the World News on TV, or converse in a colloquial style, because they’d never had a chance to hear and learn com- mon, everyday expressions such as, “It’s a done deal!” or “Drop whatever you’re doing.” Because misunderstandings of such idioms and expressions frequently caused miscom- munication between our management teams and foreign clients, I was asked to try to as- sist. I am happy to be able to share the materials that follow, such as they are, in the hope that they may be of some use and benefit to others. The simple teaching device I used was three-fold: 1. Make a note of an idiom/expression 2. Define and explain it in understandable words (including synonyms.) 3. Give at least three sample sentences to illustrate how the expression is used in context. -
9781900178983 #2002 #Sansom, 2002 #David Buckman #Martin Leman: a World of His Own
9781900178983 #2002 #Sansom, 2002 #David Buckman #Martin Leman: A World of His Own Martin Leman: A World of His Own Artists in Britain Since 1945: M to Z Old Steamboat Days on the Hudson River Born in London, Martin Leman (1934-present, British) , is a prolific cat artist with a world-wide reputation. He is a member of the Royal Society of British Artists and the Watercolour Society. After completing Art school in Worthing and studying at The Central School of Art and Design Holborn, he worked for several years as a graphic designer and taught at Hornsey College of Art and several other colleges. Leman started painting in 1969 and ten years later he had published his first illustrated book Comic and Curious Cats with the text by Angela Carter. His most recent book is, Martin Leman, A World of His Own. He continues to work and live in Islington, London with his wife Jill, who is also an artist. Penny Black and Tiffany. The Artistâ™s Cat. "A World of His Own" is episode thirty-six of the American television anthology series The Twilight Zone. It was the last episode of the show's first season and essentially comedic in tone. It originally aired on July 1, 1960, on CBS. Coming home, Victoria West (Phyllis Kirk) spots her husband, playwright Gregory West (Keenan Wynn), through the window sharing a drink, and flirting in his study with Mary (Mary LaRoche), an attractive, affectionate young woman. Mr. West quickly does destroys a tape Title: A World of His Own (01 Jul 1960). -
Fade In: Int. Art Gallery – Day
FADE IN: INT. ART GALLERY – DAY Exhibition Guide FADE IN: INT. ART GALLERY – DAY March 03 – May 08, 2016 Works by Danai Anesiadou, Nairy Baghramian, Michael Bell-Smith, Dora Budor, Heman Chong, Mike Cooter, Brice Dellsperger, GALA Committee, Mathis Gasser, Jamian Juliano-Villani, Bertrand Lavier, William Leavitt, Christian Marclay, Rodrigo Matheus, Allan McCollum, Henrique Medina, Carissa Rodriguez, Cindy Sherman, Amie Siegel, Scott Stark, and Albert Whitlock; performances and public programs by Casey Jane Ellison, Mario García Torres, Alex Israel, Thirteen Black Cats, and more. Recasting the gallery as a set for dramatic scenes, FADE IN: INT. ART GALLERY – DAY explores the role that art plays in narrative film and television. FADE IN features the work of 25 artists and considers a history of art as seen in classic movies, soap operas, science fiction, pornography and musicals. These works have been sourced, reproduced and created in response to artworks that have been made to appear on-screen, whether as props, set dressings, plot devices, or character cues. The nature of the exhibition is such that sculptures, paintings and installations transition from prop to image to art object, staging an enquiry into whether these fictional depictions in mass media ultimately have greater influence in defining a collective understanding of art than art itself does. Certain preoccupations with artworks are established early on in cinematic history: the preciousness of art objects anchors their roles as plot drivers, and anxieties intensify regarding the vitality of artworks and their perceived abilities to wield power over viewers or to capture spirits. Such themes were famously explored in the 1945 film adaptation of Oscar Wilde’s The Picture of Dorian Gray, from which Cindy Sherman has sourced the original portrait painted for the production.