Lilian Katz X Files

Total Page:16

File Type:pdf, Size:1020Kb

Lilian Katz X Files Lilian katz x files Continue - Select Season - Season 1 Season 2 Season 3 Season 4 Season 5 Season 6 Season 7 Season 8 Funeral Prayer (4x12) Scenario: Howard Gordon Director: Kim Munnerds Interesting Facts: qgt; Cuddish is a prayer read in honor of the dead in the daily synagogue prayers. Detective Bartley is named after John Bartley, director of photography for the series. Isaac Luria was appointed a well-known rabbi of the same name, who was awarded as the father of Jewish mysticism. The episode was dedicated to Lillian Katz, the grandmother of writer Howard Gordon. He never met her because she died when he was 42. The book, burning in flames inside the tomb, was a problem for several hours for the production team. When it finally started to burn, Gillian and David forgot their lines, and the scene had to be done again. Courtesy XLiz, xfiles.enmente.com Images of the episode: Mulder suspects that Golem, the man made by a monster appearing in Jewish folklore, will be responsible for the deaths of anti-Semites who killed a Jewish man. Several people approach the Brooklyn cemetery to pay tribute to Isaac Luria, a Jew who was brutally murdered by three anti-Semitic teenagers. Among them are Ariel Luria and her father, Jacob Weiss. When night comes, a dark figure enters the cemetery and sculpts a human figure in the mud. Mulder and Scully investigate the death of Isaac Luria. Isaac, who lived in an area known for his history of racial tensions, was severely beaten in his business. Police brazenly said the motive was a robbery, as nothing was stolen from the premises. A video from the market of a 16-year-old boy named Tony Oliver, one of the teenagers involved in the murder, was later found. Oliver was strangled by an unknown assailant. What intrigues Mulder the most is the presence of Isaac Luria's fingerprints on Oliver's corpse. Weiss shows the agents an anti-Semitic pamphlet they left on their doorstep that morning. Mulder tells his partner that whoever printed the pamphlets probably knows who killed Isaac. Agents say Kurt Brunies, the owner of the printing press in front of Isaac's Market. When agents show Brunier pictures of Banks and McGuire (teenagers suspected of beating Isaac), he claims they are unknown to him. If agents don't know, Banks listens to a conversation from another room thanks to a surveillance camera. Scully tells Brunier about rumors that Isaac returned from the dead to avenge his murder. Terrified, Banks and McGuire unearthed Isaac's coffin. McGuire returns to his car to get some tools, Banks opens the coffin lid and sees what Isaac's body is. Banks later finds McGuire's body, dressed in a pile of mud. Officers arrive at the scene. Mulder sees a leather book under the shroud with which Isaac was veiled. But when he's going to play the old book, it's on fire. Agents come to Kenneth Ungar, a student of the Jewish Arkle-ive. Ungar explains that Mulder found a book about Jewish mystism. He insists he could never be buried with a dead man. Ungar notices a name engraved on the skin: Jacob Weiss. Ariel tells agents that although she and her husband were licensed to marry in the weeks before the murder, the wedding ceremony could never have taken place. Agents find Weiss in the attic of the synagogue. They also discover Banks' body hanging from a wooden beam. Weiss has been arrested and charged with murder. The man admits two murders, but Mulder thinks someone - or something - was in the attic with him. Unger tells Mulder about Golem, a mystical creature. He explains that the early Cabalists believed that the righteous could create a living being of the Earth itself. One Jewish word emet is written on the back of Golem's hand. To destroy Golem, Unger explains, the first letter must be removed. Brunjes is dead. When officers examine surveillance footage, they discover that Golem, whose appearance is identical to Isaac Luria's, is responsible for the murder. Weiss returns to the synagogue after his release. There he discovers Ariel is getting ready for marriage. When Weiss tries to stop his daughter, Golem attacks him. Agents rescue Weiss and, while Scully looks after his wounds, Mulder looks for Ariel. Golem attacks Mulder, throwing him aside as he tries to stop him. But Ariel shoves. When the wedding ceremony continues, Golem puts the ring on Ariel. Ariel expresses her love for Isaac as she erases the letter e from Golem's hands. The creature turns to dust. Agent Fox Mulder --- DAVID DUCHOVNY Agent Dana Scully --- JILLIAN ANDERSON ARYANIN ARIEL LURIA --- JUSTINE MICELI Jacob Weiss --- DAVID GROCH Isaac LURIA --- HARRISON COE Derek Banks --- --- --- CHANNON ROE CLINTON BASCOMBE --- JABIN LITWINIEC Tony --- JONATHAN WHITTAKER Kenneth Ungar --- DAVID WOHL Detective --- GEORGE GORDON 1st Hasidic Man --- MURREY RABINOVITCH Rabbi --- DAVID FREEDMAN Files Lord X Herrenvolk Title - Herrenvolk is the Nazi/German word for Master Race - Hitler's plan to create a world of perfect, blue-eyed blondes. There has been a lot of speculation about Mulder's new informant, Marita Kovarrubias. The word Ruby means yellow or blonde in Spanish. The word Covarrubias means yellow cave and it is the name of a medieval city in Spain. Recently there was a rumor circulating that the real Marita Covarrubias is actually a lawyer who works with the Fox network (this I can not yet confirm or deny). Tag Line - The Tag Line Truth there has been changed to All Dies, which is the phrase the mighty morphing-power-alien says Mulder before he throws it through the parking lot. Unruhe Movie Brand, ETAP, is the surname of assistant prop master Jim Pate spelled in reverse. See the joke recordings for Little Potato, Redux, Christmas Song, and Travelers for other ETAP links. Although the name Unruhe is the German word unrest, and the word is pronounced many times during the episode, the real inspiration for this episode came from Time-Life's book about psycho-killers, which included an article about mass murderer Howard Unruh. Writer Vince Gilligan found it eerily poetic that the killer's surname was disorder and included it in an episode of The X-Files. Home This episode marks the return of writers Glen Morgan and James Wong, who left the show mid-season 2 to create their own show, Space: Above and Beyond. Maybe the name Home is appropriate? There was something special about how the location appears in the teaser for the episode - first, we look close-up of the house plate as the word Home appears in the bottom left corner of the screen. Just as we start to wonder if they're going to start showing titles at the beginning of episodes, we're seeing a completed line of House, Pennsylvania - it's just a normal place that appears in every episode after all. While there has been much speculation that the Inbreeding Family (The Peacocks) have been named after the NBC mascot (due to their new copycat shows this season - Dark Sky, The Contender, and Profiler), the family was indeed named after the neighbors of Glen Morgan's parents. Home Scenario Of The Differences of Teliko 925 - When Mulder looks at the resident Aboa alien card, we see that Aboah's birthday is 9/25/62 - Gillian Piper's daughter was born 9/25 as well. 517 - Scully's time to arrive at work in the morning was 5:17 a.m. 5/17 - the date of birth of the wife of producer/writer Frank Spotnitz. Tag Line - the usual tag line, True There, has been changed to Deceive, Inveigle, Obfuscate, the phrase used by Scully and Mulder in this episode. For those who do not have a dictionary at their fingertips, Inveigle means to conquer guile or belief, and Obfuscate means making dark or obscure to confuse. The field where I died Sullivan and Sarah - Sullivan Biddle and Sarah Cavanaugh supposedly lived during the Civil War. In real life, a Civil War soldier named Ballu wrote a now famous (and very touching) letter to his wife Sarah in which he assured her that his love for her without death and that although he might be killed in the war, he would always be with her, he would wait for her, and that we would meet again. A week after writing the letter, Sullivan Ballou was killed in the first Battle of Bull Mook. While his references probably refer to being together in heaven, they can also be interpreted as meeting in another life, just like an episode of The X-Files. Mulder's soliloquy at the beginning and end of an episode of a long Robert Browning poem called Paracelsus. Vernon Ephesian - a character likened to David Koresh, bears the real name of Koresh, Vernon. His last name was taken from the Book of the Bible. The field where I died Scenario Differences Sanguinarium Title - Sanguinary means carnage, bloodthirsty, consisting of blood. Sanginaria means a bloody stream. Sanguinarium is Latin for a place of blood. 1953 Gardner Street - probably named after Gerald Gardner, who founded his own form of witchcraft, the Gardnerian, in 1953. Its the most practiced form of witchcraft today. Gerald Gardner also published many books on witchcraft when laws against this practice were repealed (also in 1953). Rebecca Waite was called a nurse who was a witch. Rebecca nurse was called one of the Salem witches. In addition, Arthur Edward Waite was a well-known writer about medieval witchcraft and one of the creators of the modern tarot deck.
Recommended publications
  • Interviews with Chris Carter, Frank Spotnitz, Vince Gilligan
    Read Writing The X-Files: Interviews with Chris Carter, Frank Spotnitz, Vince Gilligan, John Shiban, and Howard Gordon by Jason Davis (2016-02-04) PDF Book Download, PDF Download, Read PDF, Download PDF, Kindle Download Read Writing The X-Files: Interviews with Chris Carter, Frank Spotnitz, Vince Gilligan, John Shiban, and Howard Gordon by Jason Davis (2016-02-04) PDF By reading we can add insight and gain new information There is now a Read Writing The X- Files: Interviews with Chris Carter, Frank Spotnitz, Vince Gilligan, John Shiban, and Howard Gordon by Jason Davis (2016-02-04) PDF book on our website that you get for free The Writing The X-Files: Interviews with Chris Carter, Frank Spotnitz, Vince Gilligan, John Shiban, and Howard Gordon by Jason Davis (2016-02-04) PDF Download book is available in PDF, Kindle, Ebook, ePub and mobi formats that you can take anywhere without any more trouble, can you save on the device you have Immediately get this book !!! Download PDF File Download ePub File Download Kindle File Read Writing The X-Files: Interviews with Chris Carter, Frank Spotnitz, Vince Gilligan, John Shiban, and Howard Gordon by Jason Davis (2016-02-04) PDF PDF Download Writing The X-Files: Interviews with Chris Carter, Frank Spotnitz, Vince Gilligan, John Shiban, and Howard Gordon by Jason Davis (2016-02-04) Soldier Full Online, epub free Writing The X-Files: Interviews with Chris Carter, Frank Spotnitz, Vince Gilligan, John Shiban, and Howard Gordon by Jason Davis (2016-02-04) PDF Kindle Soldier, ebook free Download Writing The X-Files: Interviews with Chris Carter, Frank Spotnitz, Vince Gilligan, John Shiban, and Howard Gordon by Jason Davis (2016-02-04) PDF Soldier, free ebook Free Writing The X-Files: Interviews with Chris Carter, Frank Spotnitz, Vince Gilligan, John Shiban, and Howard Gordon by Jason Davis (2016-02-04) PDF Download Soldier, free .
    [Show full text]
  • Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) Kester, Bernadette
    www.ssoar.info Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) Kester, Bernadette Veröffentlichungsversion / Published Version Monographie / monograph Zur Verfügung gestellt in Kooperation mit / provided in cooperation with: OAPEN (Open Access Publishing in European Networks) Empfohlene Zitierung / Suggested Citation: Kester, B. (2002). Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933). (Film Culture in Transition). Amsterdam: Amsterdam Univ. Press. https://nbn-resolving.org/ urn:nbn:de:0168-ssoar-317059 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY-NC-ND Lizenz This document is made available under a CC BY-NC-ND Licence (Namensnennung-Nicht-kommerziell-Keine Bearbeitung) zur (Attribution-Non Comercial-NoDerivatives). For more Information Verfügung gestellt. Nähere Auskünfte zu den CC-Lizenzen finden see: Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0 https://creativecommons.org/licenses/by-nc-nd/4.0/deed.de * pb ‘Film Front Weimar’ 30-10-2002 14:10 Pagina 1 The Weimar Republic is widely regarded as a pre- cursor to the Nazi era and as a period in which jazz, achitecture and expressionist films all contributed to FILM FRONT WEIMAR BERNADETTE KESTER a cultural flourishing. The so-called Golden Twenties FFILMILM FILM however was also a decade in which Germany had to deal with the aftermath of the First World War. Film CULTURE CULTURE Front Weimar shows how Germany tried to reconcile IN TRANSITION IN TRANSITION the horrendous experiences of the war through the war films made between 1919 and 1933.
    [Show full text]
  • The Complete X-Files Ebook
    THE COMPLETE X-FILES PDF, EPUB, EBOOK Chris Knowles,Matt Hurwitz | 224 pages | 23 Sep 2016 | Titan Books Ltd | 9781785654336 | English | London, United Kingdom The Complete X-Files PDF Book In one of the most tongue in cheek, unusual episodes of the series, Scully consults with a Truman Capote-like novelist who wants to write "non- fiction science fiction" based around an unusual x-file, giving an outsider's perspective to a case. You may not need files for most quick fixes. It's an unnerving, calculating episode, where the mere appearance of Modell onscreen spells very bad thing. There's also a lot of heart in the episode, with Boyle portraying a sensitive, gruff loner dealing with the worst of curses. The episode seems to be heavily influenced by the works of H. Essentially, the episode is about the government using television signals to drive people to madness. This not only makes filing faster but makes it much easier to find documents afterward. An FBI manhunt ensues, with agents in pursuit of an antagonist that can alter their very perceptions of reality. The beauty of customizing your filing system this way is that it can always be further subdivided and organized if you need to. This grisly, nightmare-inducing episode about an inbred family of killers was so terrifying and controversial that Fox famously decreed that it would never be aired again after its initial broadcast prompted a flood of complaints from concerned viewers. I could stop at that as a reason to watch, but there's more. You may be able to find the same content in another format, or you may be able to find more information, at their web site.
    [Show full text]
  • “My” Hero Or Epic Fail? Torchwood As Transnational Telefantasy
    “My” Hero or Epic Fail? Torchwood as Transnational Telefantasy Melissa Beattie1 Recibido: 2016-09-19 Aprobado por pares: 2017-02-17 Enviado a pares: 2016-09-19 Aceptado: 2017-03-23 DOI: 10.5294/pacla.2017.20.3.7 Para citar este artículo / to reference this article / para citar este artigo Beattie, M. (2017). “My” hero or epic fail? Torchwood as transnational telefantasy. Palabra Clave, 20(3), 722-762. DOI: 10.5294/pacla.2017.20.3.7 Abstract Telefantasy series Torchwood (2006–2011, multiple production partners) was industrially and paratextually positioned as being Welsh, despite its frequent status as an international co-production. When, for series 4 (sub- titled Miracle Day, much as the miniseries produced as series 3 was subti- tled Children of Earth), the production (and diegesis) moved primarily to the United States as a co-production between BBC Worldwide and Amer- ican premium cable broadcaster Starz, fan response was negative from the announcement, with the series being termed Americanised in popular and academic discourse. This study, drawn from my doctoral research, which interrogates all of these assumptions via textual, industrial/contextual and audience analysis focusing upon ideological, aesthetic and interpretations of national identity representation, focuses upon the interactions between fan cultural capital and national cultural capital and how those interactions impact others of the myriad of reasons why the (re)glocalisation failed. It finds that, in part due to the competing public service and commercial ide- ologies of the BBC, Torchwood was a glocalised text from the beginning, de- spite its positioning as Welsh, which then became glocalised again in series 4.
    [Show full text]
  • Constructing the Witch in Contemporary American Popular Culture
    "SOMETHING WICKED THIS WAY COMES": CONSTRUCTING THE WITCH IN CONTEMPORARY AMERICAN POPULAR CULTURE Catherine Armetta Shufelt A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 2007 Committee: Dr. Angela Nelson, Advisor Dr. Andrew M. Schocket Graduate Faculty Representative Dr. Donald McQuarie Dr. Esther Clinton © 2007 Catherine A. Shufelt All Rights Reserved iii ABSTRACT Dr. Angela Nelson, Advisor What is a Witch? Traditional mainstream media images of Witches tell us they are evil “devil worshipping baby killers,” green-skinned hags who fly on brooms, or flaky tree huggers who dance naked in the woods. A variety of mainstream media has worked to support these notions as well as develop new ones. Contemporary American popular culture shows us images of Witches on television shows and in films vanquishing demons, traveling back and forth in time and from one reality to another, speaking with dead relatives, and attending private schools, among other things. None of these mainstream images acknowledge the very real beliefs and traditions of modern Witches and Pagans, or speak to the depth and variety of social, cultural, political, and environmental work being undertaken by Pagan and Wiccan groups and individuals around the world. Utilizing social construction theory, this study examines the “historical process” of the construction of stereotypes surrounding Witches in mainstream American society as well as how groups and individuals who call themselves Pagan and/or Wiccan have utilized the only media technology available to them, the internet, to resist and re- construct these images in order to present more positive images of themselves as well as build community between and among Pagans and nonPagans.
    [Show full text]
  • SUBVERSION of NOSTALGIA AS a STRATEGY of ENGAGEMENT in ALTERNATE HISTORY TV: 11.22.63 and the MAN in the HIGH CASTLE by Tobias Steiner
    Online at: http://cstonline.net/subversion-of-nostalgia-as-a-strategy-of-engagement-in-alternate-history-tv-11-22-63-and-the- man-in-the-high-castle-by-tobias-steiner/ SUBVERSION OF NOSTALGIA AS A STRATEGY OF ENGAGEMENT IN ALTERNATE HISTORY TV: 11.22.63 AND THE MAN IN THE HIGH CASTLE by Tobias Steiner Jun 1, 2018 | Amazon, Blogs, Drama, ECREA, Streaming, Transnational TV, US TV | 0 Beginning with the popularization and mass availability of television in the 1950s, the medium has since extensively been employed to transport and mediate history in manifold ways. From early newscasts of Queen Elizabeth II.’s coronation ceremony in 1952, to a collection of devastating and traumatic events such as the assassination of John F. Kennedy in 1963, the Watergate scandal (1972), the Challenger (1986) and Columbia (2003) spacecraft disasters and the cataclysmic event of 9/11 (2001), that burned themselves into the collective subconscious through television images – all those events rapidly evolved from news broadcast to what Marita Sturken has famously labeled “instant history”[1]. Coronation ceremony of Queen Elizabeth II. – and the BBC is broadcasting live! CBS News anchor Walter Cronkite reports that President John F. Kennedy was assassinated in Dallas on Nov. 22, 1963. Following the Watergate scandal, U.S. president Nixon reads his resignation letter live on TV. The Columbia space shuttle disaster. Attack on World Trade Center, September 11, 2001. Views of inundated areas in New Orleans, Louisiana, following breaking of the levees surrounding the city as the result of Hurricane Katrina (2005). Moreover, television also plays with history and provides its audience with a plethora of factual and fictional accounts of our past: myriads of biographic accounts of historic figures as well as documentaries bring history closer to millions and millions of viewers.
    [Show full text]
  • Black Internationalism and African and Caribbean
    BLACK INTERNATIONALISM AND AFRICAN AND CARIBBEAN INTELLECTUALS IN LONDON, 1919-1950 By MARC MATERA A Dissertation submitted to the Graduate School-New Brunswick Rutgers, the State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in History Written under the direction of Professor Bonnie G. Smith And approved by _______________________ _______________________ _______________________ _______________________ New Brunswick, New Jersey May 2008 ABSTRACT OF THE DISSERTATION Black Internationalism and African and Caribbean Intellectuals in London, 1919-1950 By MARC MATERA Dissertation Director: Bonnie G. Smith During the three decades between the end of World War I and 1950, African and West Indian scholars, professionals, university students, artists, and political activists in London forged new conceptions of community, reshaped public debates about the nature and goals of British colonialism, and prepared the way for a revolutionary and self-consciously modern African culture. Black intellectuals formed organizations that became homes away from home and centers of cultural mixture and intellectual debate, and launched publications that served as new means of voicing social commentary and political dissent. These black associations developed within an atmosphere characterized by a variety of internationalisms, including pan-ethnic movements, feminism, communism, and the socialist internationalism ascendant within the British Left after World War I. The intellectual and political context of London and the types of sociability that these groups fostered gave rise to a range of black internationalist activity and new regional imaginaries in the form of a West Indian Federation and a United West Africa that shaped the goals of anticolonialism before 1950.
    [Show full text]
  • Games Workshop Appoints Former Hasbro Studios Executive to Newly Created Role As It Renews Focus on Its Content Strategy
    Games Workshop appoints former Hasbro Studios executive to newly created role as it renews focus on its content strategy 11th March 2021: Games Workshop Group PLC, the hugely successful hobby, publishing, video games and retail business, has appointed former Turner Broadcasting and Hasbro Studios executive Finn Arnesen as its first head of entertainment development. Reporting into Jon Gillard, Games Workshop’s EVP of global licensing, Arnesen is tasked with mining the extensive and multi-faceted Warhammer universe – home to thousands of novels and short stories, featuring a diverse range of engaging and extremely popular characters – to develop live-action and animated content for broadcast channels and platforms around the globe. Arnesen, who was most recently SVP global distribution & development at Hasbro Studios, brings 25 years’ experience to the role. He inherits an initial content slate that includes the previously announced live-action drama based on the best-selling Eisenhorn series of novels. Eisenhorn, a classic tale of one powerful character’s fight against external and internal threats, set in the galaxy-spanning, dark dystopia of the 41st millennium, is currently being developed with Frank Spotnitz (The Man in the High Castle, The X-Files) and his company, Big Light Productions. Jon Gillard comments: “In its almost 40-year history, Warhammer has been a leader in the field of tabletop and video gaming, growing into one of the most fully realised examples of fantasy and sci-fi world-building ever devised. The characters we’ve explored and stories we’ve told during that time, through games, books, comics and more, are crying out to be brought to the screen.
    [Show full text]
  • (Heads Tails Xfiles).Pdf
    jHeads & tails M.M. FaeFae GlasgowGlasgow Bene Dictum IV An X-Files Slash Zine Bene Dictum IV: Heads & Tails Bene Dictum IV: Heads & Tails an anthology of X-Files slash fiction is available from: 71,500 words OBLIQUE PUBLICATIONS editing and design by Caroline K. Carbis P.O. BOX 43784 TUCSON, AZ USA 85733-3784 email: [email protected] An age statement is required with all orders. Also available from Oblique Publications (Note: All publications are slash and require an age statement with each and every order.) Journey West WARNING: A Professionals slash novel THIS ANTHOLOGY CONTAINS SAME-SEX, By Maiden Wyoming ADULT-ORIENTED MATERIAL. IT WILL NOT BE SOLD TO ANYONE UNDER THE AGE OF the OBLAQUE series (Blake’s 7 slash) EIGHTEEN. Oblaque Oblaquer Oblaquest Oblaque IV: to be taken intravenously Oblaque V: in venery veritas Beginning 1999 Oblaque Sextus Oblique Publications’ library of zines will be available the BENT COPPERS series (Professionals slash) for free download in PDF format from its website. …As a £3 Note www.oblique-publications.net …As Two £3 Notes …As Three £3 Notes the PÆAN TO PRIAPUS series (multi-media and literary slash) Pæan to Priapus, volumes I, II, III, IV, V, VI the BENE DICTUM series (well put, well said, well dicked) Bene Dictum I: A Dickensian Christmas by M. FAE GLASGOW (Christmas themed Professionals stories) Bene Dictum II: Half ’n’ Half (Half Professionals/Half Blake’s 7) Bene Dictum III: Naughts & Crosses (Three Professionals novellas by Sebastian, Helen Raven, & M. Fae Glasgow) Bene Dictum IV: Heads & Tails is an amateur publication, copyright © February 1999 by Oblique Publications.
    [Show full text]
  • The Narrative Functions of Television Dreams by Cynthia A. Burkhead A
    Dancing Dwarfs and Talking Fish: The Narrative Functions of Television Dreams By Cynthia A. Burkhead A Dissertation Submitted in Partial Fulfillment of the Requirements for the Ph.D. Department of English Middle Tennessee State University December, 2010 UMI Number: 3459290 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT Dissertation Publishing UMI 3459290 Copyright 2011 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 DANCING DWARFS AND TALKING FISH: THE NARRATIVE FUNCTIONS OF TELEVISION DREAMS CYNTHIA BURKHEAD Approved: jr^QL^^lAo Qjrg/XA ^ Dr. David Lavery, Committee Chair c^&^^Ce~y Dr. Linda Badley, Reader A>& l-Lr 7i Dr./ Jill Hague, Rea J <7VM Dr. Tom Strawman, Chair, English Department Dr. Michael D. Allen, Dean, College of Graduate Studies DEDICATION First and foremost, I dedicate this work to my husband, John Burkhead, who lovingly carved for me the space and time that made this dissertation possible and then protected that space and time as fiercely as if it were his own. I dedicate this project also to my children, Joshua Scanlan, Daniel Scanlan, Stephen Burkhead, and Juliette Van Hoff, my son-in-law and daughter-in-law, and my grandchildren, Johnathan Burkhead and Olivia Van Hoff, who have all been so impressively patient during this process.
    [Show full text]
  • 4.5.1 Los Abducidos: El Duro Retorno En Expediente X Se Duda De Si Las
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Diposit Digital de Documents de la UAB 4.5.1 Los abducidos: El duro retorno En Expediente X se duda de si las abducciones son obra de humanos o de extraterrestres por lo menos hasta el momento en que Mulder es abducido al final de la Temporada 7. La duda hace que el encuentro con otras personas que dicen haber sido abducidas siempre tenga relevancia para Mulder, Scully o ambos, como se puede ver con claridad en el caso de Cassandra Spender. Hasta que él mismo es abducido se da la paradójica situación de que quien cree en la posibilidad de la abducción es él mientras que Scully, abducida en la Temporada 2, siempre duda de quién la secuestró, convenciéndose de que los extraterrestres son responsables sólo cuando su compañero desaparece (y no necesariamente en referencia a su propio rapto). En cualquier caso poco importa en el fondo si el abducido ha sido víctima de sus congéneres humanos o de alienígenas porque en todos los casos él o ella cree –con la singular excepción de Scully– que sus raptores no son de este mundo. Como Leslie Jones nos recuerda, las historias de abducción de la vida real que han inspirado este aspecto de Expediente X “expresan una nueva creencia, tal vez un nuevo temor: a través de la experimentación sin emociones realizada por los alienígenas usando cuerpos humanos adquiridos por la fuerza, se demuestra que el hombre pertenece a la naturaleza, mientras que los extraterrestres habitan una especie de supercultura.” (Jones 94).
    [Show full text]
  • Regimes of Truth in the X-Files
    Edith Cowan University Research Online Theses: Doctorates and Masters Theses 1-1-1999 Aliens, bodies and conspiracies: Regimes of truth in The X-files Leanne McRae Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Film and Media Studies Commons Recommended Citation McRae, L. (1999). Aliens, bodies and conspiracies: Regimes of truth in The X-files. https://ro.ecu.edu.au/ theses/1247 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/1247 Edith Cowan University Research Online Theses: Doctorates and Masters Theses 1999 Aliens, bodies and conspiracies : regimes of truth in The -fiX les Leanne McRae Edith Cowan University Recommended Citation McRae, L. (1999). Aliens, bodies and conspiracies : regimes of truth in The X-files. Retrieved from http://ro.ecu.edu.au/theses/1247 This Thesis is posted at Research Online. http://ro.ecu.edu.au/theses/1247 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth).
    [Show full text]