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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. -
You've Seen the Movie, Now Play The
“YOU’VE SEEN THE MOVIE, NOW PLAY THE VIDEO GAME”: RECODING THE CINEMATIC IN DIGITAL MEDIA AND VIRTUAL CULTURE Stefan Hall 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 May 2011 Committee: Ronald Shields, Advisor Margaret M. Yacobucci Graduate Faculty Representative Donald Callen Lisa Alexander © 2011 Stefan Hall All Rights Reserved iii ABSTRACT Ronald Shields, Advisor Although seen as an emergent area of study, the history of video games shows that the medium has had a longevity that speaks to its status as a major cultural force, not only within American society but also globally. Much of video game production has been influenced by cinema, and perhaps nowhere is this seen more directly than in the topic of games based on movies. Functioning as franchise expansion, spaces for play, and story development, film-to-game translations have been a significant component of video game titles since the early days of the medium. As the technological possibilities of hardware development continued in both the film and video game industries, issues of media convergence and divergence between film and video games have grown in importance. This dissertation looks at the ways that this connection was established and has changed by looking at the relationship between film and video games in terms of economics, aesthetics, and narrative. Beginning in the 1970s, or roughly at the time of the second generation of home gaming consoles, and continuing to the release of the most recent consoles in 2005, it traces major areas of intersection between films and video games by identifying key titles and companies to consider both how and why the prevalence of video games has happened and continues to grow in power. -
Flash Gordon - Wikipedia Page 1 of 19
Flash Gordon - Wikipedia Page 1 of 19 Flash Gordon Flash Gordon is the hero of a space opera adventure comic strip Flash Gordon created by and originally drawn by Alex Raymond.[1] First published January 7, 1934, the strip was inspired by and created to compete with the already established Buck Rogers adventure strip. [2][3][4] The Flash Gordon comic strip has been translated into a wide variety of media, including motion pictures, television and animated series'. The latest version, a Flash Gordon television series, appeared on the Syfy channel in the United States in 2007 1/11/2018 –2008. on The first Flash Gordon comic strip Publication information Contents Publisher King Features Syndicate Creation Library First January 7, 1934 Comic strip characters and story appearance (comic strip) International versions of the comic strip Created by Alex Raymond Strip bibliography In-story information Critical reception and influence Circuit Films Team Dale Arden (love Film serials affiliations interest), Flash Gordon 1980 film First Dr. Hans Zarkov Unofficial films (scientist) Possible future films by Defenders of the Television Earth Flash Gordon (1954–55 live-action) Flash Gordon animated (1979–80) Flash Gordon: The Greatest Adventure of All (1982) Defenders of the Earth (1986) Flash GordonViewed (1996) Flash Gordon (2007–08 live-action) Radio serials StageLast Comic books Flash Gordon Strange Adventure Magazine Novels 1939 World's Fair Reprints https://en.wikipedia.org/wiki/Flash_Gordon 1/3/2018 Flash Gordon - Wikipedia Page 2 of 19 Games DVD -
Newbev201610 FRONT
General Admission: $8.00 Seniors / Children: $6.00 SHOCKTOBER 2016 Kiddee Matinees: $6.00 NEW Schedule: (323) 938-4038 BEVERLY cinema 7165 BEVERLY BLVD. THENEWBEV.COM ONE BLOCK WEST OF LA BREA, LOS ANGELES FOLLOW US ON FACEBOOK AND TWITTER! October 2 & 3 Flash Gordon and Flesh Gordon! October 4 October 5 & 6 October 7 October 8 TOBE HOOPER’S New Beverly Cinema’s FLASH GORDON Annual SERGIO MARTINO’S All-Night VICTIM OR FUGITIVE? Horror Show October 9 & 10 October 11 October 12 & 13 October 14 & 15 Carroll Baker / Umberto Lenzi A QUIET PLACE TO Original SEE THE ORIGINAL KILL Swedish BUCK ROGERS Films October 16 & 17 October 18 October 19 & 20 October 21 & 22 Frank Langella VINCENT PRICE in MIA FARROW When was the last time you were afraid? Really afraid? MICHAEL REEVES’ JOHN CASSAVETES IB Tech Print Laurence Olivier Donald Pleasence Directed by Jess Franco October 23 & 24 October 25 October 26 & 27 October 28 & 29 LON CHANEY October 30 & 31 ANTONIO BANDERAS ROB ZOMBIE'S Quentin’s horror comedy all-nighter! HAPPY HALLOWEEN! Saturday • October 29th All programs presented on 35mm fi lm! (unless noted as 16mm) All paired fi lms are double features - ticket admits you to both! Schedule subject to change GeneralGeneral Admission:Admission: $8.00$8.00 SeniorsSeniors // Children:Children: $6.00$6.00 SHOCKTOBERAugust 2015 2016 Now Kiddeeaccepting Matinees: credit cards! $6.00 NEW Schedule: (323)(323) 938-4038938-4038 BEVERLY cinema 7165 BEVERLY BLVD. THENEWBEV.COM ONE BLOCK WEST OF LA BREA, LOS ANGELES FOLLOW US ON FACEBOOK AND TWITTER! New Beverly -
Flesh GORDON Né Gérard HERVE Le 20 Juin 1953 À 2H À Villeneuve-Saint-Georges 94 Val-De-Marne Connu Sous Le Nom De Ring « Flesh Gordon »(*) Selon L’État-Civil
Grande star du catch européen et français, cet ancien champion d’Europe et ancien champion du monde a fondé une école de catch en Seine- et-Marne. Flesh GORDON Né Gérard HERVE le 20 juin 1953 à 2h à Villeneuve-Saint-Georges 94 Val-de-Marne Connu sous le nom de ring « Flesh Gordon »(*) Selon l’état-civil Dans les années 1970, il découvre le catch mexicain Dès l’âge de 14 ans, Flesh Gordon pratique la boxe anglaise ainsi que le pancrace(**). Dans les années 1970, il part au Mexique et découvre la lucha libre (lutte libre ou catch mexicain). Le catch, né dans le monde des bonimenteurs et saltimbanques, se distingue des autres sports de combat. Il relève du spectacle et du spectaculaire tant par les acrobaties que les accoutrements, et le catcheur est en représentation plutôt qu’en quête d’un record. La notion de compétition sportive est absente et la victoire ne s’acquiert pas en fonction du talent, de la condition physique ou de la supériorité. Dans ses représentations nommées galas, un catcheur gagne plutôt du galon et de la popularité en fonction de sa capacité à faire réagir la foule. Décrié par certains comme trop violent ou trop populaire, le catch est qualifié par le philosophe linguiste Roland Barthes de spectacle proche du théâtre qui n’a pas à rougir de sa qualité artistique. Les catcheuses et catcheurs sont de véritables athlètes professionnels qui s’adonnent à une intense activité physique pour travailler la puissance et l’élasticité musculaire ainsi que l’endurance mais aussi la souplesse, la vitesse et l’agilité. -
Původní Trilogie Hvězdných Válek: Americké Kulturní Dědictví
Západočeská univerzita v Plzni Fakulta pedagogická Bakalářská práce PŮVODNÍ TRILOGIE HVĚZDNÝCH VÁLEK: AMERICKÉ KULTURNÍ DĚDICTVÍ Petr Harmáček Plzeň 2012 University of West Bohemia Faculty of Education Undergraduate Thesis THE ORIGINAL STAR WARS TRILOGY: AMERICAN CULTURAL HERITAGE Petr Harmáček Plzeň 2012 Tato stránka bude ve svázané práci Váš původní formulář Zadáni bak. práce (k vyzvednutí u sekretářky KAN) Prohlašuji, že jsem práci vypracoval samostatně s použitím uvedené literatury a zdrojů informací. V Plzni dne 26. června 2012 ……………………………. Petr Harmáček ACKNOWLEDGEMENTS I would like to express my gratitude to my supervisor Bradley Vice, Ph.D. for his guidance, support, patience and encouragement during the writing of this thesis. ABSTRACT Harmáček, Petr. University of West Bohemia. June, 2012. The Original Star Wars Trilogy: American Cultural Heritage Supervisor: William Bradley Vice, Ph.D. This thesis concentrates upon one of the most acclaimed science fiction and fantasy film works of all time, the original Star Wars trilogy and mainly the film which started it all, the 1977 Star Wars, as one of the most culturally influential motion pictures of the 20th Century and an important part of America‘s cultural heritage. The primary focus of the thesis is to determine the degree of the influence of this film and its sequels on American culture and factors that led to it. The initial two chapters consult the important milestones, both in cinema and in the life of Star Wars‘ creator George Lucas, leading up to the creation of Star Wars. The following two chapters discuss the development and making of Star Wars, including the many influences on the script and the visual style of the film, underlining the importance of these influences for the popularity and cultural impact of Star Wars. -
1. What Kind of Hero Is Capable of Conquering an Entire Universe? At
Ken Hollings Flash Gordon Conquers the Universe The Superhero as Camp Enigma Ein ewiges Rätsel will ich bleiben mir und anderen Ludwig II of Bavaria 1. Professor Zarkov: By destroying Ming you have saved the universe. Flash Gordon: In his mad ambition he declared that he would rule the universe. Professor Zarkov: Then since you have conquered Ming, I shall radio your father: «Flash Gordon Conquers the Universe». Dale Arden: And saved the earth. Closing dialogue, Episode Twelve, Flash Gordon Conquers the Universe1 What kind of hero is capable of conquering an entire universe? At such a trium- phant moment as this it is worth recalling that the first – and only – thing we ever learn about Flash Gordon at the start of his film career is that he plays polo. Or at least he would do if the world weren’t about to be destroyed. «He gave up his polo game just in time to catch the transcontinental plane, hoping to be with us before the end,» his father announces after receiving a telegram from Flash at the observatory where he works as chief astronomer, watching the planet Mongo on its collision course with the Earth. As it was in the beginning of Flash’s first ever movie serial, so it is in the final episode of Flash Gordon Conquers the Universe, his third and last adventure in outer space. Flash never reaches his father or the observatory but finds himself instead with Professor Zarkov and Dale Arden on Mongo, in the clutches of its ruler Ming the Merciless. In fact, over the course of his three serials for Universal Pictures, Flash Gordon spends so little time on his home planet that it might just as well have been destroyed. -
Science Fiction
SCIENCE FICTION Science Fiction explores the genre from 1895 to the present day, drawing on examples from over forty countries. It raises questions about the relationship between science fiction, science and technology, and examines the interrelationships between spectacle, narrative and self-reflexivity, paying particular attention to the role of special effects in creating meaning and affect. It explores science fiction’sevo- cations of the sublime, the grotesque, and the camp, and charts the ways in which the genre reproduces and articulates discourses of colonialism, imperialism and neo-liberal globalization. At the same time, Science Fiction provides a thorough analysis of the genre’s representation of race, class, gender and sexuality, making this text an essential guide for students, academics and film fans alike. Key films discussed include: Le voyage dans la lune (1902) 20,000 Leagues Under the Sea (1916) L’Atlantide (1921) King Kong (1933, 2005) Gojira (1954) La Jetée (1962) The Abominable Dr Phibes (1971) Tetsuo (1989) Sleep Dealer (2008) ) Avatar (2009) Mark Bould is Reader in Film and Literature at the University of the West of England and co-editor of Science Fiction Film and Television. He is co-author of The Routledge Concise History of Science Fiction, author of The Cinema of John Sayles and Film Noir, and co-editor of The Routledge Companion to Science Fiction, Fifty Key Figures in Science Fiction, Red Planets, Neo-noir and Parietal Games. Routledge Film Guidebooks The Routledge Film Guidebooks offer a clear introduction to and over- view of the work of key filmmakers, movements or genres. Each guidebook contains an introduction, including a brief history; defining characteristics and major films; a chronology; key debates surrounding the filmmaker, movement or genre; and pivotal scenes, focusing on narrative structure, camera work and production quality. -
Flash Gordon, Leyenda Viva Del Cómic ©Copyright Antonio Quintana Carrandi Para NGC 3660
Flash Gordon, leyenda viva del cómic ©Copyright Antonio Quintana Carrandi para NGC 3660 Flash Gordon, leyenda viva del cómic Antonio Quintana Carrandi Entre los héroes de la literatura dibujada destaca uno que, todavía hoy, es un referente para muchos aficionados y una leyenda viva del cómic: Flash Gordon. El 7 de enero de 1929 comenzaron a publicarse en los periódicos las aventuras de Buck Rogers, que de inmediato cosecharon un gran éxito. Significó todo un bombazo en el mundo del cómic y, ya desde el principio, suscitó una serie de penosas imitaciones que pasaron sin pena ni gloria. No sería hasta cinco años más tarde que surgiría un personaje capaz de competir con él. Este fue Flash Gordon, que llegaría a igualar en popularidad a Buck en USA, y a superarle con creces en el resto del mundo. Cuando el dibujante Alex Raymond presentó su proyecto al King Features Syndicate, los responsables de la empresa no lo vieron muy claro. Raymond había imaginado a un barbudo Flash que, en compañía de otros astronautas, realizaba un vuelo en cohete alrededor de la Tierra de veinticuatro horas de duración. La historia no gustó, pues se parecía mucho a otras publicadas en las revistas pulp. Pero el personaje tenía potencial, de modo que el King Features Syndicate encargó a Raymond que reelaborara el argumento. Dos años antes, en 1932, había sido publicada por entregas, en la revista Blue Book, Cuando los mundos chocan (When Worlds Collide), original de Philip Wylie y Edwin Balmer. La novela tuvo tanto éxito que la misma revista encargó a los autores una continuación, publicada, también por entregas, a lo largo de 1933. -
Pineiro Otero T 2020 Flash G
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. -
101 Other Uses for a Condom 101 Ways to End The
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