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Thematic Connections Between Western and Zombie Fiction
Hang 'Em High and Bury 'Em Deep: Thematic Connections between Western and Zombie Fiction MICHAEL NGUYEN Produced in Melissa Ringfield’s Spring 2012 ENC1102 Zombies first shambled onto the scene with the release of Night of the Living Dead, a low- budget Romero film about a group of people attempting to survive mysterious flesh-eating husks; from this archetypical work, Night ushered in an era of the zombie, which continues to expand into more mediums and works to this day. Romero's own Living Dead franchise saw a revival as recently as 2004, more than doubling its filmography by the release of 2009's Survival of the Dead. As a testament to the pervasiveness of the genre, Max Brooks' zombie preparedness satire The Zombie Survival Guide alone has spawned the graphic novel The Zombie Survival Guide: Recorded Attacks and the spinoff novel World War Z, the latter of which has led to a film adaptation. There have been numerous articles that capitalize on the popularity of zombies in order to use them as a nuanced metaphor; for example, the graduate thesis Zombies at Work: The Undead Face of Organizational Subjectivity used the post-colonial Haitian zombie mythos as the backdrop of its sociological analysis of the workplace. However, few, if any, have attempted to define the zombie-fiction genre in terms of its own conceptual prototype: the Western. While most would prefer to interpret zombie fiction from its horror/supernatural fiction roots, I believe that by viewing zombie fiction through the analytical lens of the Western, zombie works can be more holistically described, such that a series like The Walking Dead might not only be described as a “show about zombies,” but also as a show that is distinctly American dealing with distinctly American cultural artifacts. -
Media and Identity in Post-War American and Global Fictions of the Undead
"Born in Death": Media and Identity in Post-War American and Global Fictions of the Undead Jonathan Mark Wilkinson MA by Research University of York English January 2015 2 Abstract Existing scholarship has largely overlooked that the undead are, famously, ‘us’. They are beings born from our deaths. Accordingly, their existence complicates the limits and value of our own. In this dissertation, I therefore argue that fictions of the undead reflect on questions of identity, meditating on the ways in which identities are created, distorted or otherwise reformed by the media to which their most important texts draw insistent attention. Analysing landmark texts from Post-War American contexts, this dissertation expands its hypothesis through three case studies, reading the texts in each as their own exercise in ontological thought. In each case study, I show that fictions of the undead reflect on the interactions between media and identity. However, there is no repeating model through which the themes of media, identity and undeath are repeatedly engaged. Each text’s formulation of these interacting themes is distinct to the other’s, suggesting that the significance of the undead and their respective tradition is not in the resounding ontological ‘answers’ that they and their texts inspire, but the questions that their problematic existential state asks. 3 List of Contents Abstract ..................................................................................................................2 Author’s Declaration .................................................................................................4 -
Spy Culture and the Making of the Modern Intelligence Agency: from Richard Hannay to James Bond to Drone Warfare By
Spy Culture and the Making of the Modern Intelligence Agency: From Richard Hannay to James Bond to Drone Warfare by Matthew A. Bellamy A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (English Language and Literature) in the University of Michigan 2018 Dissertation Committee: Associate Professor Susan Najita, Chair Professor Daniel Hack Professor Mika Lavaque-Manty Associate Professor Andrea Zemgulys Matthew A. Bellamy [email protected] ORCID iD: 0000-0001-6914-8116 © Matthew A. Bellamy 2018 DEDICATION This dissertation is dedicated to all my students, from those in Jacksonville, Florida to those in Port-au-Prince, Haiti and Ann Arbor, Michigan. It is also dedicated to the friends and mentors who have been with me over the seven years of my graduate career. Especially to Charity and Charisse. ii TABLE OF CONTENTS Dedication ii List of Figures v Abstract vi Chapter 1 Introduction: Espionage as the Loss of Agency 1 Methodology; or, Why Study Spy Fiction? 3 A Brief Overview of the Entwined Histories of Espionage as a Practice and Espionage as a Cultural Product 20 Chapter Outline: Chapters 2 and 3 31 Chapter Outline: Chapters 4, 5 and 6 40 Chapter 2 The Spy Agency as a Discursive Formation, Part 1: Conspiracy, Bureaucracy and the Espionage Mindset 52 The SPECTRE of the Many-Headed HYDRA: Conspiracy and the Public’s Experience of Spy Agencies 64 Writing in the Machine: Bureaucracy and Espionage 86 Chapter 3: The Spy Agency as a Discursive Formation, Part 2: Cruelty and Technophilia -
Heroism of Robert Neville in I Am Legend Movie William
HEROISM OF ROBERT NEVILLE IN I AM LEGEND MOVIE WILLIAM NICO SAPTONO ABSTRACT I am Legend is a film that tells about a military scientist who struggles to save human extinction from zombie virus. The purpose of this paper is to show the nature of heroism which exist in the protagonist’s characters. The writer uses library research in collecting the data. This analysis is supported by intrinsic elements as cinematography. In analyzing the extrinsic elements, the author uses the theory of heroism. The result of this paper is that Neville shows heroism act such as being decisive, creative in finding solution, being a religious man, helping and fighting the enemy. Those are aspects which represent characteristics of heroism in Neville. Keyword: I am Legend, heroism, zombie 1. Introduction Film is an expression of art which delivers many kinds of messages and topics, such as heroism. Heroism is a passion with higher purposes and great skill to think what he/she will do, not just emotional moment. Heroism has been used since the era of Ralph Waldo Emerson in 1841. It is a social value that has been applied since cave paintings, spread in oral tradition and molded legends, folktales, and myths into poems, epics (Carlyle, 1891; Hook, 1943; Klapp, 1948). Literature also emphasizes the word heroism as to help without any compensation. One of the films which talks about heroism is the Francis Lawrence movie’s I am Legend. It describes about the condition in the world that was infected by virus. People who infected the virus will become a zombie. -
An Examination of Conspiracy and Terror in the Works of Don Delillo
Georgia State University ScholarWorks @ Georgia State University English Theses Department of English Spring 5-7-2011 For the Future: An Examination of Conspiracy and Terror in the Works of Don Delillo Ashleigh Whelan Follow this and additional works at: https://scholarworks.gsu.edu/english_theses Part of the English Language and Literature Commons Recommended Citation Whelan, Ashleigh, "For the Future: An Examination of Conspiracy and Terror in the Works of Don Delillo." Thesis, Georgia State University, 2011. https://scholarworks.gsu.edu/english_theses/104 This Thesis is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. FOR THE FUTURE: AN EXAMINATION OF CONSPIRACY AND TERROR IN THE WORKS OF DON DELILLO by ASHLEIGH WHELAN Under the Direction of Dr. Christopher Kocela ABSTRACT This thesis is divided into two chapters, the first being an examination of conspiracy and paranoia in Libra, while the second focuses on the relationship between art and terror in Mao II, “In the Ruins of the Future,” Falling Man, and Point Omega. The study traces how DeLillo’s works have evolved over the years, focusing on the creation of counternarratives. Readers are given a glimpse of American culture and shown the power of narrative, ultimately shedding light on the future of our collective consciousness. INDEX -
Facing the Sublime: the Zombie Figure, Climate Change, and the Crisis of Categorization
Facing the Sublime Facing the Sublime: The Zombie Figure, Climate Change, and the Crisis of Categorization Elaine Chong Abstract In the article, zombies are presented as the 21st century’s way to encounter the sublime, and as a way to rethink the rigid binaries in Western culture and our effects on climate change. By applying Edmund Burke’s treatise, A Philosophical Inquiry into the Origin of Our Ideas of the Sublime and Beautiful, the terror equated with witnessing something neither alive nor dead is capable of creating feelings of the sublime. The horror instilled by the zombie is because this figure defies categorization in the most basic way –it exists between life and death. The author uses Marjorie Garber’s work Vested Interests that explores a “third” category that questions typical gender binary. This crisis of categorization works similarly with the zombie figure because it too lies in the middle of a stable, unchallengeable binary –that of life and death. This binary becomes permeable in zombie fiction, throwing the reader into a psychological state capable of experiencing the sublime. Zombies have evolved in each retelling. However in each the brain is the vital organ necessary for a zombie’s survival, including Warm Bodies, World War Z, and I Am Legend. Through a close reading of I Am Legend, the author argues that the existence of the zombie narrative parallels how the Western world has treated the planet and contributed to climate change. Zombies are a destructive vision of humanity, and through the “third” space that zombie literature provides, society is able to encounter the environmental damage it is inflicting on the planet. -
Trust No Truth: an Analysis of the Visual Translation Styles in the Conspiracy Film
Trust no truth: an analysis of the visual translation styles in the conspiracy film Carl Stemmet 26423465 A Mini-Dissertation in partial fulfilment of the requirements for the degree MA Drama Performance In the Faculty of Humanities School of Arts Department of Drama University of Pretoria Study Leader: Mr Chris Broodryk June 2011 © University of Pretoria Summary This study investigates the manner in which cinematic visual translation styles can be used to incorporate dominant and subversive historical versions in fictional narratives constructed within the conspiracy film genre. Fictional characters in a conspiracy film are often tasked with a mission to discover the alternative historical accounts, accounts which for all intents and purposes are regularly kept hidden from the public eye. These accounts are presented as a plausible and often unconventional narrative which challenges the dominant version of events. A visual translation style is a term used to describe the various methods in which a film can be shot and edited in order to create a specific aesthetic and communicate a specific idea. These styles can consist of camera movements, shot sizes or editing techniques, all of which aid in communicating a specific idea in a film. This study analyses the conventions of the conspiracy film, with regard to the manner in which the alternative and dominant versions of historical accounts are constructed. Furthermore, the study explores how these alternative and hegemonic historical events are presented and communicated through the use of visual translation styles. Theorists such as Jean Baudrillard and David Bordwell are referenced when discussing the meaning and application of terms such as “truth”, “narrative” and “history” and to problematise these notions in the context of this particular genre. -
{Dоwnlоаd/Rеаd PDF Bооk} I Am Legend Ebook Free Download
I AM LEGEND PDF, EPUB, EBOOK Richard Matheson | 320 pages | 15 Jan 2008 | Doherty (Tom) Associates,U.S. | 9780765357151 | English | New York, United States I am Legend PDF Book Error rating book. This goes directly against the book's idea of Neville having unknowingly become a villain. Still, it helps along the way as sharing your status and other updates at certain junctures throughout the game grants you additional gold, treasure, experience points, and new monsters. The novel's vampires are also cannibalistic, preying on their own kind when they cannot find a human to consume. As time progresses, Neville turns scientific and discovers some of the microbiological aspects of the plague, as well as how it spreads from host to host. There are some excellent reviews out there. The only safe haven from the Darkseekers is daylight, since they experience severe reactions to UV light. Other reviewers noticed also that the monsters are closer in behaviour to zombies than to classic vampires. I read it years ago and while I find the writing in places rates my recognition of it's quality In October , Warner Bros. A FL native, Michael is passionate about pop culture, and earned an AS degree in film production in You've heard the one about the two good ol' boys from Arkansas who used a. You can deviate from the path as you become more comfortable. Chicago Review Press. I Am Legend. So, wrong, in the long run, but it made reading this for the first time a very different experience than it would be for someone who was going into it cold. -
TECHNOPHOBIA! Science Fiction Visions of Posthuman Technology
TECHNOPHOBIA! science fiction visions of posthuman technology Daniel Dinello university of texas press Austin Frontispiece: Human under the domination of corporate science and autonomous technology (Metropolis, 1926. Courtesy Photofest). Copyright © 2005 by the University of Texas Press All rights reserved Printed in the United States of America First edition, 2005 Requests for permission to reproduce material from this work should be sent to Permissions, University of Texas Press, P.O. Box 7819, Austin, TX 78713-7819. www.utexas.edu/utpress/about/bpermission.html The paper used in this book meets the minimum requirements of ansi/niso z39.48-1992 (r1997) (Permanence of Paper). library of congress cataloging-in-publication data Dinello, Daniel Technophobia! : science fiction visions of posthuman technology / by Daniel Dinello. — 1st ed. p. cm. Includes bibliographical references and index. isbn 0-292-70954-4 (cl. : alk. paper) — isbn 0-292-70986-2 (pbk. : alk. paper) 1. Science fiction—History and criticism. 2. Technology in literature. I. Title. pn3433.6.d56 2005 809.3'876209356—dc22 2005019190 NINE Technology Is a Virus machine plague virus horror: technophobia and the return of repressed flesh Technophiliacs want to escape from the body—that mor- tal hunk of animated meat. But even while devising the mode of their disembodiment, a tiny terror gnaws inside them—virus fear. The smallest form of life, viruses are parasites that live and reproduce by penetrating and commandeering the cell machinery of their hosts, often killing them and moving on to others. ‘‘As the means become available for the technology- creating species to manipulate the genetic code that gave rise to it,’’ says techno-prophet Ray Kurzweil, ‘‘...newvirusescanemergethroughacci- dent and/or hostile intention with potentially mortal consequences.’’1 The techno-religious vision of immortality represses horrific images of mutilated bodies and corrupted flesh that haunt our collective nightmares in the science fiction subgenre of virus horror. -
Tion of Don Delillo
ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Delirious USA: the representation of capital in the fic- tion of Don DeLillo https://eprints.bbk.ac.uk/id/eprint/40479/ Version: Full Version Citation: Travers, Thomas William Lynn (2020) Delirious USA: the repre- sentation of capital in the fiction of Don DeLillo. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email Birkbeck, University of London Delirious USA: The Representation of Capital in the Fiction of Don DeLillo Thomas William Lynn Travers Submitted for the degree of Doctor of Philosophy 2019 1 Declaration I, Thomas William Lynn Travers, declare that this thesis is my own work. Where I have drawn upon the work of other researchers, this has been fully acknowledged. 2 Abstract In this thesis I offer a new reading of Don DeLillo’s fiction through an engagement with contemporary Marxist literary theory and political economy. Beginning in the 1960s, the thesis traces the launch, expansion, and shattering of DeLillo’s narrative apparatus as it recomposes itself across the genres of the short story, the conspiratorial thriller, the historical novel, and the novel of time. Developing on theories of the novel as a capitalist epic, the thesis takes the insistent appearance of surplus populations in DeLillo’s work as an opportunity to reflect on, but also to revise and reconceptualise, Marxist accounts of the novel and its philosophy of history. -
Horror Rhetoric in Fiction and Film
California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2004 Causes of unease: Horror rhetoric in fiction and film Benjamin Kane Ethridge Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Rhetoric Commons Recommended Citation Ethridge, Benjamin Kane, "Causes of unease: Horror rhetoric in fiction and film" (2004). Theses Digitization Project. 2766. https://scholarworks.lib.csusb.edu/etd-project/2766 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. CAUSES OF UNEASE: HORROR RHETORIC IN FICTION AND FILM A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in English Composition: English Literature by Benjamin Kane Ethridge December 2004 CAUSES OF UNEASE: HORROR RHETORIC IN FICTION AND FILM A Thesis Presented to the Faculty of California State University, San Bernardino by Benjamin Kane Ethridge December 2004 Approved by: Bruce Golden, Chair, English Dcfte © 2004 Benjamin Kane Ethridge ABSTRACT How do 'artists scare us? Horror Filmmakers and novelists alike can accomplish fear, revulsion, and disturbance in their respective audience. The rhetorical and stylistic strategies employed to evoke these feelings are unique to the gen're. Divulging these strategies will be the major focus of this thesis, yet there will also be discussion on the social and cultural background of the Horror genre. -
Revenant Landscapes in the Walking Dead
Revenant Landscapes in The Walking Dead Abstract This paper considers The Walking Dead comic (Kirkman, Moore and Adlard, Image 2003-present) and television series (AMC, 2010-present), arguing that although the two series rely on similar imagery they are distinct in their use of space. This contradicts established industry, audience and creator discourses surrounding this text and offers a counter-argument to the popular perspective that comics can be used as simple storyboards for their television adaptations. Firstly, geographies of the urban gothic and themes such as inversion and decay are used to interrogate paratextual claims of fidelity between the two texts. The paper compares key scenes and settings and goes beyond aesthetics to show that in both versions the functions of urban spaces are inverted (the highway, prison, farm, etc). It argues that the zombies’ decaying flesh echoes the disrepair of the landscape and the protagonists’ own bodily fragmentation through injury and violence is mirrored in the destruction of the places they encounter. These claims are then reconsidered using the space of the comics page, applying the work of Thierry Groensteen and critical theories of gothic narrative structure. This demonstrates that comics’ mono-sensory narratives allow depictions to be thematically linked with an emotive use of space to engage readers, and that this contributes to a gothic architecture of the page. The paper concludes that the critical discourse of fidelity that surrounds The Walking Dead is superficial and that each version’s spaces are medium-specific and distinct in their affect on the reader/viewer. Presenter biography: Dr Julia Round is a principal lecturer in the Faculty of Media and Communication at Bournemouth University, UK, and co-edits the academic journal Studies in Comics (Intellect).