So Many Traps to Set: Subversions and Subversiveness in Profit
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Buffy's Glory, Angel's Jasmine, Blood Magic, and Name Magic
Please do not remove this page Giving Evil a Name: Buffy's Glory, Angel's Jasmine, Blood Magic, and Name Magic Croft, Janet Brennan https://scholarship.libraries.rutgers.edu/discovery/delivery/01RUT_INST:ResearchRepository/12643454990004646?l#13643522530004646 Croft, J. B. (2015). Giving Evil a Name: Buffy’s Glory, Angel’s Jasmine, Blood Magic, and Name Magic. Slayage: The Journal of the Joss Whedon Studies Association, 12(2). https://doi.org/10.7282/T3FF3V1J This work is protected by copyright. You are free to use this resource, with proper attribution, for research and educational purposes. Other uses, such as reproduction or publication, may require the permission of the copyright holder. Downloaded On 2021/10/02 09:39:58 -0400 Janet Brennan Croft1 Giving Evil a Name: Buffy’s Glory, Angel’s Jasmine, Blood Magic, and Name Magic “It’s about power. Who’s got it. Who knows how to use it.” (“Lessons” 7.1) “I would suggest, then, that the monsters are not an inexplicable blunder of taste; they are essential, fundamentally allied to the underlying ideas of the poem …” (J.R.R. Tolkien, “Beowulf: The Monsters and the Critics”) Introduction: Names and Blood in the Buffyverse [1] In Joss Whedon’s Buffy the Vampire Slayer (1997-2003) and Angel (1999- 2004), words are not something to be taken lightly. A word read out of place can set a book on fire (“Superstar” 4.17) or send a person to a hell dimension (“Belonging” A2.19); a poorly performed spell can turn mortal enemies into soppy lovebirds (“Something Blue” 4.9); a word in a prophecy might mean “to live” or “to die” or both (“To Shanshu in L.A.” A1.22). -
Joséphine Magnard Tim Burton's Charlie and the Chocolate Factory
Joséphine Magnard Tim Burton’s Charlie and the Chocolate Factory: A Fairy Tale between Tradition and Subversion ---------------------------------------------------------------------------------------------------------------------------------------------- MAGNARD Joséphine. Tim Burton’s Charlie and the Chocolate Factory: A Fairy Tale between Tradition and Subversion, sous la direction de Mehdi Achouche. - Lyon : Université Jean Moulin (Lyon 3), 2018. Mémoire soutenu le 18/06/2019. ---------------------------------------------------------------------------------------------------------------------------------------------- Document diffusé sous le contrat Creative Commons « Paternité – pas d’utilisation commerciale - pas de modification » : vous êtes libre de le reproduire, de le distribuer et de le communiquer au public à condition d’en mentionner le nom de l’auteur et de ne pas le modifier, le transformer, l’adapter ni l’utiliser à des fins commerciales. Master 2 Recherche Etudes Anglophones Tim Burton’s Charlie and the Chocolate Factory: A Fairy Tale between Tradition and Subversion A dissertation presented by Joséphine Magnard Year 2017-2018 Under the supervision of Mehdi Achouche, Senior Lecturer ABSTRACT The aim of this Master’s dissertation is to study to what extent Tim Burton plays with the codes of the fairy tale genre in his adaptation of Roald Dahl’s children’s book Charlie and the Chocolate Factory (1964). To that purpose, the characteristics of the fairy tale genre will be treated with a specific focus on morality. The analysis of specific themes that are part and parcel of the genre such as childhood, family and home will show that Tim Burton’s take on the tale challenges the fairy tale codes, providing its viewers with a more Tim Burtonesque, subversive approach where things are not as definable as they might seem. -
El Llegat Dels Germans Grimm En El Segle Xxi: Del Paper a La Pantalla Emili Samper Prunera Universitat Rovira I Virgili [email protected]
El llegat dels germans Grimm en el segle xxi: del paper a la pantalla Emili Samper Prunera Universitat Rovira i Virgili [email protected] Resum Les rondalles que els germans Grimm van recollir als Kinder- und Hausmärchen han traspassat la frontera del paper amb nombroses adaptacions literàries, cinema- togràfiques o televisives. La pel·lícula The brothers Grimm (2005), de Terry Gilli- am, i la primera temporada de la sèrie Grimm (2011-2012), de la cadena NBC, són dos mostres recents d’obres audiovisuals que han agafat les rondalles dels Grimm com a base per elaborar la seva ficció. En aquest article s’analitza el tractament de les rondalles que apareixen en totes dues obres (tenint en compte un precedent de 1962, The wonderful world of the Brothers Grimm), així com el rol que adopten els mateixos germans Grimm, que passen de creadors a convertir-se ells mateixos en personatges de ficció. Es recorre, d’aquesta manera, el camí invers al que han realitzat els responsables d’aquestes adaptacions: de la pantalla (gran o petita) es torna al paper, mostrant quines són les rondalles dels Grimm que s’han adaptat i de quina manera s’ha dut a terme aquesta adaptació. Paraules clau Grimm, Kinder- und Hausmärchen, The brothers Grimm, Terry Gilliam, rondalla Summary The tales that the Grimm brothers collected in their Kinder- und Hausmärchen have gone beyond the confines of paper with numerous literary, cinematographic and TV adaptations. The film The Brothers Grimm (2005), by Terry Gilliam, and the first season of the series Grimm (2011–2012), produced by the NBC network, are two recent examples of audiovisual productions that have taken the Grimm brothers’ tales as a base on which to create their fiction. -
8 TV Power Games: Friends and Law & Order
8 TV Power Games: Friends and Law & Order There is no such thing as a one-man show | at least not in television: one feature that all TV shows have in common is the combination of a large number of diverse contributors: producers, scriptwriters, actors, and so on. This is illustrated in Exhibit 8.1, which depicts the links between key contributors to the making and selling of a TV show. Solid lines repre- sent some form of contractual relationship, whereas dashed lines represent non-contractual relationships of relevance for value creation and value distribution. As is the case with movies, pharmaceutical drugs, and other products, the distribution of TV show values is very skewed: many TV shows are worth relatively little, whereas a few shows generate a very high value: For example, at its peak Emmy Award-winning drama ER fetched $13 million per episode.1 How does the value created by successful shows get divided among its various contrib- utors, in particular actors, producers and networks? Who gets the biggest slice of the big pie? In this chapter, I address this question by looking at two opposite extreme cases in terms of relative negotiation power: Law & Order and Friends. Law & Order | and profits The legal drama series Law & Order was first broadcast on NBC on September 13, 1990. (The pilot episode, produced in 1988, was intended for CBS, but the network rejected it, just as Fox did later, in both cases because the show did not feature any \breakout" characters.) By the time the last show aired on May 24, 2010, it was the longest-running crime drama on American prime time TV. -
Stephen J. Cannell, 1941-2010
STEPHEN J. CANNELL, 1941-2010 Stephen J(oseph) Cannell was born February 5, 1941 to Joseph Cannell, a Pasadena, California entrepreneur. Cannell struggled through his early school years, flunking three different grades of elementary, junior or senior high school, and regularly failing his English classes. Years later, when having one of his own children tested for dyslexia, he discovered that he had suffered from it his entire life. Never the less, he had a passionate love for writing, despite his difficulties with the written word, and set a goal for himself to become a best-selling author. After attending the University of Oregon on a football scholarship and meeting creative writing teachers that bolstered his confidence, Cannell married his high school sweetheart and went to work for his family’s business – driving a furniture truck all day. In the evenings, he set a rigorous writing schedule for himself – writing 5 hours a day, 7 days a week, on spec. He decided that his target market would be the burgeoning television scene, and after 6 years without a sale, he finally sold a script – to the series Ironside. After a few more sales, he caught the eye of the legendary writer/producer Jack Webb, who first hired him to be story editor and ultimately head writer for Adam-12. Cannell was contracted to Universal Television, writing and producing shows for that studio during the early-to-mid 1970s. While there, he produced Chase and wrote for and produced Toma, about real-life New York City detective David Toma. While producing Toma, Cannell and his mentor Roy Huggins (creator of Maverick, and many other tv series) wrote an episode that ended up getting rewritten to serve as a pilot for a series about an unorthodox Southern California P.I. -
Death As a Gift in J.R.R Tolkien's Work and Buffy the Vampire Slayer
Journal of Tolkien Research Volume 10 Issue 1 J.R.R. Tolkien and the works of Joss Article 7 Whedon 2020 Death as a Gift in J.R.R Tolkien's Work and Buffy the Vampire Slayer Gaelle Abalea Independant Scholar, [email protected] Follow this and additional works at: https://scholar.valpo.edu/journaloftolkienresearch Part of the American Popular Culture Commons, Literature in English, British Isles Commons, and the Other Film and Media Studies Commons Recommended Citation Abalea, Gaelle (2020) "Death as a Gift in J.R.R Tolkien's Work and Buffy the Vampire Slayer," Journal of Tolkien Research: Vol. 10 : Iss. 1 , Article 7. Available at: https://scholar.valpo.edu/journaloftolkienresearch/vol10/iss1/7 This Peer-Reviewed Article is brought to you for free and open access by the Christopher Center Library at ValpoScholar. It has been accepted for inclusion in Journal of Tolkien Research by an authorized administrator of ValpoScholar. For more information, please contact a ValpoScholar staff member at [email protected]. Abalea: Death as a Gift in Tolkien and Whedon's Buffy DEATH AS A GIFT IN J.R.R TOLKIEN’S WORK AND BUFFY THE VAMPIRE SLAYER “Love will bring you to your gift” is what Buffy is told by a spiritual being under the guise of the First Slayer in the Episode “Intervention” (5.18). The young woman is intrigued and tries to learn more about her gift. The audience is hooked as well: a gift in this show could be a very powerful artefact, like a medieval weapon, and as Buffy has to vanquish a Goddess in this season, the viewers are waiting for the guide to bring out the guns. -
Buffy the Vampire Slayer Season 8 Library Edition Volume 1 Pdf, Epub, Ebook
BUFFY THE VAMPIRE SLAYER SEASON 8 LIBRARY EDITION VOLUME 1 PDF, EPUB, EBOOK Michelle Madsen,Paul Lee,Andy Owens,Cliff Richards,Dave Stewart,Georges Jeanty,Joss Whedon,Brian K. Vaughan,Scott Allie | 320 pages | 05 Jun 2012 | Dark Horse Comics,U.S. | 9781595828880 | English | Milwaukie, United States Buffy the Vampire Slayer Season 8 Library Edition Volume 1 PDF Book Buffy finds her powers weakened, because unbeknownst to her, Giles has been drugging her as part of a cruel Watchers' Council test of the Slayer's abilities. The final shot of Willow cradling Tara's corpse will go down in TV history. But that final scene is devastating, particularly the look on Willow's face and Spike, racked with sobs. Faith and Robin Wood enjoy a one-night stand. And yet, the break-up is rough : Remember how cute Willow and Oz were? Past that, "Triangle" breaks up the tension of a season building to a big finish. As in "Flooded," it's just a bummer to see Buffy struggling with making ends meet. Seriously, those demon bikers. Yes, it's another Riley-centric one, but at least here he has a reason to be freaking out. And Buffy and Spike cuddle. But it's really all about cheeky Spike and nutty Dru. Except at the end of the episode, she's killed by Adam, one of the worst villains the show ever gave us. Contner "Things fall apart," Tara says at the end of "Entropy. What better way for Willow and Anya to work out their issues than by joining forces against Anya's ex, a troll named Olaf? And Buffy's heart is broken. -
3Rd QUARTER 2018 EFFECTIVE 8/3/18
EFFECTIVE 8/3/18 3rd QUARTER 2018 MONDAY - FRIDAY SATURDAY SUNDAY 6:00a Adventures of Superman 6:00a Maverick Tarzan 6:30a Adventures of Superman 6:30a 7:00a Wanted: Dead or Alive Batman 7:00a Tarzan 7:30a Wanted: Dead or Alive Batman 7:30a 8:00a Have Gun, Will Travel 8:00a Tarzan Daniel Boone 8:30a Have Gun, Will Travel 8:30a 9:00a Travel Thru History (E/I) 9:00a Rawhide Tarzan 9:30a The Coolest Places on Earth (E/I) 9:30a 10:00a Zoo Clues (E/I) 10:00a The High Chaparral The Greatest American Hero 10:30a Walking Wild (E/I) 10:30a 11:00a Real Stories of the Highway Patrol Safari (E/I) 11:00a The Greatest American Hero 11:30a Real Stories of the Highway Patrol Safari (E/I) 11:30a 12:00p Swamp Thing 12:00p The Incredible Hulk 12:30p Swamp Thing 12:30p 1:00p 1:00p Sheena The Incredible Hulk 1:30p 1:30p 2:00p 2:00p Xena: Warrior Princess The Greatest American Hero 2:30p 2:30p 3:00p 3:00p Xena: Warrior Princess Relic Hunter 3:30p 3:30p 4:00p 4:00p Hercules: The Legendary Journeys Relic Hunter 4:30p 4:30p 5:00p 5:00p Hercules: The Legendary Journeys BeastMaster 5:30p 5:30p 6:00p 6:00p Renegade BeastMaster 6:30p 6:30p 7:00p 7:00p Black Sheep Squadron Black Sheep Squadron 7:30p 7:30p 8:00p 8:00p Star Trek: Original Black Sheep Squadron Star Trek: Original 8:30p 8:30p 9:00p 9:00p Star Trek: The Next Generation Hunter Star Trek: The Next Generation 9:30p 9:30p 10:00p 10:00p Star Trek: Deep Space Nine Hunter Star Trek: Deep Space Nine 10:30p 10:30p 11:00p 11:00p Star Trek: Voyager Wiseguy Star Trek: Voyager 11:30p 11:30p 12:00a 12:00a Star Trek: Enterprise Wiseguy Star Trek: Enterprise 12:30a 12:30a 1:00a 1:00a Xena: Warrior Princess The Commish The Incredible Hulk 1:30a 1:30a 2:00a 2:00a Xena: Warrior Princess The Commish The Incredible Hulk 2:30a 2:30a 3:00a Swamp Thing 3:00a Hercules: The Legendary Journeys 21 Jump Street 3:30a Swamp Thing 3:30a 4:00a 4:00a Hercules: The Legendary Journeys 21 Jump Street Tarzan 4:30a 4:30a 5:00a The Cisco Kid 5:00a Cheyenne Tarzan 5:30a Trackdown 5:30a ALL TIMES EASTERN/PACIFIC • SUBJECT TO CHANGE COLOR INDICATES CHANGE TO SCHEDULE . -
Vancouver's Serinda Swan Gets Real in New CBC Drama Coroner
Vancouver's Serinda Swan gets real in new CBC drama Coroner Swan stars as a Toronto coroner who has to raise her teenage son on her own after her husband's sudden death. Dana Gee Updated: January 7, 2019 Coroner Where: CBC When: Jan. 7, 9 p.m. Info: cbc.ca Serinda Swan felt there was more to her new TV character coroner Jenny Cooper than the study of bodily fluids, skin tissue and blood spray patterns. Swan felt Cooper, the lead in the new CBC drama Coroner, had an internal life that was also ripe for dissection. “I really want to keep her as human as possible. I donʼt want her to be a coroner that happens to be a person. I wanted her to be a person who happens to be a coroner,” Swan said she told Coroner execuitve producer and director Adrienne Mitchell and showrunner/creator Morwyn Brebner when they were discussing the role. “I wanted to be able to lead with her humanity. I wanted to lead with everything she feels.” In the new eight-part series we meet Swan just as her husband has dropped dead. Once an emergency room doctor, Swanʼs mounting anxiety has forced her to make big changes and navigate new, very often, emotional waters. To help start anew she packs up her teenage son moves to Toronto and takes a job as a coroner. The CBC drama Corner stars Serinda Swan as coroner Jenny Cooper. Photo: Ben Mark Holzberg Ben Mark Holzberg / PNG “First and foremost itʼs watching a womanʼs experience in this new life,” added Swan, who grew up in West Vancouver but has called Los Angeles home since 2009. -
Keep It Down
COVER STORY..............................................................2 The Sentinel FEATURE STORY...........................................................3 SPORTS.....................................................................4 MOVIES............................................................8 - 22 WORD SEARCH/ CABLE GUIDE.......................................10 COOKING HIGHLIGHTS..................................................12 SUDOKU..................................................................13 tvweek STARS ON SCREEN/Q&A..............................................23 December 25 - 31, 2016 Keep it down Noah Wyle as seen in “The Librarians” Ewing Brothers 2 x 3 ad www.Since1853.com While the rest of the team sets out to recover the Eye of Ra and solve the mystery of the Bermuda Triangle, Flynn (Noah Wyle, “ER”) learns a great deal about himself in a new episode of “The Librarians,” airing Sunday, 630 South Hanover Street Dec. 25, on TNT. The series follows a group of Librarians tasked with retrieving powerful artifacts, solving Carlisle•7 17-2 4 3-2421 mysteries and battling supernatural threats to mankind. Rebecca Romijn (“X-Men,” 2000) and Christian Kane Steven A. Ewing, FD, Supervisor, Owner (“Leverage”) also star. 2 DECEMBER 24 CARLISLE SENTINEL cover story the other Librarians on their The other members of the many harrowing adventures. team each possess unique skills Stacks of thrills However, now that she and that help them on their many Carsen are romantically in- quests. Kane is Oklahoma-born Season 3 of ‘The Librarians’ in full swing on TNT volved, she struggles to keep cowboy Jacob Stone, the per- her feelings for him from get- fect combination of brains and By Kyla Brewer The big news this season is ting in the way of her duty to brawn, thanks to his knowledge TV Media the return of Noah Wyle, who protect the others. of art, architecture and history. -
Joss Whedon's Commentaries on the Buffy the Vampire Slayer Dvds
“Emotional Resonance and Rocket Launchers”: Joss Whedon’s Commentaries on the Buffy the Vampire Slayer DVDs I think everybody who makes movies should be forced to do television. Because you have to finish. You have to get it done, and there are a lot of decisions made just for the sake of making decisions. You do something because it’s efficient and because it gets the story told and it connects to the audience. Joss Whedon, Interview in The Watcher’s Guide, Vol. 2 (323) The two things that matter the most to me: emotional resonance and rocket launchers. Party of Five, a brilliant show, and often made me cry uncontrollably, suffered ultimately from a lack of rocket launchers. Joss Whedon, Audio Commentary for “Innocence” (1) According to an old witticism (credited to, of all people, Otto von Bismarck), “Laws are like sausages, it is better not to see them being made.” Perhaps television shows and movies should be added to the list. The magic we so often experience as members of the audience of both media may well not be visible on the production set. With the advent of the DVD, however, we are now often given the opportunity to peek behind the curtain and see the wizard for what he is, especially when the wizard does the audio commentary. On the DVD releases of Buffy the Vampire Slayer’s first and second seasons, the great and powerful Joss Whedon speaks over the two part pilot, “Welcome to the Hellmouth” and “The Harvest” (1001 and 1002; hereafter “Hellmouth” and “Harvest” respectively) and “Innocence” (2014), and in the process we are given the opportunity to see through his eyes how Buffy was made. -
A Terminologia Da Série Grimm: Uma Análise Com Base Em Corpus Paralelo Inglês/Português
UNIVERSIDADE DE BRASÍLIA INSTITUTO DE LETRAS DEPARTAMENTO DE LÍNGUAS ESTRANGEIRAS E TRADUÇÃO LÍNGUAS ESTRANGEIRAS APLICADAS AO MULTILINGUISMO E À SOCIEDADE DA INFORMAÇÃO ISABELA SILVA DE CASTRO A TERMINOLOGIA DA SÉRIE GRIMM: UMA ANÁLISE COM BASE EM CORPUS PARALELO INGLÊS/PORTUGUÊS. BRASÍLIA – DF 2019 ISABELA SILVA DE CASTRO A TERMINOLOGIA DA SÉRIE GRIMM: UMA ANÁLISE COM BASE EM CORPUS PARALELO INGLÊS/PORTUGUÊS. Trabalho de Conclusão de Curso apresentado ao Departamento de Línguas Estrangeiras e Tradução da Universidade de Brasília como requisito parcial para a obtenção do título de Bacharel em Línguas Estrangeiras Aplicadas ao Multilinguismo e à Sociedade da Informação. Orientador: Prof. Dr. Marcos de Campos Carneiro. BRASÍLIA - DF 2019 ISABELA SILVA DE CASTRO A TERMINOLOGIA DA SÉRIE GRIMM: UMA ANÁLISE COM BASE EM CORPUS PARALELO INGLÊS/PORTUGUÊS. Trabalho de Conclusão de Curso apresentado ao Departamento de Línguas Estrangeiras e Tradução da Universidade de Brasília como requisito parcial para a obtenção do título de Bacharel em Línguas Estrangeiras Aplicadas ao Multilinguismo e à Sociedade da Informação. Brasília, 06 de dezembro de 2019. BANCA EXAMINADORA Prof. Dr. Marcos de Campos Carneiro (orientador) (LET/UNB) Profª. Drª. Helena Santiago Vigata (LET/UNB) Prof. Dr. Thiago Blanch Pires (LET/UNB) AGRADECIMENTOS A Deus, primeiramente, por ter me dado forças, inteligência e capacidade para vencer mais essa fase da minha vida. Mesmo com todas as dificuldades e percalços enfrentados nesses cinco anos de curso, só tenho a agradecer por todas as benções que recebi nesses anos. Na tentativa de conduzir esta pesquisa, em suas várias etapas de desenvolvimento, surgiram diversas incertezas e desafios, com os quais só pude lidar devido às contribuições diretas e indiretas de vários parceiros.