COVID-19 Rules Schedule

Total Page:16

File Type:pdf, Size:1020Kb

COVID-19 Rules Schedule DEADPOOL VS. THE WORLD Deadpool has become mentally unhinged and gives into a voice that only wants destruction. Under "Evil Voice's" influence, Deadpool begins assassinating every superhero and supervillain on Earth and across the Multiverse. He's done with this universe and determines that the only way to finally end everything is to kill the Watcher, in an apparent attempt to stop his comic book creators. Using his "dimensional teleporter" Deadpool recruits an army of himself.... "I'll find you soon enough." PLEASE NOTE: It is very important to pre-register. We are limiting the total number of participants, so If you show up without a season pass or a ticket you might be turned away! COVID-19 Rules The top priority at our park is the safety and the well-being of our guests and team members. Regardless of the environment, this is our top priority every day. We also recognize and understand that you all have concerns about the coronavirus; therefore,masks are required at certain times and in certain areas of the staging area. ● Masks are required in the check in line, in the check in building at all times, in the air line/while getting air, and in the food line/while getting food. ● Masks will be required to be worn by everyone during the game briefing and score announcements at the end of the day. ● Masks will be required anywhere in the staging area where you can not stand 6 feet apart from those you did not show up with. ● Masks are not required to be worn at your picnic table, at your car, or on the paintball field. ● Plan Ahead! Be prepared to stage out of your car. ● Please if you are feeling ill or have been exposed to anyone experiencing COVID systems stay home! Help keep fellow players safe! We get it. Masks aren’t fun. But we all have to abide by these rules in order to run a safe “BIG GAME”. Schedule: To keep people from crowding together, we will be running ONE CONTINUOUS GAME ALL DAY! We will have several entry points to the park and will have modified respawn points. The raffle will be running all day long and prizes will be announced throughout the day. At the end of the day we will be announcing the scores. Masks are required during the announcement. Objectives: Mission 1: Protect Main Base Protect your main base from your opponent. Each Base will have a flag located in the center. Capture your opponent's flag and bring it back to your ​respawn​ to score. ​(1000 points) Deadpool Base: ​Octagon Hero’s Base: ​Castle Mission 2: Protect the Unicorns 3 Mysterious Unicorns have appeared for each team. Protect your 3 Unicorns from destruction. Each team is tasked with protecting their unicorn and must destroy their opponents one that is located at the team’s base and two will be just outside ​(500 points for each unicorn left at the end of the game) (700 points for each opponent unicorn destroyed) Mission 3: Deadpool Deadpool Deadpool Deadpool has opened a portal into the multiverse! Find all 4 deadpool swords (in your team color) and recruit a deadpool onto your Team! Swords must be returned to respawn to be used. MULTIPLE DEADPOOLS CAN BE CREATED SO KEEP ON THE LOOKOUT! Also, remember deadpool can take a hit.. 3 in fact. Each recruited deadpool must be shot 3 times before they will return to the respawn area. ​A yellow armband​ will be placed on each deadpool along with your team color to signify which deadpool is special ​(500 points for each deadpool recruited) Special Mission:​ 4 Black deadpool swords have been placed out in the battle field. Find all four and release the Ultimate Deadpool. The ultimate deadpool cannot be killed. If you are touched by the Ultimate deadpool you are out. ​(500 points) Mission 4: Find the Creator! Deadpool is after the life of the creator.. Only one problem.. No one knows who he is. The Creator's identity has been safely locked away in a safe on the battlefield. The combination is located somewhere on the battlefield. The 3 digit code is hidden behind one of the ten deadpool logos. (1000 points for finding the creators identity) Once the creator's identity has been found, Deadpool’s team must kill him and the creators team must protect him. ​(1000 points for killing him or protecting him by the end of the game) Mission 5: Clash of the HEROS Each team is responsible for saving the heroes or eliminating them. The heroes have been shrunken down and wrapped in a package. Find all the Hero Packages and bring them back to the Head Referee station to score. The Hero’s will be either saved or eliminated. Heros are random and points are randomly assigned to each hero. Punisher: 500 points Doctor Doom: 600 Points The Collector: 200 points Colossus: 500 points Galactus: 600 points Gambit: 400 points Iceman: 300 points Batman: 750 points Deadpool chicken 750 points Stan Lee: 1000 points GAME ENDS AT 3:45 GUN RAFFLE: The winner of the LUXE ACE AND SPIRE 4 will be announced Final Game: End Game will start at 4pm! One final battle in frequency and Urban Village. The Team with the least points will start in Frequency and the team with the most points will start in Urban Village. General Rules Team Colors: Deadpool: Red Hero’s: Blue Player Points: 10 Points​ for every player shot out of the game (this will be tracked at respawn) ** players caught cheating will cost their team (-100 points) don’t cheat...it's not cool. Respawn: One location for each team behind the main base. At the start of each game respawn will be instant. Players must touch respawn points. Medic: We will have 3 medics for each team. Medics will be roaming throughout the field and will be represented by a medic armband. Each player will be given a medic card. When a player is eliminated they can respawn by bringing their card to the medic or original respawn area. The medic will punch out a hole in the card and the player will then be able to return to the game. On the third punch the player must return to the original respawn area. The medic is also a live player and therefore can be eliminated. If the medic is eliminated they MUSt return to the original respawn area and no one can use the medic until they are back in the game. Generals: Generals will have three lives before needing to respawn 300 points​ ​for Deadpool 300 points​ ​for Ironman Sub-Generals: Sub-generals must respawn after every hit 100 points​ Lady Pool X2 100 points​ ​Captain America and Wolverine Perks: Several perks are located throughout the fields. Shields:​ Several Shield are located through the field and players can use them to protect themselves. If a player gets shot out they must drop the shield where they are standing. *Doctor Strange Manipulates time:​ find this perk and increase the respawn time of the opposing team, the time will be listed on the perk. Players must bring perk out of the game to the head referee to use. *Falcons Airstrike:​ Find this perk and eliminate players of the opposing team on a single playing field (I.e. hyperball field or D-day). Players must bring the perk out of game to the head referee to use. Mjolnir(Thor's Hammer):​ Mjolnir is hidden on the playing fields. Find it and use them against your opponents. Will eliminate players behind bunkers and eliminate players in a 20ft radius (referees discretion). Can be used repeatedly. Hawk Eye’s Bow (x2): ​Use Hawk Eyes bow to eliminate any person holding a shield or anyone behind a bunker. Can reuse arrows. Please let a referee know if you have a bow so they can assist you with calling players out. *I Am Groot:​ Awards your team and additional 100 points.. why?.. Because I Am Groot. Players must bring perk out of the game to the head referee to use. Look out for falling whales​: a giant Blue whale falls from the sky and eliminates all players. Players must bring perk out of the game to the head referee to use. Ironman's Blasters​: Find this perk and eliminate 5 players of your choice. Perk does not have to be used all at once and players must be in eyesight. (shields do not protect players from Ironman's blasters) .
Recommended publications
  • Creating a Superheroine: a Rhetorical Analysis of the X-Men Comic Books
    CREATING A SUPERHEROINE: A RHETORICAL ANALYSIS OF THE X-MEN COMIC BOOKS by Tonya R. Powers A Thesis Submitted in Partial Fulfillment Of the Requirements for the Degree MASTER OF ARTS Major Subject: Communication West Texas A&M University Canyon, Texas August, 2016 Approved: __________________________________________________________ [Chair, Thesis Committee] [Date] __________________________________________________________ [Member, Thesis Committee] [Date] __________________________________________________________ [Member, Thesis Committee] [Date] ____________________________________________________ [Head, Major Department] [Date] ____________________________________________________ [Dean, Fine Arts and Humanities] [Date] ____________________________________________________ [Dean, Graduate School] [Date] ii ABSTRACT This thesis is a rhetorical analysis of a two-year X-Men comic book publication that features an entirely female cast. This research was conducted using Kenneth Burke’s theory of terministic screens to evaluate how the authors and artists created the comic books. Sonja Foss’s description of cluster criticism is used to determine key terms in the series and how they were contributed to the creation of characters. I also used visual rhetoric to understand how comic book structure and conventions impacted the visual creation of superheroines. The results indicate that while these superheroines are multi- dimensional characters, they are still created within a male standard of what constitutes a hero. The female characters in the series point to an awareness of diversity in the comic book universe. iii ACKNOWLEDGEMENTS I wish to thank my thesis committee chair, Dr. Hanson, for being supportive of me within the last year. Your guidance and pushes in the right direction has made the completion of this thesis possible. You make me understand the kind of educator I wish to be. You would always reply to my late-night emails as soon as you could in the morning.
    [Show full text]
  • Or “More Human Than You?” the X- Men Respond to Televangelism
    “Mutant Hellspawn” or “More Human than You?” The X- Men Respond to Televangelism JACOB RENNAKER The late owuns and early owvns witnessed the rapid increase in popularity and power of televangelists—pastors emphasizing “that old- time religion” embraced modern media, resulting in droves of Americans tuning in religiously to view their sermons. This was the golden age of Oral Roberts, Jimmy Swag- gart, Jim and Tammy Faye Bakker, Jerry Fallwell, and Pat Robertson. It was in this milieu that Chris Claremont and Brent Anderson produced the graphic novel God Loves, Man Kills (owvp). In a rare story where the superhero team known as the X- Men does not fight a costumed villain, God Loves, Man Kills focuses on the threat posed by Reverend William Stryker, whose vitriolic anti- mutant message mobilized Americans against mutants. In a revelatory moment, Reverend Stryker turns out to be the father of a mutant, introducing an element of both hypocrisy and irony. Such a storyline highlighted the poten- tial dangers of televangelists wielding substantial religious and political power by warning of its abuse. This story turned somewhat prophetic when in the late owvns a number of prominent televangelists were exposed for committing the very acts against which they had been preaching. God Loves, Man Kills was an active participant in the discussion of televangelism in the United States by identifying intersections between the graphic novel and public opinion during the owvns and the story forecasted the downfall of major figures in tel- evangelism later that decade. In spite of its sometimes skeptical view of tele- vangelism, God Loves, Man Kills responded to this complex situation with a heroic sense of hope that ultimately empowered its readers to make positive, lasting changes in the world.
    [Show full text]
  • Representations of Women in Popular Film: a Study of Gender Inequality in 2018
    A Study of Gender Inequality in 2018 by Ian Kunsey — 27 Representations of Women in Popular Film: A Study of Gender Inequality in 2018 Ian Kunsey Cinema and Television Arts Elon University Submitted in partial fulfillment of the requirements in an undergraduate senior capstone course in communications Abstract While much attention has been drawn to the lack of diversity in Hollywood, many minority groups still lack equal opportunities in the film industry. Roles for women, in particular, have grown slowly, leaving developed female characters far below proportionality. This study looks at the representation of women in the top-five grossing live-action movies directed by men and the top-five grossing live-action movies directed by women in 2018. Based on background quantitative data as well as a qualitative content analysis, this paper found that portrayals of women are much more positive in movies directed by women and that female directors frame female characters much more positively. These positive portrayals are largely affected by the presence of a critical actor behind the scenes. I. Introduction Even in the rapidly changing media landscape of the 21st century, movies have remained an integral part of American popular culture. While methods of consumption have changed, millions of Americans still flock to theaters every year to see stories played out on the silver screen, with the U.S. domestic box office grossing $10.7 billion in 2018 (Statista, n.d.). Concurrently, the Academy Awards, the world’s most prestigious cinematic awards, draws millions of viewers each year. The sustained prevalence of film in popular culture positions the medium as a key cog in American society and popular culture (Simonton, 2004).
    [Show full text]
  • MUTATIONS and MONSTERS CHARACTER CARDS Original Text
    MUTATIONS AND MONSTERS CHARACTER CARDS Original Text ©2011 WizKids/NECA, LLC TM & ©2011 Marvel. PRINTING INSTRUCTIONS 1. From Adobe® Reader® or Adobe® Acrobat® open the print dialog box (File>Print or Ctrl/Cmd+P). 2. Click on Properties and set your Page Orientation to Landscape (11 x 8.5). 3. Under Print Range>Pages input the pages you would like to print. (See Table of Contents) 4. Under Page Handling>Page Scaling select Multiple pages per sheet. ©2011 WizKids/NECA, LLC TM & ©2011 Marvel. 5. Under Page Handling>Pages per sheet select Custom and enter 2 by 2. 6. If you want a crisp black border around each card as a cutting guide, click the checkbox next to Print page border. 7. Click OK. ©2011 WizKids/NECA, LLC TM & ©2011 Marvel. TABLE OF CONTENTS Absorbing Man™, 25 Cassandra Nova™, 55 Agent Brand™, 19 Chamber™, 32 Ahab™, 41 Charles Xavier™, 72 Apocalypse™, 65 Colossus™, 18 Arcade™, 52 Cuckoo™, 15 Archangel™, 40 Cyclops™ (First Class), 8 Beast™ (First Class), 9 Cyclops™, 29 Beast™, 33 Danger™, 45 Bishop™, 20 Dark Beast™, 67 Black Tom Cassidy™, 49 Dazzler™, 17 Box™, 14 Devil Dinosaur™ Brood™, 13 & Moon Boy™, 46 Emma Frost™, 59 ©2011 WizKids/NECA, LLC TM & ©2011 Marvel. Esme Cuckoo™, 69 Korg™, 24 Fabian Cortez™, 42 Leader™, 50 Gambit™, 38 Living Monolith™, 60 Giant-Man™, 34 Maestro™, 66 Gorgon™, 28 Marvel Girl™, 7 Green Scar™, 39 Mastermind™, 58 High Evolutionary™, 51 Maverick™, 16 Hulkbuster™, 56 Miek™, 22 Hulk™, 23 Mimic™, 27 Iceman™ (First Class), 10 Morph™, 26 Iceman™, 35 Omega Red™, 44 Incredible Hulk™, 70 Pete Wisdom™, 12 Iron Man™ (Zombie), 61 Professor X™, 37 Iron Man™, 73 Proteus™, 71 Jean Grey™, 43 Rampaging Hulk™, 68 ©2011 WizKids/NECA, LLC TM & ©2011 Marvel.
    [Show full text]
  • Teaching Gifted and Talented Students for Today and Tomorrow Lamar University Dorothy Sisk 1
    TEXAS ASSOCIATION FOR THE GIFTED AND TALENTED Volume XXIV Issue 2 Member. National Association for Gifted Children (NAGC) Teaching Gifted and SPRING 2004 Talented Students for TEACHERS OF THE GIFTED Today and Tomorrow Dorothy Sisk Teaching Gifted and Talented Students for Today and Tomorrow Lamar University Dorothy Sisk 1 What does education often do? It makes a straight-cut From the President ditch ofafree meandering brook. Judy Bridges 3 - Henry David Thoreau nmost texts on Executive Director's Update education of gifted Jay Mcintire 4 students. there is usually a list of characteristicsI of effective teachers of Courageous and Conscious Teaching the gifted. and Renzulli (\980) over thirty years ago Diane Montgomery 5 questioned this practice. and suggested that educators focus on teacher behaviors; and I would suggest that l.eadership Development Program Fulfill we focus on student-teacher interaction. Gifted Gifted Students' Need students absorb information best when they discover Monica Florida 7 it themselves and make it their own. As educators. we have an obligation to support individual student paths to knowledge. and not to restrict meandering On Autonomy and Difforentiation approaches to learning (Alpert. 2003). Many gifted Tina Forester 9 students have a meandering approach to learning. and teachers who are willing to support this approach can co-create "rich tasks" with their gifted students. What the Research Says About Teacher Characteristics Perkins (1992) suggests three criteria to guide the Susan K. Johnsen development of rich tasks: I) Does the task focus on a Krys Goree discipline? 2) Does it provide connections to a real­ 20 world context? and.
    [Show full text]
  • THE BLACK X-MEN: WHERE ARE THEY in the NARRATIVE Lenzy T
    Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School 2011 THE BLACK X-MEN: WHERE ARE THEY IN THE NARRATIVE Lenzy T. Jones Southern Illinois University Carbondale, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp Recommended Citation Jones, Lenzy T., "THE BLACK X-MEN: WHERE ARE THEY IN THE NARRATIVE" (2011). Research Papers. Paper 172. http://opensiuc.lib.siu.edu/gs_rp/172 This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. THE BLACK X-MEN: WHERE ARE THEY IN THE NARRATIVE By Lenzy Tyrese Jones B.A., Southern Illinois University Carbondale, 2011 A Research Paper Submitted in Partial Fulfillment of the Requirements for the Master of Arts Degree Department of Sociology in the Graduate School Southern Illinois University Carbondale December 2011 RESEARCH PAPER APPROVAL THE BLACK X-MEN: WHERE IN THE NARRATIVE DO THEY EXIST By Lenzy Tyrese Jones A Research Paper Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the field of Sociology Approved by: Dr. Derek Martin, Chair Dr. Rachel Whaley Graduate School Southern Illinois University Carbondale August 4, 2011 An ABSTRACT OF THE RESEARCH PAPER OF Lenzy Tyrese Jones, for the Masters of Arts degree in Sociology, presented on 4 August 2011, at Southern Illinois University Carbondale. TITLE: BLACK X-MEN: WHERE IN THE NARRATIVE DO THEY EXIST MAJOR PROFESSOR: Dr.
    [Show full text]
  • X-Men and Philosophy
    ffirs.indd vi 1/28/09 6:27:26 PM X-MEN AND PHILOSOPHY ffirs.indd i 1/28/09 6:27:24 PM The Blackwell Philosophy and Pop Culture Series Series Editor: William Irwin South Park and Philosophy Edited by Robert Arp Metallica and Philosophy Edited by William Irwin Family Guy and Philosophy Edited by J. Jeremy Wisnewski The Daily Show and Philosophy Edited by Jason Holt Lost and Philosophy Edited by Sharon Kaye 24 and Philosophy Edited by Richard Davis, Jennifer Hart Week, and Ronald Weed Battlestar Galactica and Philosophy Edited by Jason T. Eberl The Offi ce and Philosophy Edited by J. Jeremy Wisnewski Batman and Philosophy Edited by Mark D. White and Robert Arp House and Philosophy Edited by Henry Jacoby X-Men and Philosophy Edited by Rebecca Housel and J. Jeremy Wisnewski Final Fantasy and Philosophy Edited by Jason P. Blahuta and Michel S. Beaulieu Heroes and Philosophy Edited by David Kyle Johnson Watchmen and Philosophy Edited by Mark D. White ffirs.indd ii 1/28/09 6:27:25 PM X-MEN AND PHILOSOPHY ASTONISHING INSIGHT AND UNCANNY ARGUMENT IN THE MUTANT X-VERSE Edited by Rebecca Housel and J. Jeremy Wisnewski John Wiley & Sons, Inc. ffirs.indd iii 1/28/09 6:27:25 PM This book is printed on acid-free paper. Copyright © 2009 by John Wiley & Sons, Inc. All rights reserved Published by John Wiley & Sons, Inc., Hoboken, New Jersey Published simultaneously in Canada Illustration credits: Page 115 by Emily S. Darowski and Joseph J. Darowski; page 200 by Dominique Thomas; page 207 by Nick Forst.
    [Show full text]
  • Reading the Uncanny Xmen: Gender, Race, and The
    READING THE UNCANNY X­MEN: GENDER, RACE, AND THE MUTANT METAPHOR IN A POPULAR NARRATIVE By Joseph James Darowski A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY American Studies 2011 ABSTRACT READING THE UNCANNY X­MEN: GENDER RACE AND THE MUTANT METAPHOR IN A POPULAR NARRATIVE By Joseph James Darowski The first superhero comic book was published in 1938 and since that time the genre has become a staple of American popular culture. While superhero stories have been adapted into every popular storytelling medium, the genre is most closely associated with the comic book industry. This dissertation examines the first 500 issues of The Uncanny X­Men, one of the most popular series to be published in America. In particular, the portrayals of race and gender will be analyzed by performing a close reading of the stories published as well as a numerical analysis of the ethnicity, nationality, and gender of the heroes, villains, and guest stars who appear in the series. The X‐Men comic book franchise has a reputation among fans, creators, and scholars as one of the most diverse and progressive superhero comic book titles. The core conceit of the series, that there are people called mutants who are born with powers and abilities that separate them from normal humans, has allowed the themes of societal prejudice and hatred to be explored in a metaphorical fashion, though looking closely at the race and gender of the characters in the series reveals a different reality than the common perception of the series.
    [Show full text]
  • What Are the Most Effective Characteristics of Teachers of the Gifted? PUB DATE 1997-05-00 NOTE 30P
    DOCUMENT RESUME ED 411 665 EC 305 858 AUTHOR Heath, William J. TITLE What Are the Most Effective Characteristics of Teachers of the Gifted? PUB DATE 1997-05-00 NOTE 30p. PUB TYPE Information Analyses (070) EDRS PRICE MF01/PCO2 Plus Postage. DESCRIPTORS Educational History; Elementary Secondary Education; *Gifted; Opinions; Personality Traits; *Special Education Teachers; Teacher Attitudes; *Teacher Characteristics; Teacher Education; *Teacher Effectiveness ABSTRACT This paper reviews the literature concerning the personal characteristics, professional characteristics, and teaching methods or styles of effective teachers of gifted students. The review is divided into three sections. First, a brief historical overview of gifted education since ancient times is offered. The next section looks at the opinions expressed by experts in the field of gifted education on essential characteristics of teachers of the gifted. The experts generally agreed that standards for teacher training should be established, that the teacher of the gifted should have state certification and/or an endorsement in gifted education, and that the teacher should have high intelligence, an understanding of giftedness, originality, and self-confidence. A table compares four editorial studies which examined experts' listings of desirable teacher characteristics. The bulk of the report reviews empirical studies of teacher characteristics. A table compares 10 such studies. Among desirable teacher characteristics identified by these studies are intelligence, enthusiasm, achievement, drive, self-confidence, promotion of student independence, and a preference for teaching gifted children. (Contains 51 references.) (DB) ******************************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document. ******************************************************************************** vi What are the Most Effective Characteristics of Teachers of the Gifted ? William J.
    [Show full text]
  • Comics and Videogames
    9 Many Spider- Men are better than one Referencing as a narrative strategy Dominik Mieth Over the last 20 years, characters like Spider- Man, Batman, and Lara Croft have appeared in different iterations across several media such as comics, movies, and games. Usually, new iterations are introduced in the context of adaptation— e.g., via a new movie or videogame appearance. However, when characters have a long-running publication history, changes also take place in the medium of their origin, often to make the character more acces- sible for new audiences. Reiterating and recreating iconic characters for new and old audiences and adapting them for different media is a thin line to walk for creators, as their audience will include both long-term fans well- informed about previous appearances and potential new fans encountering the characters and their storyworlds for the first time. Starting with theoretical perspectives on the elements that define a super- hero character, I will outline a model of character components that should be applicable in both theory and practice. While this model should help us ana- lyze several iterations of a character in comparison, it may also help creators to reflect on their decisions when working with similar IPs and hopefully to recreate a popular character successfully for a new comic book series, movie, or videogame. Using Spider- Man as an example, I will demonstrate how the comic books have dealt (or tried to deal) with the challenge of updating the character. While an attempt to introduce a new Spider- Man within the existing continuity failed, Marvel succeeded by establishing a multiplicity of Spider- Men across several comic book series and giving each iteration its own continuity.
    [Show full text]
  • "Monstrous" Visible? : Reading "Difference" in Contemporary Fantastic Film and Television
    Making the "Monstrous" visible? : Reading "difference" in contemporary fantastic film and television Autor(en): Frohreich, Kimberly A. Objekttyp: Article Zeitschrift: SPELL : Swiss papers in English language and literature Band (Jahr): 26 (2011) PDF erstellt am: 09.10.2021 Persistenter Link: http://doi.org/10.5169/seals-283973 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch Making the "Monstrous" Visible? Reading "Difference" in Contemporary Fan¬ tastic Film and Television Kimberly A. Frohreich FoUowing the trend of the humanized monster in the contemporary fantasy genre, the three X-Men films and the True Blood television series question the visual representation of the monster and the way the figure has been used to stigmatize the racial and/or sexual other.
    [Show full text]
  • Words Teaching Othering in Education Using “X-MEN” Movie
    Journal of English Literature, Linguistic, and Education Vol. 1 No. 1, Tahun 2020, Halaman (28-31) e-ISSN: 2721-3390 Words Teaching Othering In Education Using “X-MEN” Movie Susanto, Dwi Ario Fajar Universitas Pekalongan, Pekalongan, Indonesia [email protected], [email protected] Abstract Teaching abstract concept in literature like othering to English students can be challenging for it is difficult for students to visualize and relate to their reality. Using popular movie can help them visualize the concept lively. Popular science fiction movie like X-Men is not merely imaginative and full of fantasy; it also has relevant issue on concept of othering in Education. Therefore, instead of using it as means of teaching English skill, it can also be used as mean of helping students easily to understand difficult and abstract concept especially about othering in education. Deconstruction method and theory of movie for ELT is explored to describe othering in X-Men movie and how to the use of X-Men film as the mean to teach othering in education.It is found that X-Men provided critics of othering in education represented by negative views and different treatments to mutantsin field of education. The practices of othering were in form of discourses like seeing mutants as abnormal, a threat to normal people, and diseases needed curing and they were not allowed to go to normal school. To present the othering concept in X-Men, the lesson session were divided into three parts; previewing, viewing and post viewing. Keywords: X-Men, movie for ELT, othering in education Abstrak Abstrak ditulis dalam bahasa Indonesia yang ditulis miring.
    [Show full text]