Prometheus – Blending Fictional and Real Worlds
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Nature of Elliot Goldenthal's Music
The Nature of Elliot Goldenthal’s Music & A Focus on Alien 3 (& other scores) There is “something different” about Elliot Goldenthal’s music. There is also considerable brain and brawn in Elliot Goldenthal’s film music. His style is difficult to label because his approach is so eclectic depending on the project. Sometimes I feel he is fundamentally an independent art-house composer (perhaps Frida, say, and The Good Thief) although he can demonstrate thrilling orchestral power in scores such as Sphere and the Batman movies that I personally quite enjoyed. Overall he shows a Late Modernist temperament, musically an American Bohemian, but nevertheless grounded somewhat in the mainstream traditions (certainly at least traditional notation). His polystylism (eclectism) is a postmodern characteristic. An excellent example of polystylism is his score for Titus (and Good Thief to a lesser extent, and even an example or two in Alien 3) with the diverse or even odd juxtaposition of genres (symphonic-classical, rock, etc.) that represents in one score the type of projects he collectively undertook over the last fifteen years or so. There is not one clear-cut musical voice, in other words, but a mixture or fusion of different styles. It is, in part, his method of organization. Loosely speaking, his music is avant-garde but certainly not radically so--as in the case of John Cage with his aleatoric (random) music and quite non-traditional notation (although Goldenthal’s music can at select times be aleatoric in effect when he utilizes electronic music, quarter-toning, and other devices). He is experimental and freewheeling but certainly this tendency is not overblown and expanded into the infinite! He definitely takes advantage of what technology has to offer (MIDI applications, timbre sampling, synthesizer usage, etc.) but does not discard what traditions are useful for him to express his vision of musical art. -
Ridley Scott Is Re-Engineering the Iconic Xenomorph for an Alien Prequel/Sequel That’S Taking the Sci-Fi Horror Series Back to Its Fright-Filled Roots
ON SET 72 Nearly four decades after bursting onto the scene, Ridley Scott is re-engineering the iconic xenomorph for an Alien prequel/sequel that’s taking the sci-fi horror series back to its fright-filled roots. Total Film takes an express elevator to hell – aka the Sydney set of ALIEN: COVENANT – and comes face to face with a perfect organism. WORDS JORDan FARLEY TOTAL FILM | JULy 2017 ALIEN: COVENANT 73 JULy 2017 | TOTAL FILM MAKING OF idley Scott remembers Shepperton Studios like he’s just woken up from hypersleep. He remembers making movie history with Alien in 1979. Above all, he remembers his idle hands. How his own digits doubled for the finger-like legs of the facehugger twitching inside the egg. How he drew the film’s storyboards while studio suits ummed and ahhed over the budget. How he would improvise and improve set-ups until seconds before shooting, all because sitting around 74 – a common experience on film sets – would drive him “crazy”. If Ridley Scott’s own Alien memories are inextricably associated 78-year-old filmmaker’s mind for half nightmare and bland crossover franchise with idle hands, it’s only right that the his life. “Did it come about by accident… fodder. Scott famously returned to xenomorph itself, as revealed in Alien: or was it by design?” the series he launched in 2012 with Covenant, should be the product of a One thing’s for certain: intelligent Prometheus, an ambitious but flawed devil’s workshop. “Why on earth would design has rarely figured into the ad hoc prequel about the origins of humanity anyone make such a creature, and to evolution of the Alien series. -
Convergence Culture Reconsidered
Reconsidering Transmedia(l) Worlds Nicole Gabriel, Bogna Kazur, and Kai Matuszkiewicz 1. Introduction “Any thoughtful study of contemporary transmedia must start with the vital caveat that transmedia is not a new phenomenon, born of the digital age.” (Jason Mittell 2014, 253; emphasis in the original) To begin with, we would like to agree with the general sentiment of Mittell’s statement: ‘transmedia,’ which Mittell seems to use as an abbreviation of the term ‘transmediality,’ is not a new phenomenon. But can it really be a mere coincidence that these two terms and other related concepts such as ‘transmedial worlds’ have been introduced and extensively discussed in academic discourses since the early 2000s, less than ten years after the introduction of home computers and the inter- net to numerous private households, and at about the same time as the Web 2.0 came into existence? We do not think so. Rather, we believe that the increasing research interest of media studies in these phenomena and the various concepts used in this research field are indicators of a fundamental change in (trans)media culture that is a result of the emergence of digital technologies as well as their mas- sive influence on our everyday lives. The aims of this paper are to take a closer look at the terminology used to de- scribe different phenomena in the field of transmedia studies, to differentiate be- tween these terms and concepts and render them more precise, and to put trans- media(l) worlds into a historical context through the analysis of three case studies: the transmedial universe of Sherlock Holmes, the Alien saga, and the transmedial world of The Legend of Zelda. -
How Superman Developed Into a Jesus Figure
HOW SUPERMAN DEVELOPED INTO A JESUS FIGURE CRISIS ON INFINITE TEXTS: HOW SUPERMAN DEVELOPED INTO A JESUS FIGURE By ROBERT REVINGTON, B.A., M.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfillment of the Requirements for the Degree of Master of Arts McMaster University © Copyright by Robert Revington, September 2018 MA Thesis—Robert Revington; McMaster University, Religious Studies McMaster University MASTER OF ARTS (2018) Hamilton, Ontario, Religious Studies TITLE: Crisis on Infinite Texts: How Superman Developed into a Jesus Figure AUTHOR: Robert Revington, B.A., M.A (McMaster University) SUPERVISOR: Professor Travis Kroeker NUMBER OF PAGES: vi, 143 ii MA Thesis—Robert Revington; McMaster University, Religious Studies LAY ABSTRACT This thesis examines the historical trajectory of how the comic book character of Superman came to be identified as a Christ figure in popular consciousness. It argues that this connection was not integral to the character as he was originally created, but was imposed by later writers over time and mainly for cinematic adaptations. This thesis also tracks the history of how Christians and churches viewed Superman, as the film studios began to exploit marketing opportunities by comparing Superman and Jesus. This thesis uses the methodological framework of intertextuality to ground its treatment of the sources, but does not follow all of the assumptions of intertextual theorists. iii MA Thesis—Robert Revington; McMaster University, Religious Studies ABSTRACT This thesis examines the historical trajectory of how the comic book character of Superman came to be identified as a Christ figure in popular consciousness. Superman was created in 1938, but the character developed significantly from his earliest incarnations. -
Third Person : Authoring and Exploring Vast Narratives / Edited by Pat Harrigan and Noah Wardrip-Fruin
ThirdPerson Authoring and Exploring Vast Narratives edited by Pat Harrigan and Noah Wardrip-Fruin The MIT Press Cambridge, Massachusetts London, England 8 2009 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher. For information about special quantity discounts, please email [email protected]. This book was set in Adobe Chapparal and ITC Officina on 3B2 by Asco Typesetters, Hong Kong. Printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Third person : authoring and exploring vast narratives / edited by Pat Harrigan and Noah Wardrip-Fruin. p. cm. Includes bibliographical references and index. ISBN 978-0-262-23263-0 (hardcover : alk. paper) 1. Electronic games. 2. Mass media. 3. Popular culture. 4. Fiction. I. Harrigan, Pat. II. Wardrip-Fruin, Noah. GV1469.15.T48 2009 794.8—dc22 2008029409 10987654321 Index American Letters Trilogy, The (Grossman), 193, 198 Index Andersen, Hans Christian, 362 Anderson, Kevin J., 27 A Anderson, Poul, 31 Abbey, Lynn, 31 Andrae, Thomas, 309 Abell, A. S., 53 Andrews, Sara, 400–402 Absent epic, 334–336 Andriola, Alfred, 270 Abu Ghraib, 345, 352 Andru, Ross, 276 Accursed Civil War, This (Hull), 364 Angelides, Peter, 33 Ace, 21, 33 Angel (TV show), 4–5, 314 Aces Abroad (Mila´n), 32 Animals, The (Grossman), 205 Action Comics, 279 Aparo, Jim, 279 Adams, Douglas, 21–22 Aperture, 140–141 Adams, Neal, 281 Appeal, 135–136 Advanced Squad Leader (game), 362, 365–367 Appendixes (Grossman), 204–205 Afghanistan, 345 Apple II, 377 AFK Pl@yers, 422 Appolinaire, Guillaume, 217 African Americans Aquaman, 306 Black Lightning and, 275–284 Arachne, 385, 396 Black Power and, 283 Archival production, 419–421 Justice League of America and, 277 Aristotle, 399 Mr. -
The-Alien-Encyclopedia-Version-8.Pdf
1 Contents 1. Preface......................................................................................................5 2. About this book........................................................................................6 a) Using the encyclopedia: A word about Tags and the Appendices...............................................6 b) Regarding the Aliens vs. Predator universe and alternate movie scripts.....................................6 c) The writing perspective...............................................................................................................7 d) Alternate versions of Alien³ and the 1988 Aliens comics............................................................8 e) Conjecture....................................................................................................................................9 3. The A-Z..................................................................................................12 *** 0-9 ***....................................................................................................................................12 *** A ***.......................................................................................................................................13 *** B ***.......................................................................................................................................27 *** C ***.......................................................................................................................................44 -
Alien: La Cronologia
ALIEN: LA CRONOLOGIA 3.200.000.000 anni fa: su un pianeta sconosciuto e remoto, un membro della specie aliena degli “Ingegneri” ingerisce una sostanza sconosciuta dopodiché il suo corpo comincia a dissolversi e precipita da una cascata. Sott'acqua il suo corpo disgregato si ricompatta in un nuovo DNA. I secolo a.C. circa: gli Ingegneri stabiliscono un avamposto sulla luna LV-223, costruiscono un tempio ed iniziano a progettare un piano per sterminare l'umanità da loro creata, usando come arma un agente patogeno noto come "Chemical A0- 3959X.91 – 15". Qualcosa va storto nei loro esperimenti e vengono quasi tutti uccisi da qualcosa di non identificato, 4 di loro sopravvissuti si rifugiano all'interno della loro astronave e si mettono in stato di ipersonno, tuttavia solo uno di essi sopravviverà. 1° ottobre 1990: nasce a Mumbai, in India, Peter Weyland, figlio di un ingegnere ed una professoressa di mitologia comparativa dell'università di Oxford. 11 ottobre 2012: viene fondata la multinazionale britannica di tecnologie robotico- spaziali Weyland Corporation, che sposta la propria sede a San Francisco, in California. 27 marzo 2015: la Weyland Corp lancia la prima missione spaziale industrializzata per installare pannelli solari che si allineano e si muovono in piano orbitale della Terra, ma ad una inclinazione assiale imitando così un solstizio d'estate perpetuo. L'energia rinnovabile raccolta nei mesi successivi a questa spedizione fa guadagnare a Peter Weyland il suo primo miliardo di dollari. 30 giugno 2015: dopo il successo ottenuto con i pannelli solari, la Weyland Corp riceve finanziamenti da parte di un trio di grandi società di capitali. -
Alien: Covenant, Dir. by Ridley Scott (Twentieth Century Fox, 2017)
The Irish Journal of Gothic and Horror Studies 17 (Autumn 2018) Alien: Covenant, dir. by Ridley Scott (Twentieth Century Fox, 2017) Alien: Covenant is the sixth instalment in the much-celebrated and critically acclaimed science-fiction/horror saga initiated in 1979 by Ridley Scott’s Alien and consisting also of James Cameron’s Aliens (1986), David Fincher’s Alien³ (1992), Jean-Pierre Jeunet’s Alien: Resurrection (1997) and the prequel film Prometheus (Scott, 2012).1 Alien: Covenant is also the twenty-fourth work by the eclectic eighty-year-old British producer and director, whose work has successfully spanned all cinematic genres, from science fiction (Blade Runner, 1982), through costume and historical drama (1492: Conquest of Paradise, 1992, and Kingdom of Heaven, 2005) and fantasy (Legend, 1985), to the detective film (Black Rain, 1989), the road movie (Thelma and Louise, 1991) and comedy (A Good Year, 2006). Covenant is a sequel to Prometheus; the earlier film depicts the search for the origins of the human species by a group of scientists, explorers, and the leading members of the Weyland Corporation, tracing their encounter with a being belonging to the race of the so- called Engineers. In Prometheus, the explorers discover near the end of the film that the last surviving Engineer had been frozen into hyper-sleep thousands of years earlier, preventing him from destroying Earth, a mission that he fortunately does not complete upon awakening. Prometheus is filled with references to religion, specifically Christian beliefs (allegedly, the Engineers’ mission to destroy our planet was ordered around the time of Christ’s death), the creation of life (the protagonist is sterile, but she gives birth to an alien life form), and, in a nod to Mary Shelley’s Frankenstein (1818), the horror of a creator refusing his own progeny. -
Prometheus Director Ridley Scott to Chat Live with Guests of AMC Theatres and 20Th Century Fox and Premiere the Movie's New Trailer at Amctheatres.Com
Prometheus Director Ridley Scott to Chat Live With Guests of AMC Theatres and 20th Century Fox and Premiere the Movie's New Trailer at AMCTheatres.com Members of AMC Theatres' Rewards Program – AMC Stubs – Are Invited to See the Trailer Premiere in Person and Participate in an Exclusive Q&A with the Filmmakers at AMC Downtown Disney 12 in Los Angeles Kansas City, Mo. (March 8, 2012) - AMC Theatres® and Twentieth Century Fox are excited to announce that fans eagerly anticipating legendary filmmaker Ridley Scott's PROMETHEUS, will have an opportunity to see a Livestream Q&A featuring Sir Ridley and PROMETHEUS co-screenwriter and executive producer Damon Lindelof at go.amctheatres.com/prometheus on Saturday, March 17 at 4 p.m. PDT (7 p.m. EDT). Following the Q&A, the newest PROMETHEUS trailer will premiere on AMC Theatres' website. Additionally, AMC Stubs members in the Los Angeles area have the exclusive opportunity to join Scott and Lindelof in person for their Q&A session, which takes places at AMC Downtown Disney 12 in Anaheim, Calif., on Saturday, March 17 at 4 p.m. PDT. "Ridley Scott's PROMETHEUS is one of the most anticipated films of 2012, and we're honored to not only be a part of the release of this most recent trailer, but to provide our AMC Stubs members in the Los Angeles area with this unique opportunity to speak directly to Sir Ridley," said Sun Dee Larson, vice president of Film Marketing at AMC Theatres. "We're proud to offer this exciting perk to our LA-based AMC Stubs members." Ridley Scott, director of ALIEN and BLADE RUNNER, returns to the genre he helped define in this summer's scariest movie event. -
Alien Movie Franchise
Bellies that Go Bump in the Night The Gothic Curriculum of Essential Motherhood in the Alien Movie Franchise KELLY WALDROP The Publish House OR CENTURIES, authors and storytellers have used Gothic tales to educate readers about F all manner of subjects, but one of the most common of those subjects is the question of what it means to be human (Bronfen, 2014). The Gothic genre was born amidst the transition from the Victorian era to the Modern era with all of the attendant social and cultural changes, as well as the anxieties, that came along with those changes (Riquelme, 2014). It is a genre rooted in the exploration of anxieties regarding social and cultural change. Taking two of the earliest examples from the European Gothic tradition, Dracula (Stoker, 1897) teaches readers about the dangers of a rampant and virulent sexuality (Riquelme, 2000), while Frankenstein (Shelley, 1818) warns of both obsessiveness and pride, among many other readings of the various cultural anxieties that may be seen to be aired in these works. In these classic Gothic tales, a key focus is also the horrific results of an out-of-control and “unnatural” form of reproduction. In Dracula, part of the horror is rooted in a generative process that is outside of that of the male/female sex act that produces a child. The women in the story are either victims of the tale (Jonathan Harker’s fiancé) or are depicted as frighteningly sexual while incapable of producing what would be considered normal offspring (Dracula’s brides). In Frankenstein, likewise, the central source of horror is the product of a man usurping the “natural” order of creation. -
Jla: Volume 4 Pdf, Epub, Ebook
JLA: VOLUME 4 PDF, EPUB, EBOOK Andy Kubert,J. H. Williams,Grant Morrison | 384 pages | 18 Feb 2014 | DC Comics | 9781401243852 | English | United States JLA: Volume 4 PDF Book Refresh and try again. Published by DC Comics. October 93, [25] November 92, [26] January 89, [27] March 86, [28] May 86, [29] June 86, [30] July 85, [31] August 84, [5th highest among all publishers] [32] September 83, [3rd highest among all publishers] [33] November 80, [5th highest among all publishers] [34] December 84, [6th highest among all publishers] [35] January 78, [4th highest among all publishers] [36] February 75, [6th highest among all publishers] [37] March 77, [4th highest among all publishers] [38] April 73, [6th highest among all publishers] [39] May 76, [4th highest among all publishers] [40] June 76, [5th highest among all publishers] [41] July 75, [5th highest among all publishers] [42]. Uh-oh, it looks like your Internet Explorer is out of date. Highly recommended for anyone that likes the JLA characters or just good comics. The New Gods decision to send in Orion and Barda changes the landscape of the league. Feb 11, Hannah Givens rated it really liked it Shelves: graphic-novel , superhero. Nov 28, Martin rated it liked it Shelves: used-to-own , reviewed. Aug 10, Juan Jose added it. Gardner Fox. Open Preview See a Problem? When relaunched by writer Grant Morrison , the team again focused on the most recognizable, powerful, and long-lasting heroes in DC's library. There are two major story lines in the book, both which are surrounded by smaller one shot issues. -
Prometheus ©Twentieth Century Fox ©Twentieth Directed By: Ridley Scott
Prometheus ©Twentieth Century Fox ©Twentieth DirecteD by: Ridley Scott certificate: 15 running time: 123 mins country: UK/USA year: 2012 KeyworDs: science fiction, film franchise, action heroine, faith suitable for: 14–19 media/film studies, religious education www.filmeducation.org 1 ©Film Education 2012. Film Education is not responsible for the content of external sites synoPsis Ridley Scott, director of ‘Alien’ and ‘Blade Runner,’ returns to the genre he helped define. With Prometheus, he creates a groundbreaking mythology, in which a team of explorers discover a clue to the origins of mankind on Earth, leading them on a thrilling journey to the darkest corners of the universe. There, they must fight a terrifying battle to save the future of the human race. before Viewing the original ‘alien’ series Alien (Ridley Scott, 1979) – Aliens (James Cameron, 1986) – Alien 3 (David Fincher, 1992) – Alien Resurrection (Jean-Pierre Jeunet, 1997) Prometheus is an eagerly awaited science fiction adventure from Alien director Ridley Scott. In the run-up to its release, anticipation for this film was at fever pitch because it returns to a world created by Scott in the sci-fi horror classic Alien. The four original Alien films share certain things in common: ■ All were directed by visionary filmmakers at the very beginning of their career (Alien 3 was David Fincher’s first film and Alien Resurrection was the Hollywood debut of Amélie director Jean-Pierre Jeunet). ■ Each film features the same female protagonist - Ripley (Sigourney eaver).W ■ Whilst all four are science fiction films, each has the framework of other genres.