FRANKENWEENIE Screenplay by John August (This Version Is Conformed As Per the Animatic on 18Th Jan 2012 V2) WHIRS and HUMS
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AIR Forum 2017
COVER 2 COVER 3 Increase the productivity of your institution with smart tools that fuel innovation, opportunity and discovery. See greater value in your data. SAS® Visual Analytics for institutional research Capture, understand and Monitor the reach Store, share and Get actionable showcase the outcomes & infuence of your manage all of your funding insights for Quickly see through the complexity to fi nd of your research scholarly content research outputs better decisions patterns, trends, key relationships and potential outcomes. And then turn your institutional data into much more – a valued asset. Try it for yourself Work smart. sas.com/air17 Discover more. © 2014 SAS Institute Inc. All rights reserved. S123813US.0214 SAS and all other SAS Institute Inc. product or service names are registered trademarks or trademarks of SAS Institute Inc. in the USA and other countries. ® indicates USA registration. Other brand and product names are trademarks of their respective companies. © 2016 SAS Institute Inc. All rights reserved. S152264US.0316 ON BOOTHVISIT 215 US Using Data to Equip your faculty and staff Improve Student with the tools they need to make data-driven decisions. Outcomes Visualize and analyze data and spot the early indicators and interventions. Helping universities improve through performance analysis and benchmarking Guide your leadership to respond through shared reports viewable online Our new suite of data products allows you to compare your university to others, helping you to identify strategic partners through a variety of devices. and potential competitors. Learn how Stetson University With THEDataPoints™ you can access all the tools you need to understand your institution’s individual performance. -
Mary Shelley: Teaching and Learning Through Frankenstein Theresa M
Forum on Public Policy Mary Shelley: Teaching and Learning through Frankenstein Theresa M. Girard, Adjunct Professor, Central Michigan University Abstract In the writing of Frankenstein, Mary Shelley was able to change the course of women’s learning, forever. Her life started from an elite standpoint as the child of Mary Wollstonecraft and William Godwin. As such, she was destined to grow to be a major influence in the world. Mary Shelley’s formative years were spent with her father and his many learned friends. Her adult years were spent with her husband, Percy Bysshe Shelley, and their literary friends. It was on the occasion of the Shelleys’ visit to Lord Byron at his summer home that Mary Shelley was to begin her novel which changed the course of women’s ideas about safety and the home. No longer were women to view staying in the home as a means to staying safe and secure. While women always knew that men could be unreliable, Mary Shelley openly acknowledged that fact and provided a forum from which it could be discussed. Furthermore, women learned that they were vulnerable and that, in order to insure their own safety, they could not entirely depend upon men to rescue them; in fact, in some cases, women needed to save themselves from the men in their lives, often with no one to turn to except themselves and other women. There are many instances where this is shown throughout Frankenstein, such as: Justine’s prosecution and execution and Elizabeth’s murder. Mary Shelley educated women in the most fundamental of ways and continues to do so through every reading of Frankenstein. -
Ancient Political Theory
ANCIENT POLITICAL THEORY HIST 2100, PHIL 2060, and POLS 2300, Fall 2013, TR 12.00-1.15 PM Charlie McAllister, ADM 334, 704/637-4344 (O) and 336/287-4403 (C) [email protected] DESCRIPTION -- "A critical analysis of the basic political writings of selected modern authors important to the development of western civilization, e.g., Plato, Aristotle, St. Augustine and St. Thomas" Catawba College Catalog). These crucial thinkers -- along with classical Greek playwrights and the Italian Renaissance philosopher Machiavelli -- will help us seek answers to three simple questions: 1) What is a good person? 2) What is a good life? and 3) What is a good society? WEBBOOKS -- http://faculty.catawba.edu/cmcallis/history/history.htm CORE -- For the second part of our syllabus (Connecting) and other resources, visit our WebBooks page. TEXTS Peter J. Steinberger, ed., Readings in Classical Political Thought (Hackett, 2000) [RCPT] Aristotle, Nicomachean Ethics, trans. Terrence Irwin (Hackett, 2e, 1999) Edward Bryan Portis, Reconstructing the Classics: Political Theory from Plato to Marx (2e, 1998): free at EPBCO Host through our library William Strunk, Jr. and E. B. White, Elements of Style (Allyn & Bacon, 4e, 1999) A collegiate dictionary, thesaurus, and Bible ABBREVIATIONS BBD = Blackboard Document RCPT = Steinberger Z = Zinger E = Thematic essay S = Summary of a scholarly article ***WEB RESOURCES DAILY*** DATE DAY DAILY ASSIGNMENTS DUE AUG 22 R CLASSICAL POLITICAL PHILOSOPHY 27 T EARLY FOLKS: Poets, Presocratics, and Sophists -- APT Connecting [BBD], RCPT xi-28, and Portis 1 (Great Books and Political Science). 29 R HISTORIANS, I: Herodotus -- RCPT 29-30 and 32-35, and any one S relevant scholarly article on our WebBook page. -
Moregoodnews
(f/ MONDAY, SEPTEMBER 26, 1966 FAOe TWENTY-fKaUl Average OaUy Net Press Run The Weather For._thijVeek Ended Cloudy, not ee cool toalgbt, and Bchnier, Grlgalls, Pllukas, Septcndwr M, 1966 low 80-05; pertly cloudy tomer* Dedication Reset 4 Requests and ’Tunsl^ properties. This W eek About Town 2. Roger Ricard, to change z w , U gb in 60e. The dedication of Man to Industrial Zone aU or part 14,757 MMnben o f the Professional chester’s new Senior Citi Before T P C of a parcel bounded by HUliard Manchester^A City of Village Charm . Women’s Club wrlll have a pot- zens’ Center, originally St., Adams St. and the Hocka- luck tom om w night at 6:30 at (CleMifled /Mworttolng OB Psge 91) PRICE SEVEN CENTi scheduled for Wednesday, The Town Planning Commis num River, and now in Res VOL. LXXXV, NO* 304 (TWENTY-FOUR PAGES—TWO SECTIONS) MANCHESTER, CONN., TUESDAY, SEPTEMBER 27, 1966 Center Church. There will be a has been set ahead one day sion (’TPC) will conduct pub idence Zone A. The TPC has program of vacation reminis to Thursday at 2 p.m. lic hearings tonight on one sub extended Ricard’s appUcation to cences. Hostesses are Miss Syl The dedication, open to division proposal and on three include the Bezzini and Gerich via Claflln, Miss Helen Carrier, zone-change requests. properties. Miss Mabel Trotter, Miss Ethel the public, will be witnessed by local and state officials Goslee and Mrs. Edwin J. Don ’The session will be at 8 in the 2. -
Of Gods and Monsters: Signification in Franz Waxman's Film Score Bride of Frankenstein
This is a repository copy of Of Gods and Monsters: Signification in Franz Waxman’s film score Bride of Frankenstein. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/118268/ Version: Accepted Version Article: McClelland, C (Cover date: 2014) Of Gods and Monsters: Signification in Franz Waxman’s film score Bride of Frankenstein. Journal of Film Music, 7 (1). pp. 5-19. ISSN 1087-7142 https://doi.org/10.1558/jfm.27224 © Copyright the International Film Music Society, published by Equinox Publishing Ltd 2017, This is an author produced version of a paper published in the Journal of Film Music. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Paper for the Journal of Film Music Of Gods and Monsters: Signification in Franz Waxman’s film score Bride of Frankenstein Universal’s horror classic Bride of Frankenstein (1935) directed by James Whale is iconic not just because of its enduring images and acting, but also because of the high quality of its score by Franz Waxman. -
The Real "Monster" in Frankenstein
ISSN 2380-5064 | Arsenal is published by the Augusta University Libraries | http://guides.augusta.edu/arsenal Volume 1, Issue 1 (2016) The Real "Monster" in Frankenstein David O. Urizar Citation Urizar, D. O. (2016). The Real "Monster" in Frankenstein. Arsenal: The undergraduate research journal of Augusta University, 1(1), 20-27. http://doi.org/10.21633/issn.2380.5064/f.2016.01.20 © 2016 Urizar. This open access article is distributed under a Creative Commons Attribution-NonCommercial-NoDerivs 2.0 Generic License (https://creativecommons.org/licenses/by-nc-nd/2.0/) ISSN 2380-5064 10.21633/issn.2380.5064/f.2016.01.20 Real “Monster” in Frankenstein David O. Urizar Department of Biological Sciences College of Science and Mathematics Faculty Mentor: Todd Hoffman, Ph.D., Department of English and Foreign Languages The story of Frankenstein is typically seen as a battle between Victor Frankenstein and the “monster” of the story. However I argue that that the real “monster” of the story is in fact Victor Frankenstein who is suffering from paranoid schizophrenia and that the “monster” is really just a delusions that Victor uses to cope with the idea that he in fact is the killer of the story. This concept is evident in the fact that no one in the story has ever seen both Victor Frankenstein and the “monster” alive in the same place. The characteristics of the “monster’ also point towards the idea that the “monster” could not possibly exist. Even the way that Victor acts throughout the book point to the idea that he does not really care for the safety of his loved ones. -
Young Frankenstein"
"YOUNG FRANKENSTEIN" SCREENPLAY by GENE WILDER FIRST DRAFT FADE IN: EXT. FRANKENSTEIN CASTLE A BOLT OF LIGHTNING! A CRACK OF THUNDER! On a distant, rainy hill, the old Frankenstein castle, as we knew and loved it, is illuminated by ANOTHER BOLT OF LIGHTNING. MUSIC: AN EERIE TRANSYLVANIAN LULLABY begins to PLAY in the b.g. as we MOVE SLOWLY CLOSER to the castle. It is completely dark, except for one room -- a study in the corner of the castle -- which is only lit by candles. Now we are just outside a rain-splattered window of the study. We LOOK IN and SEE: INT. STUDY - NIGHT An open coffin rests on a table we can not see it's contents. As the CAMERA SLOWLY CIRCLES the coffin for a BETTER VIEW... A CLOCK BEGINS TO CHIME: "ONE," "TWO," "THREE," "FOUR..." We are ALMOST FACING the front of the coffin. "FIVE," "SIX," "SEVEN," "EIGHT..." The CAMERA STOPS. Now it MOVES UP AND ABOVE the satin-lined coffin. "NINE," "TEN," "ELEVEN," "T W E L V E!" CUT TO: THE EMBALMED HEAD OF BEAUFORT FRANKENSTEIN Half of still clings to the waxen balm; the other half has decayed to skull. Below his head is a skeleton, whose bony fingers cling to a metal box. A HAND reaches in to grasp the metal box. It lifts the box halfway out of the coffin -- the skeleton's fingers rising, involuntarily, with the box. Then, as of by force of will, the skeleton's fingers grab the box back and place it where it was. Now the "Hand" -- using its other hand -- grabs the box back from the skeleton's fingers. -
Discussion Questions for Frankenstein Written by Hailey Toporcer, Hiram College Class of 2019 Edited by Prof
Discussion Questions for Frankenstein Written by Hailey Toporcer, Hiram College Class of 2019 Edited by Prof. Kirsten Parkinson As you read Mary Shelley’s Frankenstein, either on your own or with a group, we invite you to use these questions to add layers to your discussion or thinking about the novel. The first section includes questions for each chapter of the novel; you will find questions reflecting on the book as a whole at the end. We have not included specific pages numbers as various editions have different page numbers, but the quotations are based on the 1831 edition of the novel. Discussion Questions for Each Chapter Letters I through IV 1. Frankenstein begins and ends with letters written by Robert Walton. Why do you think that Mary Shelley chose to have him frame the novel? How would your opinions of Victor Frankenstein and his creation differ if their story was told directly by Victor Frankenstein himself? What if the story was told solely by the creation? 2. Walton yearns for a friend, much like Victor Frankenstein’s creature does. What does this tell you about human nature? Is it in our nature to want companionship, someone to confide in, and someone to care for? 3. In Letter IV, Walton writes, “Yesterday the stranger said to me, “You may easily perceive, Captain Walton, that I have suffered great and unparalleled misfortunes. I had determined at one time that the memory of these evils should die with me, but you have won me to alter my determination. You seek for knowledge and wisdom, as I once did; and I ardently hope that the gratification of your wishes may not be a serpent to sting you, as mine has been. -
Records Management Administration
UNIVERSITY OF DENVER Penrose Library Oficu qJ the Dcan Date: March 2,2012 To: Lucy Barber, NHPRC Cc: Lynn Backstrom-Funk, Project Administrator Office of Research & Sponsored Programs From: Nancy Allen, Dean and Director Subject: Final Report, December 31,2011 Introduction This is the final report for Grant NAR10-DS-50014-10, a project conducted under the leadership of the University of Denver to develop Open Source Software for Records Management Administration. The product developed under the grant is known as the Records Authority I software. I i ! Activity on the project concluded as of December 31,2011. This report documents the final accomplishments and outcomes of the project as well as the current status of the Records Authority software. Table of Contents Introduction ..................................................................................................................................... 1 Executive Summary .................................................................................................................. 3 Project Detail ..................................................................................................................................6 i Partner Update ................................................................................................................................7 Testing .........................................................................................................................................8 RA Feedback Themes .................................................................................................................... -
La Novia De Frankenstein La Rara Proeza De Mejorar La Obra Inicial Y Acercarse Mucho Al Nivel De Lo Que Se Puede Entender Como Una Obra Maestra
Una de las obras cumbre del género fantástico FICHA TÉCNICA: Título original: Bride of Frankenstein Nacionalidad: EEUU Año: 1935 Dirección: James Whale Guión: William Hurlbut, John Balderston (sugerido por la novela Frankenstein o el moderno Prometeo de Mary W. Shelley) Producción: Carl Laemmle Jr. Dirección de Fotografía: John Mescall Montaje: Ted Kent Dirección Artística: Charles D. Hall Música: Franz Waxman Maquillaje: Jack Pierce Efectos Especiales: John P. Fulton Reparto: Boris Karloff ( El Monstruo ), Colin Clive (Barón Henry Frankenstein ), Valerie Hobson ( Eli- zabeth ), Ernest Thesiger ( Dr. Septimus Pretorius ), Elsa Lanchester ( Mary W. Shelley / Compañera del Monstruo ), Gavin Gordon ( Lord Byron ), Douglas Walton ( Percy Bysshe Shelley ), Una O'Connor (Minnie ), E.E. Clive ( Burgomaestre ), Lucien Prival (Albert, el Mayordomo ), Dwight Frye ( Karl, el Jo- robado ) Duración: 75 min. (B/N) SINOPSIS: Durante su convalecencia, Henry Frankenstein recibe la visita de un hombre extravagante que dice ser el Dr. Pretorious , quien le pide que colabore con él en sus experimentos para la creación de la vida. Con objeto de animarle a ello, Pretorious le muestra una colección de homúnculos que reviven durante unos segundos un mundo mágico ante la mirada fascinada de Henry . No obstante, Frankenstein no se deja tentar y rehúsa el ofrecimiento. Pero Pretorious contará con una baza inesperada a su favor: El Monstruo . Juntos obligan a Henry a crear una mujer que sea la compañera del monstruo. HOJA INFORMAT IVA Nº 68 Abril 2005 COMENTARIOS: Cuatro años después de su éxito inicial con El Dr. Frankenstein y tras haber rodado, entre otras, la magnífica adaptación cinematográfica de la novela El Hombre Invisible de H.G. -
Monster Squad
The Monster Squad by Alek J. Talevich (Based on the 1987 original film) Working Draft Daschwah LABS Bellingham, WA (626) 590-4765 FADE IN EXT. SEATONVILLE HARBOR - NIGHT The brackish waters of a modest commercial marina, with rows of contract fishing and cargo trawlers hugging the concrete strip of the waterfront and warehouse blocks. Fog hangs low over the water. All's quiet on the night watch, save for the dinging of buoys and slow churn of the tides. INT. HARBORMASTER'S OFFICE The cluttered office of the Harbormaster, manned by a single operator: a night watchman in his late fifties. Hokey nautical memorabilia hugs the walls, a coffee pot brews, and the watchman reads from a dog-eared paperback while seated before several security monitors. NIGHT WATCHMAN (singsong) My father's a poor missionary… he saves pretty women from sin… The silhouette of a man moves across the monitors, unnoticed by the sentry; pacing from one screen to the next, along the perimeter fence. NIGHT WATCHMAN (still singing) … he'll save you a blonde for five dollars… Lord, how the money rolls in. The sentry flips a page, not noticing as the intruder nonchalantly LEAPS over the twelve-foot high fence without missing a step, vanishing from the security cameras' view. CUT TO: 2. EXT. SEATONVILLE HARBOR Leather dress shoes touch down on the corrugated steel roof of a warehouse, as the intruder is revealed: CHARLES RUEGER, somewhere in his forties, bespectacled, his expression haunted. Dressed in a threadbare overcoat and the dirty, ripped trappings of what was once a three-piece suit underneath. -
Raven Leilani the Novelist Makes a Shining Debut with Luster, a Mesmerizing Story of Race, Sex, and Power P
Featuring 417 Industry-First Reviews of Fiction, Nonfiction, Children'sand YA books KIRKUSVOL. LXXXVIII, NO. 15 | 1 AUGUST 2020 REVIEWS Raven Leilani The novelist makes a shining debut with Luster, a mesmerizing story of race, sex, and power p. 14 Also in the issue: Raquel Vasquez Gilliland, Rebecca Giggs, Adrian Tomine, and more from the editor’s desk: The Dysfunctional Family Sweepstakes Chairman BY TOM BEER HERBERT SIMON President & Publisher MARC WINKELMAN John Paraskevas # As this issue went to press, the nation was riveted by the publication of To o Chief Executive Officer Much and Never Enough: How My Family Created the World’s Most Dangerous Man MEG LABORDE KUEHN (Simon & Schuster, July 14), the scathing family memoir by the president’s niece. [email protected] Editor-in-Chief For the past four years, nearly every inhabitant of the planet has been affected TOM BEER by Donald Trump, from the impact of Trump administration policies—on [email protected] Vice President of Marketing climate change, immigration, policing, and more—to the continuous feed of SARAH KALINA Trump-related news that we never seem to escape. Now, thanks to Mary Trump, [email protected] Ph.D., a clinical psychologist, we understand the impact of Donald Trump up Managing/Nonfiction Editor ERIC LIEBETRAU close, on his family members. [email protected] It’s not a pretty picture. Fiction Editor LAURIE MUCHNICK The book describes the Trumps as a clan headed by a “high-functioning [email protected] Tom Beer sociopath,” patriarch Fred Trump Sr., father to Donald and the author’s own Young Readers’ Editor VICKY SMITH father, Fred Jr.