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Television Sharknados and Twitter Storms
Television Sharknados and Twitter Storms: Cult Film Fan Practices in the Age of Social Media Branding Stephen William Hay A thesis submitted to Victoria University of Wellington in fulfilment of the regulations for the degree of Master of Arts in Media Studies Victoria University of Wellington 2016 Abstract This thesis examines the Syfy channel’s broadcast of the television movie Sharknado and the large number of tweets that were sent about it. Sharknado’s audience engaged in cult film viewing practices that can be understood using paracinema theory. Paracinema engagement with cult films has traditionally taken place in midnight screenings in independent movie theatres and private homes. Syfy’s audience was able to engage in paracinematic activity that included making jokes about Sharknado’s low quality of production and interacting with others who were doing the same through the affordances of Twitter. In an age where branding has become increasingly important, Syfy clearly benefited from all the fan activity around its programming. Critical branding theory argues that the value generated by a business’s brand comes from the labour of consumers. Brand management is mostly about encouraging and managing consumer labour. The online shift of fan practices has created new opportunities for brand managers to subsume the activities of consumers. Cult film audience practices often have an emphasis on creatively and collectively engaging in rituals and activities around a text. These are the precise qualities that brands require from their consumers. Sharknado was produced and marketed by Syfy to invoke the cult film subculture as part of Syfy’s branding strategy. -
Apocalypse As Religious and Secular Discourse in Battlestar Galactica
Volume 6 2014-15 APOCALYPSE & GHOSTS Apocalypse as Religious and Secular Discourse in Battlestar Galactica and its Prequel Caprica Diane Langlumé University of Paris VIII Saint-Denis Abstract he concept of the end of the world is inherent in religious discourse. Illustratively, in T Medieval Christianity, a divine power was held responsible for cataclysmic events. In the post-Hiroshima era, the concept of apocalypse has taken on secular meaning. Not surprisingly, given recent history, the apocalypse has become a prominent component of popular television epics; broadcast narratives, such as Battlestar Galactica and Caprica, entwine both Biblical and secular versions of the apocalypse, thereby creating a novel apocalyptic discourse which, instead of establishing the apocalypse as an end, uses it as a foundation, as a thought-provoking means of conveying a political message of tolerance and acceptance of otherness, of encouraging self-reflectiveness; and as a way of denouncing the empty rhetoric of religious extremism. Keywords: Television series, Battlestar Galactica, Caprica, religion, Book of Mormon, Bible, Book of Revelation, John of Patmos, Genesis, Adam, Garden of Eden, Heaven, God, fall of man, the beast, false prophet, angel, Second Coming, resuscitation, apocalypse, end of the world, nuclear apocalypse, Hiroshima, post-apocalyptic, genocide, intertextuality, parody, pastiche, religious satire, 9/11, America, religious terrorism, suicide bombing, cyborg, robot, humanity, monotheism, polytheism. he television series Battlestar Galactica1 establishes its chronology between a nuclear T apocalypse that has just taken place and the threat of a potential future apocalypse,2 both at the hands of human-looking cyborgs called Cylons. Caprica, its prequel series, set fifty- eight years before the nuclear detonation, unfolds the events leading up to the apocalypse in Battlestar Galactica. -
Cosmos: a Spacetime Odyssey (2014) Episode Scripts Based On
Cosmos: A SpaceTime Odyssey (2014) Episode Scripts Based on Cosmos: A Personal Voyage by Carl Sagan, Ann Druyan & Steven Soter Directed by Brannon Braga, Bill Pope & Ann Druyan Presented by Neil deGrasse Tyson Composer(s) Alan Silvestri Country of origin United States Original language(s) English No. of episodes 13 (List of episodes) 1 - Standing Up in the Milky Way 2 - Some of the Things That Molecules Do 3 - When Knowledge Conquered Fear 4 - A Sky Full of Ghosts 5 - Hiding In The Light 6 - Deeper, Deeper, Deeper Still 7 - The Clean Room 8 - Sisters of the Sun 9 - The Lost Worlds of Planet Earth 10 - The Electric Boy 11 - The Immortals 12 - The World Set Free 13 - Unafraid Of The Dark 1 - Standing Up in the Milky Way The cosmos is all there is, or ever was, or ever will be. Come with me. A generation ago, the astronomer Carl Sagan stood here and launched hundreds of millions of us on a great adventure: the exploration of the universe revealed by science. It's time to get going again. We're about to begin a journey that will take us from the infinitesimal to the infinite, from the dawn of time to the distant future. We'll explore galaxies and suns and worlds, surf the gravity waves of space-time, encounter beings that live in fire and ice, explore the planets of stars that never die, discover atoms as massive as suns and universes smaller than atoms. Cosmos is also a story about us. It's the saga of how wandering bands of hunters and gatherers found their way to the stars, one adventure with many heroes. -
Netflix and the Development of the Internet Television Network
Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation. -
TEEN FEMINIST KILLJOYS? Mapping Girls' Affective Encounters With
Á 6 TEEN FEMINIST KILLJOYS? Mapping Girls’ Aff ective Encounters with Femininity, Sexuality, and Feminism at School Jessica Ringrose and Emma Renold International research has documented the phenomenon of contem- porary young women repudiating or disinvesting from identifi cations with feminism (Jowett 2004: 99; Baker 2008; Scharff 2012). Indeed, femi- nism is frequently constituted as both abject and obsolete by a postfem- inist media context that suggests women are now equal in education, the workplace, and the home (McRobbie 2008; Ringrose and Renold 2010). Most of the scholarship on the relationship between new fem- ininities (Gill and Scharff 2011) and diff erent forms of feminism or postfeminism (Budgeon 2011), does not, however, explicitly deal with adolescence and teen girls’ relationships to feminism, although there is some writing on how the girl and associations with girlishness have historically been set in contradiction to a feminist identity, and the need to overcome this and take girls’ political subjectivities seriously (Baumgardner and Richards 2004; Eisenhauer 2004). One particularly promising area is a growing literature exploring girls’ political, activist, or counter-cultural subjectivities, via girls’ on- line identity formation (Weber and Mitchell 2008; Currie et al. 2009) through new media practices such as blogging, zines, and digital social networking (Piepmeier, 2009; Zaslow 2009; Ringrose 2011; Keller 2012; see also Keller’s contribution to this volume, among others). However, there is still a limited amount of research that focuses on teenage girls explicitly taking up feminist activist identities and practices. Indeed, much research, including our own, has focused on what Currie et al. call “de facto feminism” (2008: 39) that is, discursive traces of feminist ideology or resistance in the talk and experiences of teen girls, even if they do not explicitly identify with or defi ne themselves as feminist (Renold and Ringrose 2008, 2011). -
Plural Subjectivity in Stargate SG-1
Language, Literature, and Interdisciplinary Studies (LLIDS) ISSN: 2547-0044 ellids.com/archives/2020/07/3.4-Ferebee.pdf CC Attribution-No Derivatives 4.0 International License www.ellids.com “Pain in Someone Else’s Body”: Plural Subjectivity in Stargate SG-1 K.M. Ferebee Abstract Lennard Davis, in his work on visualizing the disabled body, argues that at root the body is inherently and always already fragmented. The unified “whole body” is, therefore, hallucinatory in nature—an imaginary figure through which the body’s multiplicity is repressed. There is much in this view that is consonant with posthumanism, which so often seeks to destabilize the “whole” and singular one in favor of the multiple, the fragmentary, and the hybrid. Yet despite these considerations of the body as fragmentary, little attention has been paid to the value of considering the body not only as fragmentary, but also as potential fragment. What might we learn by rejecting anthropocentric assumptions about the body-mind’s inherent completeness, and exploring the radically plural ontologies offered by visions of shared, joint, or group body-minds? This paper turns to science fiction as a source of such visions, considering depictions of symbiotic and hive minds through the non-traditional models of ontology and agency. While science fiction has traditionally represented plural being as a troubling and fearful injury to wholeness, this paper aims to highlight the symbiotic Tok’ra1 of television series Stargate SG-1 as a model of excess being that not only challenges the naturalization of the “complete” body, but also asks us to interrogate presumed boundaries between self and other. -
ANDROMEDA! a CHOOSE YOUR OWN PATH SCREENPLAY By
WELCOME TO ANDROMEDA! A CHOOSE YOUR OWN PATH SCREENPLAY by Merrick Ann McCurdy HONORS THESIS Submitted to Texas State University in partial fulfillment of the requirements for graduation in the Honors College May 2021 Thesis Supervisor: Jordan Morille Second Reader: Anne Winchell COPYRIGHT by Merrick McCurdy 2021 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgement. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work I, Merrick McCurdy, authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. DEDICATION To Jordan. Simply put, this just wouldn’t exist without you. TABLE OF CONTENTS Page ABSTRACT ................................................................................................................... vi CHAPTER I. “THE ORIGIN STORY” ..............................................................................1 – 6 II. CHOICE MAP ...............................................................................................7 III. WELCOME TO ANDROMEDA! ..........................................................8 – 202 IV. WORLDBUILDING ..........................................................................203 – 207 V. CHARACTER LIST ............................................................................208 -
The Crip, the Fat and the Ugly in an Age of Austerity: Resistance, Reclamation, and Affirmation
Volume 14 REVIEW OF DISABILITY STUDIES: AN INTERNATIONAL JOURNAL Issue 2 Forum - The Crip, the Fat and the Ugly in an Age of Austerity: Resistance, Reclamation, and Affirmation NoBody’s Perfect: Charm, Willfulness and Resistance Maria Tsakiri, PhD Independent Researcher Abstract: The purpose of this paper is to discuss the representations of disabled bodies on the basis of Niko von Glasow’s documentary film NoBody’s Perfect. Drawing on disability aesthetics (Siebers, 2006) and the notion of crip killjoys (Johnson & McRuer, 2014), it is argued that representations of crip killjoys and their unruly corporeality offer an aesthetic and political context in which the politics of disgust and resentment can be challenged (Hughes, 2015; Soldatic & Meekosha, 2012). Keywords: disability aesthetics, crip killjoys, willfulness. Introduction In this paper, I explore the representations of disabled bodies in Niko von Glasow’s documentary film, NoBody’s Perfect (2008). Von Glasow, who was born disabled due to the side-effects of thalidomide, created NoBody’s Perfect while looking for eleven people affected by thalidomide to pose for a photography project that aimed to bring visibility to the thalidomide case. Through a darkly humorous touch, this documentary film presents the issues that the twelve social actors had to face during the different stages of their life and their reactions towards von Glasow’s photoshoot project. The narrative of the film concludes with von Glasow’s unsuccessful attempts to make contact with the pharmaceutical company Grünenthal, that produced the thalidomide drug. I find the material of the representations that NoBody’s Perfect offers very interesting to discuss as it makes visible the resistance of crip killjoys (Johnson & McRuer, 2014). -
PAD-79-33 a Framework for Balancing Privacy And
1 -- _ , , _ EXPOSURE DRAFT , / Xl /-, , / / . r I = A FRAMEWORKFORBAtiNClNG PRIVACY ANDACCOUNTABMTY NEEDS IN EVALUATlONS OFSOCIAL RESEARCH , c \ ./ ;f;W$t3STA TES GhVERA L ACCOUNTIIL’G OFFICE March 1979 . t COMPTROLLER GENERAL OF THE UNITED STATES WASHINGTON 0 C PO548 3-161740 Both the Congress and the Executive are comrlltted to revlewlng and reconsidering Federal policleb, programs, and activities. We remain optlmlstlc about the ablllty of the Federal Government to obtain the lnformatlon necessary to perform these functions and to make appropriate changes in Government activities. Social research 1s one mechanism for providing lnforrnatlon which public policymakers need to make meanlng- ful declslons. However, pubilc accountability for Government sponsored EbedrCh requires that the processes which create and Jisseminate this 1nfOrnldtiOn be open to scrutiny. In using inforraatlon from a research study, declslonmakers ought to be confident that the results are credible. Independent reviews, lncludlng reanalysis of research data, can help to assure this credibility. The Privacy Pr tectlon Study Connission .I tne National Commission for the Protecti on of Bur?an Sub-I ects of Biomedical and Behavioral j!tzGz T-al Sci -C 'zica S-ESTZstical kssociat~on' s Ad Hoc Committee on Privacy and lIzz%ifidentialit~, and a n.umber of lndlvlciual researchers have recognize; that the public interest 1s served by such independent evaluations. Tnese evaluations can be performed by agency evaluation units, audit ayencles, or other research organizations. Careful cooperation by researchers and reviewers, however, will be reyulred to assure that the rights and obllyatlons of all involved parties are appropriately balanced. These , include, on the one hand, protecting the privacy rights of research participants. -
PDF Download the Running Man Ebook
THE RUNNING MAN PDF, EPUB, EBOOK Richard Bachman,Stephen King | 256 pages | 06 Feb 2013 | Hodder & Stoughton General Division | 9781444723540 | English | London, United Kingdom The Running Man () - IMDb Navigator on the plane that Ben Richards hijacked - Games Council controller. Driver of the car that took Ben Richards from Boston. Friend of Bradley Throckmorton. Guard who loaned Richards 50 cents to call home while he was trying to enter the games. Built pollution counter. Brother of Rich, and friend of Bradley Throckmorton. Brother of Dink, and friend of Bradley Throckmorton. Crazy Credits. Alternate Versions. Rate This. An Englishman with a grudge against an insurance company for a disallowed claim fakes his own death, but is soon pursued by an insurance investigator. Director: Carol Reed. Writers: John Mortimer screenplay , Shelley Smith novel. Added to Watchlist. Favourite Films of Abby's Cinema. Use the HTML below. You must be a registered user to use the IMDb rating plugin. Edit Cast Cast overview, first billed only: Laurence Harvey Rex Lee Remick Stella Alan Bates Stephen Felix Aylmer Parson Eleanor Summerfield Hilda Tanner Allan Cuthbertson Jenkins Harold Goldblatt Tom Webster Noel Purcell Miles Bleeker Ramsay Ames Madge Penderby Fernando Rey Sam Crewdson Colin Gordon Solicitor John Meillon Jim Jerome Roger Delgado Edit Storyline Hard up and with a grudge against insurance companies, English pilot Rex Black fakes his death and meets up with his wife and the money in Malaga, Spain when things have quieted down. By , after a worldwide economic collapse, the United States has become a totalitarian police state , censoring all cultural activity. -
Zach Arbeitel
RUTGERS, THE STATE UNIVERSITY OF NEW JERSEY NEW BRUNSWICK AN INTERVIEW WITH EDWARD A. LAFFEY FOR THE RUTGERS ORAL HISTORY ARCHIVES INTERVIEW CONDUCTED BY SHAUN ILLINGWORTH and CHRISTOPHER DELUCA and RORY MCCLOSKEY NEW BRUNSWICK, NEW JERSEY DECEMBER 2, 2011 TRANSCRIPT BY ZACHARY ARBEITEL and MARK BITTNER and DOMINGO DUARTE Shaun Illingworth: This begins an interview with Mr. Edward A. Laffey on December 2, 2011, in New Brunswick, New Jersey, with Shaun Illingworth and … Christopher DeLuca: … Christopher DeLuca. SI: We will also be joined shortly by Rory McCloskey. Thank you very much, Mr. Laffey, for coming in today. Edward A. Laffey: It's my pleasure to be here. SI: Great. To begin, could you tell us where and when you were born? EL: I was born June 26, 1922, in Jersey City, New Jersey. That makes me eighty-nine years old. [laughter] SI: You look younger than eighty-nine years old. [laughter] EL: Thank you. SI: Can you tell us your parents' names for the record? EL: My father was Thomas J. Laffey, my mother Margaret F. Flynn, who became Laffey after she married. SI: Beginning with your father's side of the family, do you know anything about where they came from, if there was any immigration history on that side of the family? EL: I know very little of my father's history. He was rather closemouthed. I know his father was born in Ireland and they'd come over in the early 1880s. My father was born in 1885 in Jersey City. So, I know very little about my grandfather. -
Martin Mariner
PROFILE Martin Mariner Editors Nico Braas Srecko Bradic LET LET LET WARPLANES Martin Mariner The Martin Mariner story Early development and flying The XPBM-1 prototype ashore on its beaching wheels photographed alongside its small 'sistership'. We can From XPBM-1 to PBM-5 see that the wing floats could be retracted inwards Introduction The famous PBY Catalina flying boat has earned from the date it became operational (and that was already in 1936!) a reputation for its durability, reliability and perfor- mances that lasted even for years after the end of the Second World War in 1945. It was built in large numbers and saw action on both the Atlantic and Pacific areas in a number of roles. Recognizing that the venerable with only, as usual at that time, all built a ⅜ scale flying model des- Soon a more modern successor was designed and mass produced, but this type, the Mar- PBY Catalina flying boat had to be control surfaces covered with fab- ignated as the Martin 162A. It tin PBM Mariner, gained for some obscure reasons much less fame than the Catalina. replaced by a more modern type, ric. It had a central two-step hull was fitted with a 120 hp Martin- This story will give the Mariner a little more credit on its side since it was far from a the Glenn Martin company started and two stabilizing floats in the built four-cylinder inverted in- mediocre aircraft as sometimes stated. Just like the Catalina it was produced in large in 1937 the design of the Model wings that were fully retractable.