Alien Movies in Order
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Of Monsters and Mothers: Representations of Motherhood in ‘Alien’
Aditya Hans Prasad WGSS 07 Professor Douglas Moody April 2018. Of Monsters and Mothers: Representations of Motherhood in ‘Alien’ Released in 1979, director Ridley Scott’s film Alien is renowned as one of the few science fiction films that surpasses most horror films in its power to terrify an audience. The film centers on the crew of the spaceship ‘Nostromo’, and how the introduction of an unknown alien life form wreaks havoc on the ship. The eponymous Alien individually murders each member of the crew, aside from the primary antagonist Ripley, who manages to escape. Interestingly, the film uses subtle representations of motherhood in order to create a truly scary effect. These representations are incredibly interesting to study, as they tie in to various existing archetypes surrounding motherhood and the concept of the ‘monstrous feminine’. In her essay ‘Alien and the Monstrous Feminine’, Barbara Creed discusses the various notions that surround motherhood. First, she writes about the “ancient archaic figure who gives birth to all living things” (Creed 131). Essentially, she discusses the great mother figures of the mythologies of different cultures—Gaia, Nu Kwa, Mother Earth (Creed 131). These characters embody the concept that mothers are nurturing, loving, and caring. Traditionally, stories, films, and other forms of material reiterate and r mothers in this nature. However, there are many notable exceptions to this representation. For example, the primary antagonist in many Brothers Grimm stories are the evil step-mother, a character completely devoid of the maternal warmth and nurturing character of the traditional mother. In Hindu mythology, the goddess Kali is worshipped as the mother of the universe. -
The Retriever, Issue 1, Volume 39
18 Features August 31, 2004 THE RETRIEVER Alien vs. Predator: as usual, humans screwed it up Courtesy of 20th Century Fox DOUGLAS MILLER After some groundbreaking discoveries on Retriever Weekly Editorial Staff the part of the humans, three Predators show up and it is revealed that the temple functions as prov- Many of the staple genre franchises that chil- ing ground for young Predator warriors. As the dren of the 1980’s grew up with like Nightmare on first alien warriors are born, chaos ensues – with Elm street or Halloween are now over twenty years Weyland’s team stuck right in the middle. Of old and are beginning to loose appeal, both with course, lots of people and monsters die. their original audience and the next generation of Observant fans will notice that Anderson’s filmgoers. One technique Hollywood has been story is very similar his own Resident Evil, but it exploiting recently to breath life into dying fran- works much better here. His premise is actually chises is to combine the keystone character from sort of interesting – especially ideas like Predator one’s with another’s – usually ending up with a involvement in our own development. Anderson “versus” film. Freddy vs. Jason was the first, and tries to allow his story to unfold and build in the now we have Alien vs. Predator, which certainly style of Alien, withholding the monsters almost will not be the last. Already, the studios have toyed altogether until the second half of the film. This around with making Superman vs. Batman, does not exactly work. -
REPORTS of the TIBOR T. POLGAR FELLOWSHIP PROGRAM, 2013 David J. Yozzo, Sarah H. Fernald and Helena Andreyko Editors a Joint
REPORTS OF THE TIBOR T. POLGAR FELLOWSHIP PROGRAM, 2013 David J. Yozzo, Sarah H. Fernald and Helena Andreyko Editors A Joint Program of The Hudson River Foundation and The New York State Department of Environmental Conservation December 2015 ABSTRACT Eight studies were conducted within the Hudson River Estuary under the auspices of the Tibor T. Polgar Fellowship Program during 2013. Major objectives of these studies included: (1) reconstruction of past climate events through analysis of sedimentary microfossils, (2) determining past and future ability of New York City salt marshes to accommodate sea level rise through vertical accretion, (3) analysis of the effects of nutrient pollution on greenhouse gas production in Hudson River marshes, (4) detection and identification of pathogens in aerosols and surface waters of Newtown Creek, (5) detection of amphetamine type stimulants at wastewater outflow sites in the Hudson River, (6) investigating establishment limitations of new populations of Oriental bittersweet in Schodack Island State Park, (7) assessing macroinvertebrate tolerance to hypoxia in the presence of water chestnut and submerged aquatic species, and (8) examining the distribution and feeding ecology of larval sea lamprey in the Hudson River basin. iii TABLE OF CONTENTS Abstract ............................................................................................................... iii Preface ................................................................................................................. vii Fellowship Reports Pelagic Tropical to Subtropical Foraminifera in the Hudson River: What is their Source? Kyle M. Monahan and Dallas Abbott .................................................................. I-1 Sea Level Rise and Sediment: Recent Salt Marsh Accretion in the Hudson River Estuary Troy D. Hill and Shimon C. Anisfeld .................................................................. II-1 Nutrient Pollution in Hudson River Marshes: Effects on Greenhouse Gas Production Angel Montero, Brian Brigham, and Gregory D. -
CHAINING the HUDSON the Fight for the River in the American Revolution
CHAINING THE HUDSON The fight for the river in the American Revolution COLN DI Chaining the Hudson Relic of the Great Chain, 1863. Look back into History & you 11 find the Newe improvers in the art of War has allways had the advantage of their Enemys. —Captain Daniel Joy to the Pennsylvania Committee of Safety, January 16, 1776 Preserve the Materials necessary to a particular and clear History of the American Revolution. They will yield uncommon Entertainment to the inquisitive and curious, and at the same time afford the most useful! and important Lessons not only to our own posterity, but to all succeeding Generations. Governor John Hancock to the Massachusetts House of Representatives, September 28, 1781. Chaining the Hudson The Fight for the River in the American Revolution LINCOLN DIAMANT Fordham University Press New York Copyright © 2004 Fordham University Press All rights reserved. No part of this publication may be reproduced, stored ii retrieval system, or transmitted in any form or by any means—electronic, mechanical, photocopy, recording, or any other—except for brief quotation: printed reviews, without the prior permission of the publisher. ISBN 0-8232-2339-6 Library of Congress Cataloging-in-Publication Data Diamant, Lincoln. Chaining the Hudson : the fight for the river in the American Revolution / Lincoln Diamant.—Fordham University Press ed. p. cm. Originally published: New York : Carol Pub. Group, 1994. Includes bibliographical references and index. ISBN 0-8232-2339-6 (pbk.) 1. New York (State)—History—Revolution, 1775-1783—Campaigns. 2. United States—History—Revolution, 1775-1783—Campaigns. 3. Hudson River Valley (N.Y. -
Set in Scotland a Film Fan's Odyssey
Set in Scotland A Film Fan’s Odyssey visitscotland.com Cover Image: Daniel Craig as James Bond 007 in Skyfall, filmed in Glen Coe. Picture: United Archives/TopFoto This page: Eilean Donan Castle Contents 01 * >> Foreword 02-03 A Aberdeen & Aberdeenshire 04-07 B Argyll & The Isles 08-11 C Ayrshire & Arran 12-15 D Dumfries & Galloway 16-19 E Dundee & Angus 20-23 F Edinburgh & The Lothians 24-27 G Glasgow & The Clyde Valley 28-31 H The Highlands & Skye 32-35 I The Kingdom of Fife 36-39 J Orkney 40-43 K The Outer Hebrides 44-47 L Perthshire 48-51 M Scottish Borders 52-55 N Shetland 56-59 O Stirling, Loch Lomond, The Trossachs & Forth Valley 60-63 Hooray for Bollywood 64-65 Licensed to Thrill 66-67 Locations Guide 68-69 Set in Scotland Christopher Lambert in Highlander. Picture: Studiocanal 03 Foreword 03 >> In a 2015 online poll by USA Today, Scotland was voted the world’s Best Cinematic Destination. And it’s easy to see why. Films from all around the world have been shot in Scotland. Its rich array of film locations include ancient mountain ranges, mysterious stone circles, lush green glens, deep lochs, castles, stately homes, and vibrant cities complete with festivals, bustling streets and colourful night life. Little wonder the country has attracted filmmakers and cinemagoers since the movies began. This guide provides an introduction to just some of the many Scottish locations seen on the silver screen. The Inaccessible Pinnacle. Numerous Holy Grail to Stardust, The Dark Knight Scottish stars have twinkled in Hollywood’s Rises, Prometheus, Cloud Atlas, World firmament, from Sean Connery to War Z and Brave, various hidden gems Tilda Swinton and Ewan McGregor. -
ICE Newsroom ICE Arrests More Than 80 During 5-Day Enforcement Action in New York City, the Hudson Valley, and Long Island
9/26/2019 ICE arrests more than 80 during 5-day enforcement action in New York City, the Hudson Valley, and Long Island | ICE Official Website of the Department of Homeland Security Report Crimes: Email or Call 1-866-DHS-2-ICE ICE Newsroom News Releases News Releases Enforcement and Removal 09/26/2019 Share ICE arrests more than 80 during 5-day enforcement action in New York City, the Hudson Valley, and Long Island NEW YORK – Officers from U.S. Immigration and Customs Enforcement's (ICE) Enforcement and Removal Operations (ERO) arrested more than 80 during a 5-day period, ending Sep. 25, in New York City, the Hudson Valley and Long Island. During the enforcement effort, ERO arrested 82 individuals for violating U.S. immigration laws. Of those arrested, more than 40 had been previously released from local law enforcement custody with an active detainer. Ten of those arrested were previously removed from the United States and returned illegally. Several had prior felony convictions for serious or violent offenses, such as sexual crimes, weapons charges, and assault, or had past convictions for significant or multiple misdemeanors. “Of those arrested during these five days, more than half were released from local custody with an active detainer. That is more than three dozen illegal aliens with convictions or criminal charges who were released back into New York communities, further putting the safety of its residents at risk,” said Thomas R. Decker, field office director for ERO New York. “Because of the senseless local laws in New York City, thousands of illegal aliens have been released; and as this trend continues, thousands more will be released back into the communities to threaten the safety of our city’s AILA Doc. -
Underwater Music: Tuning Composition to the Sounds of Science
Underwater Music: Tuning Composition to the Sounds of Science The MIT Faculty has made this article openly available. Please share how this access benefits you. Your story matters. Citation Helmreich, Stefan. “Underwater Music: Tuning Composition to the Sounds of Science.” Oxford Handbooks Online (December 2, 2011). As Published http://dx.doi.org/10.1093/oxfordhb/9780195388947.013.0044 Publisher Oxford University Press Version Original manuscript Citable link http://hdl.handle.net/1721.1/114601 Terms of Use Creative Commons Attribution-Noncommercial-Share Alike Detailed Terms http://creativecommons.org/licenses/by-nc-sa/4.0/ OUP UNCORRECTED FIRST-PROOF 7/6/11 CENVEO chapter 6 UNDERWATER MUSIC: TUNING COMPOSITION TO THE SOUNDS OF SCIENCE stefan helmreich Introduction How should we apprehend sounds subaqueous and submarine? As humans, our access to underwater sonic realms is modulated by means fl eshy and technological. Bones, endolymph fl uid, cilia, hydrophones, and sonar equipment are just a few apparatuses that bring watery sounds into human audio worlds. As this list sug- gests, the media through which humans hear sound under water can reach from the scale of the singular biological body up through the socially distributed and techno- logically tuned-in community. For the social scale, which is peopled by submari- ners, physical oceanographers, marine biologists, and others, the underwater world —and the undersea world in particular — often emerge as a “fi eld” (a wildish, distributed space for investigation) and occasionally as a “lab” (a contained place for controlled experiments). In this chapter I investigate the ways the underwater realm manifests as such a scientifi cally, technologically, and epistemologically apprehensible zone. -
Remixing the Voyager Interstellar Record Or, As Extraterrestrials Might Listen
Journal of Sonic Studies 8 (2014) Sounds of Space: http://www.researchcatalogue.net/view/109536/109537 Remixing the Voyager Interstellar Record Or, As Extraterrestrials Might Listen Stefan Helmreich Contextualizing the Context In 2010, scientists claiming to belong to a dissenting faction of the Search for Extraterrestrial Intelligence (SETI) contacted Seeland Records. Calling themselves the Search for Extraterrestrial Intelligence in Exile, or SETI-X, the group claimed to have received an alien transmission of rearranged sound from the Voyager Golden Record, a phonograph album famously sent into outer space in 1977 on each of NASA’s two Voyager spacecraft (Figure 1). The Golden Record had been put together in the mid-1970s by a panel convened by astronomer Carl Sagan, and it held a program of sounds and music of Earth, representing to imagined aliens our planet’s soundscapes, voices, and musical traditions. [1] Figure 1: The Voyager Golden Record. Side 1, on left, is the analog audio program. Side 2, on right, instructions to extraterrestrials on how to play the record. [2] 1 Because the scientists of SETI-X wished to remain anonymous, Seeland sought a public voice or commentator from other quarters. Because the label had in 2003 released a CD I had created, Xerophonics: Copying Machine Music, a science- and-technology themed mix of sounds of indefinite ownership (Helmreich 2003), and because I had also written about scientific notions of extraterrestrial life (Helmreich 2006), Seeland reasoned that I might be appropriately positioned to offer thoughts on the SETI-X document. They asked me to comment, which I did in a few venues (including, among other sites, the Los Angeles Daily News [Mills 2010]. -
DOCUMENTATION to DETERMINE QUALIFIED ALIEN STATUS Please
DOCUMENTATION TO DETERMINE QUALIFIED ALIEN STATUS Please check the box which applies to your status. You must provide copies of the required documentation as an attachment to this form. Alien Lawfully Admitted for Permanent Residence: _____ - USCIS Form I-551 (Alien Registration Receipt Card, commonly known as a “green card” _____ - Unexpired Temporary I-551 stamp in foreign passport or on USCIS Form I-94 Asylee: _____ - USCIS Form I-94 annotated with stamp showing admission under §208 of the INA _____ - USCIS Form I-688B (Employment Authorization Card) annotated “27a.12(a) (5)” _____ - USCIS Form I-766 (Employment Authorization Document) annotated “A5” _____ - Grant letter from the asylum office of USCIS _____ - Order of an immigration judge granting asylum Refugee: _____ - USCIS Form I-94 annotated with stamp showing admission under §207 of the INA _____ - USCIS Form I-688B (Employment Authorization Card) annotated “274a.12 (a) (3) _____ - USCIS Form I-766 (Employment Authorization Document) annotated “A3” _____ - USCIS Form I-571 (Refugee Travel Document) Alien Paroled Into the U.S. for at Least One Year: _____ - USCIS Form I-94 with stamp showing admission for at least one year under §212(d) (5) of the INA Alien Whose Deportation or Removal Was Withheld: _____ - USCIS Form I-688B (Employment Authorization Card) annotated “274a.12 (a) (10) _____ - USCIS Form I-766 (Employment Authorization Document) annotated “A10” _____ - Order from an immigration judge showing deportation withheld under §241 (b) (3) of the INA Alien Granted Conditional -
Office of Human Resources, P.O. Box 5000, Annandale‐On‐Hudson, NY 12504‐5000 Tel: 845‐758‐7428 Fax: 845‐758‐7826 Email: [email protected]
Office of Human Resources, P.O. Box 5000, Annandale‐on‐Hudson, NY 12504‐5000 Tel: 845‐758‐7428 Fax: 845‐758‐7826 Email: [email protected] Please print clearly, Answer all sections. These forms must be completed as part of the new hire process. Position Name Address Age (only if under 18 and a student) Social Security Number 1. Have you ever been employed by or applied for a position with Bard College, under either the same or a different name? If yes, please give application date or employment dates and position held. 2. Are you a citizen of the United States or an alien authorized to work in the U.S.? 3. Have you ever been convicted of any crime (other than motor vehicle violations)? If yes, please describe the nature of the crime & the outcome of the case. Note that conviction of crime is not necessarily a bar to employment. Have you ever been convicted of a felony, or a misdemeanor involving any violent act, use or possession of a weapon or act of dishonesty for which the record has not been sealed or expunged? If so, please explain. Note that conviction of a crime is not necessarily a bar to employment. Complete sections 4, 5, and 6 only if the position for which you are applying requires driving. 4. Driver’s license number 5. Driver’s license classification 6. Have you been convicted of a motor vehicle violation within the past 3 years? If yes, please specify. Have you been driving for at least 3 years? If no, for how long have you been driving? I attest that all information herein is true and complete to the best of my knowledge. -
An Examination of Jerry Goldsmith's
THE FORBIDDEN ZONE, ESCAPING EARTH AND TONALITY: AN EXAMINATION OF JERRY GOLDSMITH’S TWELVE-TONE SCORE FOR PLANET OF THE APES VINCENT GASSI A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO MAY 2019 © VINCENT GASSI, 2019 ii ABSTRACT Jerry GoldsMith’s twelve-tone score for Planet of the Apes (1968) stands apart in Hollywood’s long history of tonal scores. His extensive use of tone rows and permutations throughout the entire score helped to create the diegetic world so integral to the success of the filM. GoldsMith’s formative years prior to 1967–his training and day to day experience of writing Music for draMatic situations—were critical factors in preparing hiM to meet this challenge. A review of the research on music and eMotion, together with an analysis of GoldsMith’s methods, shows how, in 1967, he was able to create an expressive twelve-tone score which supported the narrative of the filM. The score for Planet of the Apes Marks a pivotal moment in an industry with a long-standing bias toward modernist music. iii For Mary and Bruno Gassi. The gift of music you passed on was a game-changer. iv ACKNOWLEDGEMENTS Heartfelt thanks and much love go to my aMazing wife Alison and our awesome children, Daniela, Vince Jr., and Shira, without whose unending patience and encourageMent I could do nothing. I aM ever grateful to my brother Carmen Gassi, not only for introducing me to the music of Jerry GoldsMith, but also for our ongoing conversations over the years about filM music, composers, and composition in general; I’ve learned so much. -
Aliens, Predators and Global Issues: the Evolution of a Narrative Formula
CULTURA , LENGUAJE Y REPRESENTACIÓN / CULTURE , LANGUAGE AND REPRESENTATION ˙ ISSN 1697-7750 · VOL . VIII \ 2010, pp. 43-55 REVISTA DE ESTUDIOS CULTURALES DE LA UNIVERSITAT JAUME I / CULTURAL STUDIES JOURNAL OF UNIVERSITAT JAUME I Aliens, Predators and Global Issues: The Evolution of a Narrative Formula ZELMA CATALAN SOFIA UNIVERSITY ABSTRACT : The article tackles the genre of science fiction in film by focusing on the Alien and Predator series and their crossover. By resorting to “the fictional worlds” theory (Dolezel, 1998), the relationship between the fictional and the real is examined so as to show how these films refract political issues in various symbolic ways, with special reference to the ideological construct of “global threat”. Keywords: film, science fiction, narrative, allegory, otherness, fictional worlds. RESUMEN : en este artículo se aborda el género de la ciencia ficción en el cine mediante el análisis de las películas de la serie Alien y Predator y su combinación. Utilizando la teoría de “los mundos ficcionales” (Dolezel, 1999), se examina la relación entre los planos ficcional y real para mostrar cómo estas películas reflejan cuestiones políticas de diversas formas simbólicas, con especial referencia a la construccción ideológica de la “amenaza global”. Palabras clave: film, ciencia ficción, narrativa, alegoría, alteridad, mundos fic- cionales In 2004 20th Century Fox released Alien vs. Predator, directed by Paul Anderson and starring Sanaa Latham, Lance Henriksen, Raoul Bova and Ewen Bremmer. The film combined and continued two highly successful film series: those of the 1979 Alien and its three successors Aliens (1986), Alien 3 (1992) and Alien Resurrection (1997), and of the two Predator movies, from 1987 and 1990 respectively.