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Back Listeners: Locating Nostalgia, Domesticity and Shared Listening Practices in Contemporary Horror Podcasting
Welcome back listeners: locating nostalgia, domesticity and shared listening practices in Contemporary horror podcasting. Danielle Hancock (BA, MA) The University of East Anglia School of American Media and Arts A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy January 2018 Contents Acknowledgements Page 2 Introduction: Why Podcasts, Why Horror, and Why Now? Pages 3-29 Section One: Remediating the Horror Podcast Pages 49-88 Case Study Part One Pages 89 -99 Section Two: The Evolution and Revival of the Audio-Horror Host. Pages 100-138 Case Study Part Two Pages 139-148 Section Three: From Imagination to Enactment: Digital Community and Collaboration in Horror Podcast Audience Cultures Pages 149-167 Case Study Part Three Pages 168-183 Section Four: Audience Presence, Collaboration and Community in Horror Podcast Theatre. Pages 184-201 Case Study Part Four Pages 202-217 Conclusion: Considering the Past and Future of Horror Podcasting Pages 218-225 Works Cited Pages 226-236 1 Acknowledgements With many thanks to Professors Richard Hand and Mark Jancovich, for their wisdom, patience and kindness in supervising this project, and to the University of East Anglia for their generous funding of this project. 2 Introduction: Why Podcasts, Why Horror, and Why Now? The origin of this thesis is, like many others before it, born from a sense of disjuncture between what I heard about something, and what I experienced of it. The ‘something’ in question is what is increasingly, and I believe somewhat erroneously, termed as ‘new audio culture’. By this I refer to all scholarly and popular talk and activity concerning iPods, MP3s, headphones, and podcasts: everything which we may understand as being tethered to an older history of audio-media, yet which is more often defined almost exclusively by its digital parameters. -
Dragon Con Progress Report 2021 | Published by Dragon Con All Material, Unless Otherwise Noted, Is © 2021 Dragon Con, Inc
WWW.DRAGONCON.ORG INSIDE SEPT. 2 - 6, 2021 • ATLANTA, GEORGIA • WWW.DRAGONCON.ORG Announcements .......................................................................... 2 Guests ................................................................................... 4 Featured Guests .......................................................................... 4 4 FEATURED GUESTS Places to go, things to do, and Attending Pros ......................................................................... 26 people to see! Vendors ....................................................................................... 28 Special 35th Anniversary Insert .......................................... 31 Fan Tracks .................................................................................. 36 Special Events & Contests ............................................... 46 36 FAN TRACKS Art Show ................................................................................... 46 Choose your own adventure with one (or all) of our fan-run tracks. Blood Drive ................................................................................47 Comic & Pop Artist Alley ....................................................... 47 Friday Night Costume Contest ........................................... 48 Hallway Costume Contest .................................................. 48 Puppet Slam ............................................................................ 48 46 SPECIAL EVENTS Moments you won’t want to miss Masquerade Costume Contest ........................................ -
Pod People Brave New Worlds of Digital Audio Drama Alluvium.Pdf
Kent Academic Repository Full text document (pdf) Citation for published version Collins, MJ (2016) Pod People: Brave New Worlds of Digital Audio Drama. Alluvium: 21st Century Writing, 21st Century Approaches, 5 (4). ISSN 2050-1560. DOI Link to record in KAR http://kar.kent.ac.uk/58322/ Document Version Publisher pdf Copyright & reuse Content in the Kent Academic Repository is made available for research purposes. Unless otherwise stated all content is protected by copyright and in the absence of an open licence (eg Creative Commons), permissions for further reuse of content should be sought from the publisher, author or other copyright holder. Versions of research The version in the Kent Academic Repository may differ from the final published version. Users are advised to check http://kar.kent.ac.uk for the status of the paper. Users should always cite the published version of record. Enquiries For any further enquiries regarding the licence status of this document, please contact: [email protected] If you believe this document infringes copyright then please contact the KAR admin team with the take-down information provided at http://kar.kent.ac.uk/contact.html 21st century writing | 21st century approaches Home About È È Contact È È Institutional Affiliation È È Current Issue Previous Articles search... Home È Current Issue È Pod People: Brave New Worlds of Digital Audio Drama Pod People: Brave New Worlds of Digital Audio Drama Michael J. Collins I and My Pod For the last several months I have been lucky enough to have been on writing sabbatical from my university. -
Comic Trans Presenting and Representing the Other in Stand-Up Comedy
2018 THESIS Comic Trans Presenting and Representing the Other in Stand-up Comedy JAMES LÓ RIEN MACDONALD LIVE ART AND PERFORMANCE STUDIES (LAPS) LIVE ART AND PERFORMANCE STUDIES (LAPS) 2018 THESIS Comic Trans Presenting and Representing the Other in Stand-up Comedy JAMES LÓ RIEN MACDONALD ABSTRACT Date: 22.09.2018 AUTHOR MASTER’S OR OTHER DEGREE PROGRAMME James Lórien MacDonald Live Art and Performance Studies (LAPS) NUMBER OF PAGES + APPENDICES IN THE TITLE OF THE WRITTEN SECTION/THESIS WRITTEN SECTION Comic Trans: Presenting and Representing the Other in 99 pages Stand- up Comedy TITLE OF THE ARTISTIC/ ARTISTIC AND PEDAGOGICAL SECTION Title of the artistic section. Please also complete a separate description form (for dvd cover). The artistic section is produced by the Theatre Academy. The artistic section is not produced by the Theatre Academy (copyright issues have been resolved). The final project can be The abstract of the final project can published online. This Yes be published online. This Yes permission is granted for an No permission is granted for an No unlimited duration. unlimited duration. This thesis is a companion to my artistic work in stand-up comedy, comprising artistic-based research and approaches comedy from a performance studies perspective. The question addressed in the paper and the work is “How is the body of the comedian part of the joke?” The first section outlines dominant theories about humour—superiority, relief, and incongruity—as a background the discussion. It touches on the role of the comedian both as untrustworthy, playful trickster, and parrhesiastes who speaks directly to power, backed by the truth of her lived experience. -
The Arts of Amnesia: the Case for Audio Drama, Part One
RadioDoc Review Volume 3 Issue 1 Article 5 January 2017 The Arts of Amnesia: The Case for Audio Drama, Part One Neil Verma North-Western University, Chicago Follow this and additional works at: https://ro.uow.edu.au/rdr Part of the Audio Arts and Acoustics Commons, Digital Humanities Commons, Radio Commons, and the Theatre and Performance Studies Commons Recommended Citation Verma, Neil, The Arts of Amnesia: The Case for Audio Drama, Part One, RadioDoc Review, 3(1), 2017. doi:10.14453/rdr.v3i1.5 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] The Arts of Amnesia: The Case for Audio Drama, Part One Abstract This article examines what the relationship between audio drama and radio drama might illuminate about both forms. Drawing on some 40 podcasts and other audio forms that take a serial structure, I explore the rise of audio drama podcasts since 2015 and situate them in both a more recent historical context since the late 1990s and in a broader history stretching back to the first Golden Age of adio.r By listening closely to key works on Serendipity, Homecoming and other podcasts, I argue that contemporary audio has profound potential to change both how we listen and how we relate to the sound media of the past. This is Part One of a two-part series. Keywords Radio Drama, Audio Drama, Homecoming, Serendipity, Radio History, Podcasting This article is available in RadioDoc Review: https://ro.uow.edu.au/rdr/vol3/iss1/5 The Arts of Amnesia: The Case for Audio Drama, Part One By Neil Verma, Northwestern University Audio Drama / Radio Drama No genre stirs dust into the shafts of sunlight in the attic of media history quite like radio drama, so it is no surprise that the recent rise of fiction among podcasters has clouded a problem that has been vexing critical and historical thought that surrounds the medium. -
Linguistic Ideologies in Fiction Podcasts Mary Emma Hignite
Linguistic Ideologies in Fiction Podcasts Mary Emma Hignite A thesis submitted in partial fulfillment of the requirements for the degree of Bachelor of Arts in Linguistics1 Bryn Mawr College December 2020 Abstract This thesis is a linguistic analysis of fiction podcasts, focused on the research question: how do linguistic ideologies and stereotypes function in fiction podcasts? To this end, I used both quantitative and qualitative analysis. The quantitative analysis investigated whether there is a correlation between a character’s role in a show and the type of language variety they speak. The results of this analysis showed no strong relationship between these factors; all character types were made up of majority *SAE speakers, illustrating the effect of the Standard Language Ideology on the podcasts. Additionally, speakers of three regional varieties, Southern English, New York City English, and Upper Midwest English together made up the majority (87.1%) of all speakers of regional varieties; this result illustrates the salience of these three varieties in American society, and analysis of specific characters who speak these varieties showed the stereotypes closely associated with them. The qualitative analysis focused on specific elements of storytelling in which linguistic stereotypes and ideologies play a role. The results showed linguistic ideologies and stereotypes at work in four specific story elements: humor, character building, worldbuilding, and relationships between characters. Stereotypes about Southern English were present in three of these categories (humor, character building, and worldbuilding), supporting the quantitative finding asserting that variety’s salience. Overall, I conclude that continued research into fiction podcasts will benefit the field of linguistics and creators & consumers of fiction podcasts. -
Gender and the Meritocratic Myth of Authenticity in the Cultural Production of Stand-Up Comedy by Stephanie Brown
OPEN MIC? GENDER AND THE MERITOCRATIC MYTH OF AUTHENTICITY IN THE CULTURAL PRODUCTION OF STAND-UP COMEDY BY STEPHANIE BROWN DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Communications and Media in the Graduate College of the University of Illinois at Urbana-Champaign, 2018 Urbana, Illinois Doctoral Committee: Professor Angharad Valdivia, Chair Professor Cameron McCarthy Professor CL Cole Associate Professor Julie Turnock ABSTRACT This dissertation demonstrates the ways in which gender plays a role in the validating of authenticity and merit in the cultural and industrial spaces of stand-up comedy. Merit and authenticity are arbitrary signifiers invoked by comics, fans, critics, and industry gatekeepers to protect the privilege of straight, white men who continue to dominate the field. I argue that the ideology of comedic authenticity is a means through which to police the boundaries of stand-up comedy while masking its underlying sexism, racism, and homophobia. More specifically, I argue that women, operationalized here as an industrial identity category, are constructed as comedy outsiders who must continually prove their worth through a shifting and slippery set of aesthetic and cultural norms and conditions. Further I explore the emotional and material labor women must perform to achieve success within the field, both on the local level and the industrial level. I draw attention to gatekeeping in stand-up comedy by theorizing it not as a type of rhetoric or artistic form, -
Adventure Time: Volume 6 Pdf, Epub, Ebook
ADVENTURE TIME: VOLUME 6 PDF, EPUB, EBOOK Ryan North,Shelli Paroline | 128 pages | 03 Apr 2015 | Titan Books Ltd | 9781782763178 | English | London, United Kingdom Adventure Time: Volume 6 PDF Book Lumpy Space Princess and Marceline then take Breakfast Princess's car and accidentally drive it off a cliff. Kent journeys into the roots of the treehouse and encounters the Rat King voiced by James Urbaniak , whom he eagerly challenges. Aug 20, Jonas rated it it was amazing. Just a moment while we sign you in to your Goodreads account. Finn then proceeds to save the members of the friendly civilization from the downed spaceship. After a struggle, Jake kills the fly's spirit and is brought back to life. View all 3 comments. Retrieved January 22, Eventually, the two meet up, and the Cosmic Owl unwittingly invites the lady bird into the dream of Princess Bubblegum. San Antonio Express-News. The Newsweek Daily Beast Company. Other editions. The epic trip around the world continues with everyone trying to find what they need to keep their hot air balloons afloat! The A. A comic book sequel to the animated show that takes place in the aftermath of The Great Gum War and GOLB 's attack; and it's up to Finn, Jake, thier friends, and with some new and unexpected friends, to pick up the pieces that were left behind by. Things finally got rolling though, and overall I found Adventure Time Volume Six to be another delightful Princess Bubblegum-focused story. A love story told from the perspectice of a red gem named Carl - pining for Gemma , a blue gemstone. -
04 Euritt Within the Wires
Within the Wires’ Intimate Fan-based Publics Aylin Euritt, Universität Leipzig, Germany Abstract As intimacy emerges as a key concept in podcast research, it becomes increasingly urgent to consider the multifaceted ways in which it interacts with the medium. This article advances research on podcasting intimacy by understanding intimacy as undergoing a continual process of culturally contingent negotiation and examining how podcasting participates in that negotiation. Instead of treating intimacy as an inherent part of podcasting, it demonstrates how podcasts can create intimacy and use it to form connections among members of a fan public. To do so, this article uses the first season of Within the Wires (2016) to show how narrative repetition constructs fan-based intimate publics. Within the Wires is an alternate reality fiction podcast whose first season takes the form of relaxation tapes. Throughout the podcast, the narrator repeats specific lines, phrases, and memories that the listener comes to recognize. By retooling Roland Barthes and Marianne Hirsch’s work on recognition and community building in photography for use in sound research, this article develops a theoretical framework for understanding the temporalities of recognition in podcasting. Using this framework, the article posits that Within the Wires uses non-narrative repetition alongside its aural aesthetics to create an intimate public through recognition. The podcast extends that recognition into its monetizing paratexts, making it possible for listeners to recognize themselves and others as fans. The first section of this paper defines recognition and its relationship to time, the second considers how recognition works within the show’s fandom, the third looks at recognition within Within the Wires’ monetizing paratexts, and the final tracks how the podcast finds horror in the breakdown of this system. -
Download Based on Personal Interests (Berry 2016: 666)
Kent Academic Repository Full text document (pdf) Citation for published version Collins, Michael James and Barrios-O'Neill, Danielle (2018) AT HOME WITH THE WEIRD: DARK ECO-DISCOURSE IN TANIS AND WELCOME TO NIGHT VALE. Revenant: Critical and Creative Studies of the Supernatural, 1 (3). pp. 35-54. ISSN 2397-8791. DOI Link to record in KAR http://kar.kent.ac.uk/66643/ Document Version Publisher pdf Copyright & reuse Content in the Kent Academic Repository is made available for research purposes. Unless otherwise stated all content is protected by copyright and in the absence of an open licence (eg Creative Commons), permissions for further reuse of content should be sought from the publisher, author or other copyright holder. Versions of research The version in the Kent Academic Repository may differ from the final published version. Users are advised to check http://kar.kent.ac.uk for the status of the paper. Users should always cite the published version of record. Enquiries For any further enquiries regarding the licence status of this document, please contact: [email protected] If you believe this document infringes copyright then please contact the KAR admin team with the take-down information provided at http://kar.kent.ac.uk/contact.html 35 At Home with the Weird: Dark Eco-Discourse in Tanis and Welcome to Night Vale Danielle Barrios-O’Neill (Falmouth University) and Michael Collins (University of Kent) ‘The future is unthinkable …. Because it is weird.’ Tim Morton, Dark Ecology (2016) One of the most influential recent additions to critical environmental discourse has been Tim Morton’s concept of ‘dark ecology’ (2016). -
STG Presents an Average of 600 Events Annually at the Paramount, the Moore, and the Neptune Theatres As Well As at Other Venues Throughout the Region
STG presents an average of 600 events annually at The Paramount, The Moore, and The Neptune Theatres as well as at other venues throughout the region. Broadway productions, concerts, comedy, lectures, education & community programs, film, and other enrichment programs can be found in our venues. Please see below for a chronological list of performances. ● THING - CANCELLED - - Fort Worden ● AIN'T TOO PROUD - CANCELLED - - The Paramount Theatre ● Black Pumas - POSTPONED - - The Paramount Theatre ● John Hiatt & The Jerry Douglas Band - POSTPONED - - The Moore Theatre ● DANCE This! Virtual Performance - August 13, 2021 - Online ● Pop-Up Mini Golf at the Paramount Theatre - August 12 - 15 - The Paramount Theatre ● Tiny Meat Gang - CANCELLED - - The Moore Theatre ● Tune-Yards - August 7, 2021 - The Neptune Theatre ● Palaye Royale - POSTPONED - - The Neptune Theatre ● Joe Russo's Almost Dead - CANCELLED - - The Paramount Theatre ● The Decemberists - CANCELLED - - The Paramount Theatre ● Up Next: Summer 2021 Series - July 24 - August 28, 2021 - Starbucks SODO Reserve ● The Masked Singer Live - CANCELLED - - The Paramount Theatre ● Jason Isbell and The 400 Unit - POSTPONED - - The Paramount Theatre ● IRC Residency - July 12, 2021 - Cascade View Elementary ● Girls Gotta Eat - POSTPONED - - The Moore Theatre ● More Music Songwriters Sessions 2021 - July 7, 2021 - Online ● STG Virtual AileyCamp 2021 - July 7 - August 4, 2021 - Online ● Pop-Up Donor Center with Bloodworks Northwest at The Paramount - July 6 - 9, 2021 - The Paramount Theatre ● Brit -
Joco Cruise 2017
2017 Saturday, March 4 to Saturday, March 11, 2017 on Holland America’s Westerdam WELCOME Hello and welcome to the JoCo Cruise! As we get underway, I invite you to take a moment to think about what’s happening in the place you usually live when you are not living on a cruise ship. Is it cold and snowy there? Is there a deplorable lack of fruity drinks, hot tubs, and karaoke? Are your co-workers ruefully reading your out-of-office replies and feeling intensely jealous? Probably. Who cares! None of these things are your problem anymore, because you’re here with us. I won’t lie: it’s no small amount of pressure to feel responsible for your good time this week. Admittedly, the odds are in our favor: we have this giant cruise ship all to ourselves, and an amazing lineup of performers and guests. But the thing that always gives me comfort, when I wake up at 3 a.m. from an anxiety dream involving some rather obvious water imagery, is that the Sea Monkeys are an inspiring community of warm and wonderful people. We work hard all year to put together a cruise that we hope will live up to your energy and enthusiasm. Every year, YOU amaze US. We will do our best to return the favor. Thank you for being here. — JONATHAN COULTON 2 JOCO CRUISE CODE OF CONDUCT Be excellent to each other. We expect that every- Don’t steal things. I mean, obviously. one will treat their fellow Sea Monkeys with kindness and respect.