DOCSLIB.ORG

PDF Download the Running Man Ebook

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

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. The U. In , Ben Richards, a police helicopter pilot framed for a massacre during a food riot in Bakersfield , California, escapes from a labor camp with two resistance fighters, Harold Weiss and William Laughlin, and finds refuge at a resistance camp headed by their leader, Mic. Instead of joining the resistance who detest Richards at first due to his previous ties with the police , Richards seeks shelter at his brother's apartment. Richards, after discovering she has been secretly making music which is illegal by government law asks Mendez about the whereabouts of his brother, and she says that he was taken for "re-education. Blackmailing and taking Amber hostage, Richards attempts to flee to Hawaii, but she alerts airport security and Richards is captured and taken to ICS before the police can arrest him. Ben learns that Killian had enrolled them as runners anyway and swears revenge, which Killian brushes off. As the game begins, Richards and his friends are sent into the game zone, an abandoned part of Los Angeles devastated by a prior earthquake, where they are attacked by the first stalker, Subzero. They fight back and Richards garrotes Subzero to death with barbed wire — the first time a stalker has ever died on the show. Laughlin and Weiss search for the network's uplink facilities, which they realize are in the game zone. Amber sees a falsified news report on Richards' capture and, suspicious of the media's veracity, does some investigating. After learning that footage of the massacre was doctored to incriminate Richards, she is captured by her ICS colleagues and sent into the game zone where she meets up with Richards and his comrades. The runners split up into groups of two, then each pair is pursued by a different stalker, Buzzsaw, and Dynamo. Buzzsaw mortally wounds Laughlin, but Richards slays Buzzsaw by bisecting him with his own chainsaw. Weiss and Amber locate the uplink and learn the access codes, but Dynamo finds them and kills Weiss by electrocution. Amber's screams lead Richards to her, and as the two evade Dynamo, the stalker's buggy flips, trapping him inside. Refusing to kill a helpless opponent, Richards leaves Dynamo alive to jeers from the audience. He and Amber then return to Laughlin, who before dying, reveals that the resistance has a hideout within the game zone and begs Richards to complete their mission for them. Back at ICS, Killian sees Richards' popularity growing, with many viewers rooting for him to win instead of the stalkers. Off-camera, Killian offers Richards a job as a stalker; but when Richards refuses, Killian sends in the next stalker, Fireball. Fireball chases them into an abandoned factory, where Amber discovers the charred and decomposing corpses of the previous seasons' "winners," realizing that their victory was faked and they were killed and dumped inside the game zone. Fireball goes after Amber, but Richards rescues her and kills him by sabotaging his flamethrower and lighting the resulting puddle of fuel. Frustrated and running out of options, Killian calls upon Captain Freedom, a retired stalker, to kill them. However, when Freedom refuses, the network creates digital body doubles of Freedom, Richards, and Amber, which are then used to fake Richards' and Amber's deaths on screen. In the game zone, Richards and Amber are found by Mic and taken to the resistance's hideout, where they learn of their supposed deaths. Using the access codes, the rebels get into ICS' control room, broadcasting footage that exonerates Richards and reveals the truth about the game's previous contestants. As Richards heads to the main studio floor, shocking the audience who had watched him supposedly die, Amber is ambushed by Dynamo. She is able to set off a sprinkler above his head, causing his weapons to short circuit and electrocute him to death. Richards confronts Killian, who begs for his life, saying he created the show to appease the people's love of television and televised violence. In response, Richards decides to give the audience what they want, sending Killian into the game zone in a rocket sled. Without the protective netting which was removed by the resistance when they made their assault, the sled hits a Cadre Cola billboard bearing Killian's likeness and explodes, killing him to the delight of the audience. Richards and Amber kiss and then walk out of the studio hand in hand. Christopher Reeve was once attached to play Ben Richards. Schwarzenegger has stated this was a "terrible decision", as Glaser "shot the movie like it was a television show, losing all the deeper themes", and believes this hurt the film. Pop star Paula Abdul choreographed the pre-show dance sequences. The music used for the pre-show entertainment was composed by Jackie Jackson and was dubbed "Paula's Theme" in her honor. Artisan Entertainment released the film on DVD in , and again in The release includes new special features, audio commentaries and sound mix. The Running Man ( film) - Wikipedia 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. Taglines: Famed director Carol Reed focuses on naked fear! Edit Did You Know? Goofs Stella hops onto her bed after the insurance adjuster leaves and has her shoes on. In the next scene her shoes are gone. Then she falls asleep fully clothed and her husband puts a blanket over her. Whilst dreaming, she still has her black dress on. When she awakes in the morning the dress is gone. Quotes Rex Black : Where did he get it? Stella Black : I lost it. Rex Black : Where? Stella Black : In his bed. Was this review helpful to you? Yes No Report this. Frequently Asked Questions Q: Which car is the gorgeous convertible shown in the movie? Edit Details Country: UK. Language: English Spanish French. Runtime: min. A modern remake of the film has been mooted. From Wikipedia, the free encyclopedia. Theatrical release poster. George Linder Tim Zinnemann. Braveworld Productions Taft Entertainment. Release date. Running time. This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. October Learn how and when to remove this template message. Arnold Schwarzenegger as Benjamin "Ben" A. Main article: The Running Man video game. British Board of Film Classification. Retrieved March 13, Box Office Mojo. Retrieved 13 March American Film Institute. Retrieved April 28, ORG ". Archives of American Television. Retrieved Retrieved 4 April Los Angeles Times. Retrieved July 13, The New York Times. November 11, Chicago Tribune. Section 7, Page B, D. Part VI, p. The Washington Post. Rotten Tomatoes. Retrieved December 21, Retrieved 18 February Archived from the original on BBC News. Retrieved 5 January New York Post. Screenrant , July 26, World of Spectrum. Atari Legend. Adaptations of works by Stephen King. Creepshow Creepshow 2 Creepshow 3 Firestarter Rekindled Maximum Overdrive Trucks Misery Julie Ganapathi The Mangler The Mangler 2 Reborn The Lawnmower Man Beyond Cyberspace It It Chapter Two The Shining Doctor Sleep It Woh Again Sometimes They Come Back The Stand The Stand Mercedes — Castle Rock —present Creepshow —present. Carrie musical Scarrie! Salem's Lot Book Category. Films directed by Paul Michael Glaser. Stephen King | The Running Man Stephen notices Rex by the car he saw Stella previously drive. Rex does not immediately recognise Stephen until Stella arrives on the scene, introducing Stephen to "Jim Jerome".
Recommended publications
  • 66C 2 *3 69C 12.88

    66C 2 *3 69C 12.88

    (*>■. , . \ - Avenge Dally Net Press Run The W ealhe; ■ ' For The Week Ended May 20, 1067 CHatide of idiowers' this eve­ WEDNESDAY, JUNE 28, 1967 ning, mlUer wUh low In 60s; PA G E FO R T Y iMaurljiestw lEwftiing 1imlJ» £w paiftly okn*ty aitd warm twfnor- 15,210 itOyr,. high in 80*. ManeheHer^A City o f Vittiigo P VOL. LXXXVI, NO. 229 (TWENTY-FOUR PAGES—-TWO SECTIONS) •MfAlipeiiESTER, CONN., TH U RSDxl, JDNR 19^ O i l (IMfMirAaver&faw «» PRICE SEVEN CENTS J .i .u ij.:.. %?:•$:?’■"* ’ *"’ ’ ............ " ^ w S$?:S •X::*y: Thurso Fri.. Sat. and Mon.. July 3rd w -'V I'V .. H ^ E l ' ' n « HAIE t. ' wm iiieiBtftii More Ohjectip^ City Gates VALUES FOR YOUR LONG WEEKEND! SHOP FOR DOZENS MORE! T& Israeli M& Open After UNITED mVIONS, N.T. 40 Pale^tttio .1 9 Years (AlP) — The Qeneral As- seized the Old seitifHy todajt iM rd a mounting drove the Joi JERUSALEM (AP) — men’s short sleeve chorus ot attegks on Israel for the Old Otbr - OvBMriding bisr-jxiwer pro- 2 men’s Ivy League tie slmexatlon j^:ttie Old City of the bulk al^&e t«miS, Israel turned both boys’ perma-press excellent assortment sport or dress shirts JertMletn. and Mbslem s^iltors of Jerusalem inix> nreign Minister the start of " •'lift (me city under Israel’s flag plaid Bermudas summer dusters Omar Sakkaf pi Baudi Arabia m a dress, sport shirts today, and thousands a t told the enterMMey session of Wednesdliy tilghV I’S' Jewit and Arabs mingled 3 fo r the assemUy m t if the “ Zion- Hussein said Bis 1.77 Ists" fail to srnhdraw from cap- viewed “With utMc^ (ft and„ fraternized in the tuMd Arab tSHtories, “ there r.-'K:' »5 (Beg Page,; gates between the Jewish 1.68 1.77 reg.
  • Television Sharknados and Twitter Storms

    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

    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 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

    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

    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).
  • WOH 3241 the Vietnam War Syllabus

    WOH 3241 the Vietnam War Syllabus

    WOH 3241 THE VIETNAM WAR FALL 2020 Professor: Matthew Jacobs Email: Beginning this semester, faculty are required to communicate with students via the course CANVAS email tool, but I may also be reached at [email protected] Office Hours (virtual): Mondays 10:30-11:30, Thursdays 2:30-3:30, and by appointment Teaching Assistant: Timothy Blanton Email: Please connect via the CANVAS email tool, or at [email protected] Office Hours (virtual): ???? and by appointment Teaching Assistant: Robert Lierse Email: Please connect via the CANVAS email tool, or at [email protected] Office Hours (virtual): ???? and by appointment Welcome to the fall 2020 semester, and to WOH 3241: The Vietnam War. As we all know, this semester will be unlike any that any of us have ever experienced. The success of the course will be equally dependent on all of us being committed, flexible, patient, persistent, and understanding. This course will be offered synchronously, meaning at the scheduled time listed in the Schedule of Courses, but fully remotely. Lectures will be Tuesdays, 5th and 6th period (11:45-1:40). Typically, instead of taking a break during lecture we will end by 1:15. Thursday discussion sessions will take place at either 11:45 or 12:50, depending on the section in which you are registered. These, too, will take place remotely. On occasion, I may post short videos that cover basic chronologies or other information for you to watch prior to class so that we can spend more of our time together engaging with each other. Lecture power points will be linked to the title for each class in the schedule below.
  • Plural Subjectivity in Stargate SG-1

    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.
  • Download PDF1 MB

    Download PDF1 MB

    WOHActLikeGodTitlePages.indd 1 2/22/11 10:12:30 AM WOHActLikeGodTitlePages.indd 1 2/22/11 10:12:30 AM DAVID BAST WOHActLikeGodTitlePages.indd 2 2/22/11 10:12:31 AM Why Doesn’t God Act More Like God? Habakkuk and the Problem of Evil Copyright © 2003, 2011 by David Bast Published by Words of Hope 700 Ball Ave., N.E. Grand Rapids, MI 49503-1308 USA Email: [email protected] World Wide Web: www.woh.org All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means—electronic, me- chanical, photocopy, recording, or any other—without the prior written per- mission of the publisher. The only exception is brief quotations in printed reviews. All Scripture quotations, unless otherwise indicated, are taken from the HOLY BIBLE, NEW INTERNATIONAL VERSION ®. Copyright © 1973, 1978, 1984 by International Bible Society. Used by permission of Zondervan. All rights reserved. Scripture quotations marked (cev) are from the Contemporary English Ver- sion Copyright © 1991, 1992, 1995 by American Bible Society. Used by per- mission. Scripture quotations marked (kjv) are taken from the King James Version. Public domain. Scripture quotations marked (nrsv) are taken from the New Revised Standard Version Bible, copyright 1989, Division of Christian Education of the Nation- al Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved. Scripture quotations marked (rsv) are taken from the Revised Standard Ver- sion of the Bible, copyright 1952 [2nd edition, 1971] by the Division of Christian Education of the National Council of the Churches of Christ in the United States of America.
  • ANDROMEDA! a CHOOSE YOUR OWN PATH SCREENPLAY By

    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
  • Aviation Education Design Develops Teaching Concepts

    Aviation Education Design Develops Teaching Concepts

    Avion Newspapers 11-3-1982 Avion 1982-11-03 Embry-Riddle Aeronautical University Follow this and additional works at: https://commons.erau.edu/avion Scholarly Commons Citation Embry-Riddle Aeronautical University, "Avion 1982-11-03" (1982). Avion. 422. https://commons.erau.edu/avion/422 This Book is brought to you for free and open access by the Newspapers at Scholarly Commons. It has been accepted for inclusion in Avion by an authorized administrator of Scholarly Commons. For more information, please contact [email protected]. .JUddi. Mron1ullul Unhtntfl' Oertono a."ch. Floftd1 THE HovembM :t 19&2 Yolum .. 42 IHU. • _C...QhPU gt.?,4!; .......,..- ..... ,.. - -- ~~~Students injured in accidents By W~y Kennedy from 1h< oot1hbi>und l111e. Drn!Je Avlon Staff Reponer Laffcny, an cycwlrCCJ& who w;a Two K"p&utc motorcydc ac:-­ on the .ddcwalk when th< accida.! cidmu involvini F.mbry·Riddlc oa."\l.rcd, '1.AI~. "The Cll uaned uudcnu occurtd whhin a few 10 1urn kft bu1 stalled. Then, Ill of hours on th\ arten.oon or Friday, " s\idden !I 11&11cd qaic. and shclc Oi.1obcr 29. Two people wen ln­ out in fronc cf 1hc mocoreyc:k." juzed,nd1ha snio\ul)'. Ho•~. 85 Dsy:.ona Beach The ftnc acadcc1 occwcd •t ap­ Polkcman, K.M. Wallace, stated pro.un..cdy l:OS p.m. al cbt cor· cc the t«."W, ''There arc conftictina ncr of Bclkvuc A11t11ue a.nd South rcpons u to whether MW Talley's Palmdco Sutti. John Bell, an IS car ~allcd or noc. In ei1hcr cue, )'cat old Anonautkal ~ M:U· tllot'll '1c dlaracd for Viola1ion or dent.
  • The Crip, the Fat and the Ugly in an Age of Austerity: Resistance, Reclamation, and Affirmation

    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).