EB Insects in Movies
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Irish Gothic Fiction
THE ‘If the Gothic emerges in the shadows cast by modernity and its pasts, Ireland proved EME an unhappy haunting ground for the new genre. In this incisive study, Jarlath Killeen shows how the struggle of the Anglican establishment between competing myths of civility and barbarism in eighteenth-century Ireland defined itself repeatedly in terms R The Emergence of of the excesses of Gothic form.’ GENCE Luke Gibbons, National University of Ireland (Maynooth), author of Gaelic Gothic ‘A work of passion and precision which explains why and how Ireland has been not only a background site but also a major imaginative source of Gothic writing. IRISH GOTHIC Jarlath Killeen moves well beyond narrowly political readings of Irish Gothic by OF IRISH GOTHIC using the form as a way of narrating the history of the Anglican faith in Ireland. He reintroduces many forgotten old books into the debate, thereby making some of the more familiar texts seem suddenly strange and definitely troubling. With FICTION his characteristic blend of intellectual audacity and scholarly rigour, he reminds us that each text from previous centuries was written at the mercy of its immediate moment as a crucial intervention in a developing debate – and by this brilliant HIST ORY, O RIGI NS,THE ORIES historicising of the material he indicates a way forward for Gothic amidst the ruins of post-Tiger Ireland.’ Declan Kiberd, University of Notre Dame Provides a new account of the emergence of Irish Gothic fiction in the mid-eighteenth century FI This new study provides a robustly theorised and thoroughly historicised account of CTI the beginnings of Irish Gothic fiction, maps the theoretical terrain covered by other critics, and puts forward a new history of the emergence of the genre in Ireland. -
“No Reason to Be Seen”: Cinema, Exploitation, and the Political
“No Reason to Be Seen”: Cinema, Exploitation, and the Political by Gordon Sullivan B.A., University of Central Florida, 2004 M.A., North Carolina State University, 2007 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2017 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Gordon Sullivan It was defended on October 20, 2017 and approved by Marcia Landy, Distinguished Professor, Department of English Jennifer Waldron, Associate Professor, Department of English Daniel Morgan, Associate Professor, Department of Cinema and Media Studies, University of Chicago Dissertation Advisor: Adam Lowenstein, Professor, Department of English ii Copyright © by Gordon Sullivan 2017 iii “NO REASON TO BE SEEN”: CINEMA, EXPLOITATION, AND THE POLITICAL Gordon Sullivan, PhD University of Pittsburgh, 2017 This dissertation argues that we can best understand exploitation films as a mode of political cinema. Following the work of Peter Brooks on melodrama, the exploitation film is a mode concerned with spectacular violence and its relationship to the political, as defined by French philosopher Jacques Rancière. For Rancière, the political is an “intervention into the visible and sayable,” where members of a community who are otherwise uncounted come to be seen as part of the community through a “redistribution of the sensible.” This aesthetic rupture allows the demands of the formerly-invisible to be seen and considered. We can see this operation at work in the exploitation film, and by investigating a series of exploitation auteurs, we can augment our understanding of what Rancière means by the political. -
Transatlantica, 2 | 2017 Marianne Kac-Vergne, Masculinity in Contemporary Science Fiction Cinema
Transatlantica Revue d’études américaines. American Studies Journal 2 | 2017 (Hi)stories of American Women: Writings and Re- writings / Call and Answer: Dialoguing the American West in France Marianne Kac-Vergne, Masculinity in Contemporary Science Fiction Cinema. Cyborgs, Troopers and Other Men of the Future Mehdi Achouche Electronic version URL: https://journals.openedition.org/transatlantica/10482 DOI: 10.4000/transatlantica.10482 ISSN: 1765-2766 Publisher Association française d'Etudes Américaines (AFEA) Electronic reference Mehdi Achouche, “Marianne Kac-Vergne, Masculinity in Contemporary Science Fiction Cinema. Cyborgs, Troopers and Other Men of the Future”, Transatlantica [Online], 2 | 2017, Online since 19 April 2019, connection on 20 May 2021. URL: http://journals.openedition.org/transatlantica/10482 ; DOI: https:// doi.org/10.4000/transatlantica.10482 This text was automatically generated on 20 May 2021. Transatlantica – Revue d'études américaines est mise à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Marianne Kac-Vergne, Masculinity in Contemporary Science Fiction Cinema. Cybo... 1 Marianne Kac-Vergne, Masculinity in Contemporary Science Fiction Cinema. Cyborgs, Troopers and Other Men of the Future Mehdi Achouche REFERENCES Marianne Kac-Vergne, Masculinity in Contemporary Science Fiction Cinema. Cyborgs, Troopers and Other Men of the Future, London, I.B. Tauris, 2018, 246 pages, ISBN 978-1-78076-748-2, 3 1 If, as J.P. Telotte has pointed out, science fiction cinema “has focused its attention on the problematic nature of human being and the difficult task of being human” (2), this “humanist” proclivity is in fact often, like da Vinci’s Vitruvian Man, about making white men the heart of the system. -
Filmic Bodies As Terministic (Silver) Screens: Embodied Social Anxieties in Videodrome
FILMIC BODIES AS TERMINISTIC (SILVER) SCREENS: EMBODIED SOCIAL ANXIETIES IN VIDEODROME BY DANIEL STEVEN BAGWELL A Thesis Submitted to the Graduate Faculty of WAKE FOREST UNIVERSITY GRADUATE SCHOOL OF ARTS AND SCIENCES in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Communication May 2014 Winston-Salem, North Carolina Approved By: Ron Von Burg, Ph.D., Advisor Mary Dalton, Ph.D., Chair R. Jarrod Atchison, Ph.D. ACKNOWLEDGMENTS A number of people have contributed to my incredible time at Wake Forest, which I wouldn’t trade for the world. My non-Deac family and friends are too numerous to mention, but nonetheless have my love and thanks for their consistent support. I send a hearty shout-out, appreciative snap, and Roll Tide to every member of the Wake Debate team; working and laughing with you all has been the most fun of my academic career, and I’m a better person for it. My GTA cohort has been a blast to work with and made every class entertaining. I wouldn’t be at Wake without Dr. Louden, for which I’m eternally grateful. No student could survive without Patty and Kimberly, both of whom I suspect might have superpowers. I couldn’t have picked a better committee. RonVon has been an incredibly helpful and patient advisor, whose copious notes were more than welcome (and necessary); Mary Dalton has endured a fair share of my film rants and is the most fun professor that I’ve had the pleasure of knowing; Jarrod is brilliant and is one of the only people with a knowledge of super-violent films that rivals my own. -
Desire, Disease, Death, and David Cronenberg: the Operatic Anxieties of the Fly
Desire, Disease, Death, and David Cronenberg: The Operatic Anxieties of The Fly Yves Saint-Cyr 451 University of Toronto Introduction In 1996, Linda and Michael Hutcheon released their groundbreaking book, Opera: Desire, Disease, Death, a work that analyses operatic representations of tuberculosis, syphilis, cholera, and AIDS. They followed this up in 2000 with Bodily Charm, a discussion of the corporeal in opera; and, in 2004, they published Opera: The Art of Dying, in which they argue that opera has historically provided a metaphorical space for the ritualistic contemplation of mortality, whether the effect is cathartic, medita- tive, spiritual, or therapeutic. This paper is based on a Hutcheonite reading of the Fly saga, which to date is made up of seven distinct incarnations: George Langelaan published the original short story in 1957; Neumann and Clavell’s 1958 film adaptation was followed by two sequels in 1959 and 1965; David Cronenberg re-made the Neumann film in 1986, which gener- ated yet another sequel in 1989; and, most recently in 2008, Howard Shore and David Henry Hwang adapted Cronenberg’s film into an opera. If the Hutcheons are correct that opera engenders a ritualistic contemplation of mortality by sexualising disease, how does this practice influence composers and librettists’ choice of source material? Historically, opera has drawn on the anxieties of its time and, congruently, The Fly: Canadian Review of Comparative Literature / Revue Canadienne de Littérature Comparée CRCL DECEMBER 2011 DÉCEMBRE RCLC 0319–051x/11/38.4/451 © Canadian Comparative Literature Association CRCL DECEMBER 2011 DÉCEMBRE RCLC The Opera draws on distinctly 21st-century fears. -
Wikipedia Beetles Dung Beetles Are Beetles That Feed on Feces
Wikipedia beetles Dung beetles are beetles that feed on feces. Some species of dung beetles can bury dung times their own mass in one night. Many dung beetles, known as rollers , roll dung into round balls, which are used as a food source or breeding chambers. Others, known as tunnelers , bury the dung wherever they find it. A third group, the dwellers , neither roll nor burrow: they simply live in manure. They are often attracted by the dung collected by burrowing owls. There are dung beetle species of different colours and sizes, and some functional traits such as body mass or biomass and leg length can have high levels of variability. All the species belong to the superfamily Scarabaeoidea , most of them to the subfamilies Scarabaeinae and Aphodiinae of the family Scarabaeidae scarab beetles. As most species of Scarabaeinae feed exclusively on feces, that subfamily is often dubbed true dung beetles. There are dung-feeding beetles which belong to other families, such as the Geotrupidae the earth-boring dung beetle. The Scarabaeinae alone comprises more than 5, species. The nocturnal African dung beetle Scarabaeus satyrus is one of the few known non-vertebrate animals that navigate and orient themselves using the Milky Way. Dung beetles are not a single taxonomic group; dung feeding is found in a number of families of beetles, so the behaviour cannot be assumed to have evolved only once. Dung beetles live in many habitats , including desert, grasslands and savannas , [9] farmlands , and native and planted forests. They are found on all continents except Antarctica. They eat the dung of herbivores and omnivores , and prefer that produced by the latter. -
Moth Girls Free Download
MOTH GIRLS FREE DOWNLOAD Anne Cassidy | 304 pages | 01 Oct 2016 | Hot Key Books | 9781471405112 | English | London, United Kingdom Moth Girls She hoped it would be from him. Not what I was expecting but still a quiet, intriguing story. He was upbeat, ready to change the subject. Mandy over the next year became more Tina's friend than Petra's. There are no discussion topics on this book yet. Five years later, Mandy who did not go into the house with her friends lives with guilt because of her actions on the night, gradually the mystery of what happened to Tina and Petra is uncovered. They were drawn to it. Some studies indicate that certain Moth Girls of moths, such as those belonging to the families Erebidae and Sphingidaemay be the key Moth Girls for some flowering plants in the Himalayan ecosystem. Biology Letters. I liked Mandy, hated Petra. Most of the time, they scatter it unconsciously when they flap their wings strongly because they became aroused and happy from finding a man. In one country alone, Congomore than 30 species of moth larvae are Moth Girls. Dave Waters Ian Kelly Fishing bait Fly fishing Artificial fly Fly tying. Moth Girls underwing, tiger, tussock, litter, snout, owlet moths Euteliidae Noctuidae Moth Girls, sallows, owlet moths, quakers, cutworms, darts Nolidae tuft moths Notodontidae prominents, kittens Oenosandridae. New videos are uploaded regularly and even more are available on YouTube. Looking for something to watch? Although Lucy recovers for a couple days, she soon dies after Ernessa completely drains the life out of her. -
The Content of the Film for Group Discussion, As Well As a Brief Summary of the Film for Reference
(Photo Source: David via WordPress) Brandi Pessman, Tim Wucherer, Brad Dawson We present here guiding questions on the content of the film for group discussion, as well as a brief summary of the film for reference. Introduction: A Brooksfilm production, The Fly (1986) is an American science-fiction film directed and co- written by David Cronenberg. The Fly (1986) is based on the same-named 1957 short story by George Langlaan and a 1958 film written by James Clavell and directed by Kurt Neumann. Film Summary: Seth Brundle (played by Jeff Goldblum) is a scientist who, inspired by his life-long struggle with motion sickness, is developing a teleportation device. While at a science conference, he meets Veronica Quaife (played by Geena Davis), a journalist looking to write a story about the next great scientific discovery. Veronica proceeds to document his work on trying to teleport living beings. Things go horribly wrong when Seth attempts to teleport himself and a fly enters the “tele-pod” with him. Questions for Discussion: 1. How do Seth Brundle’s actions accurately or inaccurately represent those of a scientist? In other words, how are scientists portrayed in the film? 2. How could viewers’ perceptions of insects be influenced or changed by the film? 3. Why do you think the Brundle fly never developed wings or the ability to fly? 4. Did the Brundle fly’s transformation proceed by what you believe is a natural progression? 5. What role do you think the computer chip in Seth Brundle's’ back played in his transformation into a fly? 6. -
Body Horror by Matthew Ronay and Lane Relyea, May/June 2020
Body Horror By Matthew Ronay and Lane Relyea, May/June 2020 TISHAN HSU’s paintings and sculptures evoke nightmarish visions of the body’s forced integration with its technological surrounds. After a spate of exhibitions in the 1980s at venues including Pat Hearn Gallery and Leo Castelli, the artist’s work largely disappeared from public view. Now, New York’s SculptureCenter has organized the survey “Tishan Hsu: Liquid Circuit.” The show debuted at the Hammer Museum, Los Angeles, this past winter and was slated to open at SculptureCenter in May before being postponed in the wake of Covid-19. To mark this occasion, Artforum invited artist MATTHEW RONAY and art historian LANE RELYEA to reflect on Hsu’s dark, prescient, and singularly weird oeuvre. Tishan Hsu, Vertical Ooze, 1987, ceramic tile, urethane, vinyl cement compound, acrylic, and oil on wood, 61 3⁄4 × 70 7⁄8 × 24 1⁄4". MATTHEW RONAY I NEVER KNEW THAT I LOVED DRAINS. An algorithm on YouTube revealed this predilection to me. As a connoisseur of portals, orifices, and pores, I should have known that drains and the waste they imply, hidden beneath their sterile exteriors, would be in my pleasure zone. I look at most art in the same way I look at drains on YouTube: in reproduction, removed from reality. I came across Tishan Hsu at a similar remove, through books and the internet. The vents, screens, intakes, fantasy architectures, and fleshy degradations that pervade his work “clogged” me from my first impression. Some of Hsu’s pristine Euclidean models, such as Ooze, 1987, resembling a barren sauna basin waiting to be filled with myriad fluids, arouse in me a love for the rational illusion that architecture brings to sculpture. -
Arthropods of Public Health Significance in California
ARTHROPODS OF PUBLIC HEALTH SIGNIFICANCE IN CALIFORNIA California Department of Public Health Vector Control Technician Certification Training Manual Category C ARTHROPODS OF PUBLIC HEALTH SIGNIFICANCE IN CALIFORNIA Category C: Arthropods A Training Manual for Vector Control Technician’s Certification Examination Administered by the California Department of Health Services Edited by Richard P. Meyer, Ph.D. and Minoo B. Madon M V C A s s o c i a t i o n of C a l i f o r n i a MOSQUITO and VECTOR CONTROL ASSOCIATION of CALIFORNIA 660 J Street, Suite 480, Sacramento, CA 95814 Date of Publication - 2002 This is a publication of the MOSQUITO and VECTOR CONTROL ASSOCIATION of CALIFORNIA For other MVCAC publications or further informaiton, contact: MVCAC 660 J Street, Suite 480 Sacramento, CA 95814 Telephone: (916) 440-0826 Fax: (916) 442-4182 E-Mail: [email protected] Web Site: http://www.mvcac.org Copyright © MVCAC 2002. All rights reserved. ii Arthropods of Public Health Significance CONTENTS PREFACE ........................................................................................................................................ v DIRECTORY OF CONTRIBUTORS.............................................................................................. vii 1 EPIDEMIOLOGY OF VECTOR-BORNE DISEASES ..................................... Bruce F. Eldridge 1 2 FUNDAMENTALS OF ENTOMOLOGY.......................................................... Richard P. Meyer 11 3 COCKROACHES ........................................................................................... -
Insects in the World of Fiction
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Dissertations and Student Research in Entomology Entomology, Department of 6-2013 Insectography: Insects in the World of Fiction Erin Bauer University of Nebraska-Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/entomologydiss Bauer, Erin, "Insectography: Insects in the World of Fiction" (2013). Dissertations and Student Research in Entomology. 24. https://digitalcommons.unl.edu/entomologydiss/24 This Article is brought to you for free and open access by the Entomology, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Dissertations and Student Research in Entomology by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Master’s Project Proposal Insectography: Insects in the World of Fiction By Erin Bauer My proposed Master’s Project is to develop a comprehensive list of fictional works (films/TV episodes, video games, children’s books, and novels) originally published or produced in the United States between 1950 and 2012 about or including insects, spiders, related arthropods (many times anthropomorphized or mutated) and/or entomologists as main characters and playing a major role in the plot. Although the list will encompass both entertaining and educational works, it will not include textbooks or other non-fictional works. It will also not include “fictionalized” accounts of real processes. For example, a book such as Hope for the Flowers, where the story is told from the perspective of the main character, a caterpillar discovering its true nature through metamorphosis, or a book where an insect character learns the importance of friendship, would be included in this list. -
Body Memory in David Cronenberg's the Fly Dylan Trigg
Film-Philosophy 15.1 2011 The Return of the New Flesh: Body Memory in David Cronenberg’s The Fly Dylan Trigg Centre de Recherche en Épistémologie Appliquée ‘The human body is the best picture of the human soul’ - Wittgenstein (1991, 152) Dismembered Limbs John Locke presents us with a disturbing thought. In a section from his Essay Concerning Human Understanding titled ‘Personal identity in change of substance,’ the following remark is made: Cut off a hand, and thereby separate it from that consciousness he had of its heat, cold, and other affections, and it is then no longer a part of that which is himself, any more than the remotest part of matter. (Locke 1993, 182) Locke invites us to consider the body as a series of discrete units, ranging from the earlobe to the ankle. Once removed, all relation to the unity of personal identity remains supposedly unaffected, the self now gazing on the inanimate limb, as though it were part of the broader landscape. In such a moment, it appears as though memory is prima facie erased along with the materiality of the limb itself. In the place of the fallen limb, consciousness— the glorified entity in Locke—remains on watch, securing the unity of the personal self, as rationality and thought conspire to produce what Locke terms, the ‘sameness of a rational being’ (1993, 180). Of course, what allows this unity to come about, for Locke, is the temporal structure of consciousness, a structure that is supposedly lacking in the various trajectories of the human body. Consciousness not only attends to modifications in the present, but also arches back to its previous actions Film-Philosophy | ISSN: 1466-4615 82 Film-Philosophy 15.1 2011 and thoughts, conferring the term ‘personal’ upon identity.