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Bill Rogers Collection Inventory (Without Notes).Xlsx
Title Publisher Author(s) Illustrator(s) Year Issue No. Donor No. of copies Box # King Conan Marvel Comics Doug Moench Mark Silvestri, Ricardo 1982 13 Bill Rogers 1 J1 Group Villamonte King Conan Marvel Comics Doug Moench Mark Silvestri, Ricardo 1982 14 Bill Rogers 1 J1 Group Villamonte King Conan Marvel Comics Doug Moench Ricardo Villamonte 1982 12 Bill Rogers 1 J1 Group King Conan Marvel Comics Doug Moench Alan Kupperberg and 1982 11 Bill Rogers 1 J1 Group Ernie Chan King Conan Marvel Comics Doug Moench Ricardo Villamonte 1982 10 Bill Rogers 1 J1 Group King Conan Marvel Comics Doug Moench John Buscema, Ernie 1982 9 Bill Rogers 1 J1 Group Chan King Conan Marvel Comics Roy Thomas John Buscema and Ernie 1981 8 Bill Rogers 1 J1 Group Chan King Conan Marvel Comics Roy Thomas John Buscema and Ernie 1981 6 Bill Rogers 1 J1 Group Chan Conan the King Marvel Don Kraar Mike Docherty, Art 1988 33 Bill Rogers 1 J1 Nnicholos King Conan Marvel Comics Roy Thomas John Buscema, Danny 1981 5 Bill Rogers 2 J1 Group Bulanadi King Conan Marvel Comics Roy Thomas John Buscema, Danny 1980 3 Bill Rogers 1 J1 Group Bulanadi King Conan Marvel Comics Roy Thomas John Buscema and Ernie 1980 2 Bill Rogers 1 J1 Group Chan Conan the King Marvel Don Kraar M. Silvestri, Art Nichols 1985 29 Bill Rogers 1 J1 Conan the King Marvel Don Kraar Mike Docherty, Geof 1985 30 Bill Rogers 1 J1 Isherwood, Mike Kaluta Conan the King Marvel Don Kraar Mike Docherty, Geof 1985 31 Bill Rogers 1 J1 Isherwood, Mike Kaluta Conan the King Marvel Don Kraar Mike Docherty, Vince 1986 32 Bill Rogers -
ENGL 279 Course Title: Science Fiction and Dystopic Literature Units
Course name: ENGL 279 Course title: Science Fiction and Dystopic Literature Units: 3 Course Description: This course is designed to increase students’ knowledge of the literary genre known as Science Fiction. Emphasis will be on the study of literature--novels and short fiction--that depicts our future world, visionary scientific endeavor, and conflicts between humans, aliens, and sentient technology. Students will study the history, exciting contemporary trends, and the relevant contemporary issues in Science Fiction, including dystopia vs. utopia, artificial intelligence, current theory concerning technology, cloning and physical science, human psychology in a futuristic environment, and the rise of Cyberpunk and new Alternate Reality literature within the genre. Prerequisites: Completion of ENGL 101 Course Objectives: l. Analyze the role of literature as a means of reflecting and shaping thought and behavior. 2. Recognize and employ literary terminology and the language of literary criticism. 3. Identify, interpret, and compare and contrast specific leitmotifs and character types of the Science Fiction genre. 4. Practice critical reading and writing skills. 5. Conduct research and synthesize material from outside the given text in developing a written or oral project. 6. Recognize the attributes that make literary works universal and timeless, as well as unique to certain genres. 7. Demonstrate the ability to discuss literature using relevant support from the text. 8. Evaluate a literary work objectively, being able to understand and analyze critical responses to the works read. Course Content: I. In discussing the roots of many essential elements of Science Fiction, the instructor will guide students in: A. Distinguishing the important archetypes of Science Fiction. -
Chapterhouse: Dune Frank Herbert April 1985 Those Who Would Repeat
Chapterhouse: Dune Frank Herbert April 1985 Those who would repeat the past must control the teaching of history. -Bene Gesserit Coda When the ghola-baby was delivered from the first Bene Gesserit axlotl tank, Mother Superior Darwi Odrade ordered a quiet celebration in her private dining room atop Central. It was barely dawn, and the two other members of her Council -- Tamalane and Bellonda -- showed impatience at the summons, even though Odrade had ordered breakfast served by her personal chef. "It isn't every woman who can preside at the birth of her own father," Odrade quipped when the others complained they had too many demands on their time to permit of "time-wasting nonsense." Only aged Tamalane showed sly amusement. Bellonda held her over-fleshed features expressionless, often her equivalent of a scowl. Was it possible, Odrade wondered, that Bell had not exorcised resentment of the relative opulence in Mother Superior's surroundings? Odrade's quarters were a distinct mark of her position but the distinction represented her duties more than any elevation over her Sisters. The small dining room allowed her to consult aides during meals. Bellonda glanced this way and that, obviously impatient to be gone. Much effort had been expended without success in attempts to break through Bellonda's coldly remote shell. "It felt very odd to hold that baby in my arms and think: This is my father," Odrade said. "I heard you the first time!" Bellonda spoke from the belly, almost a baritone rumbling as though each word caused her vague indigestion. She understood Odrade's wry jest, though. -
The New Cosmic Horror: a Genre Molded by Tabletop Roleplaying Fiction Editor Games and Postmodern Horror
315 Winter 2016 Editor Chris Pak SFRA [email protected] A publicationRe of the Scienceview Fiction Research Association Nonfiction Editor Dominick Grace In this issue Brescia University College, 1285 Western Rd, London ON, N6G 3R4, Canada SFRA Review Business phone: 519-432-8353 ext. 28244. Prospect ............................................................................................................................2 [email protected] Assistant Nonfiction Editor SFRA Business Kevin Pinkham The New SFRA Website ..............................................................................................2 College of Arts and Sciences, Ny- “It’s Alive!” ........................................................................................................................3 ack College, 1 South Boulevard, Nyack, NY 10960, phone: 845- Science Fiction and the Medical Humanities ....................................................3 675-4526845-675-4526. [email protected] Feature 101 The New Cosmic Horror: A Genre Molded by Tabletop Roleplaying Fiction Editor Games and Postmodern Horror ..............................................................................7 Jeremy Brett Cushing Memorial Library and Sentience in Science Fiction 101 ......................................................................... 14 Archives, Texas A&M University, Cushing Memorial Library & Archives, 5000 TAMU College Nonfiction Reviews Station, TX 77843. Black and Brown Planets: The Politics of Race in Science Fiction ........ 19 -
Collection of Scripts for Survivors and Paris 7000, 1969-1970
http://oac.cdlib.org/findaid/ark:/13030/c8z60tr2 No online items Collection of scripts for Survivors and Paris 7000, 1969-1970 Finding aid prepared by UCLA Arts Special Collections staff, 2004; initial EAD encoding by Julie Graham; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA, 90095-1575 (310) 825-4988 [email protected] Online finding aid last updated 19 November 2016. Collection of scripts for Survivors PASC 258 1 and Paris 7000, 1969-1970 Title: Collection of Scripts for Survivors and Paris 7000 Collection number: PASC 258 Contributing Institution: UCLA Library Special Collections Language of Material: English Physical Description: 1.0 linear ft.(2 boxes) Date (inclusive): 1969-1970 Abstract: John Wilder was the producer of the television series The Survivors (1969) and Paris 7000 (1970). The collection consists of scripts and production information related to the two programs. Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Restrictions on Access Open for research. STORED OFF-SITE AT SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UC Regents. Literary rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish where The UC Regents do not hold the copyright. -
Screen Arts & Cultures
THE UNIVERSITY OF MICHIGAN DEPARTMENT OF SCREEN ARTS & CULTURES FALL 2008 Viewing Screen Arts & Cultures Past, Present, and Future, a world-class education for screen scholars, screenwriters, and screen production in the mid-west. • SAC Honors projects (page 1) • New Doctoral Director (page 2) • Faculty Updates (page 10) • Future Challenges (inside back cover) Letter FROM THE CHAIR mentoring Sultan Shariff ’s EFEX project and Finally, an essay written by an English doctoral develop new diversity initiatives for the depart- student, Josh Lambert (for a SAC graduate ment. Chris McNamara and Terri Sarris won course on the emergence of mass culture and awards for their video productions, respec- early cinema), won second place in the 2007 tively, at the Ann Arbor Film Festival and the Society for Cinema and Media Studies Student Detroit Film Festival. Essay Award contest and then fi rst place in the Domitor Student Essay Award contest. Th e Department has welcomed Dan Herbert from the University of Southern Califor- Th e Department continues to initiate new nia as a new assistant professor specializing projects and augment others. Th e Hatcher Richard Abel in transnational fi lm adaptations and fi lm Library’s Special Collection acquired two industry practices. We also are in the midst of impressive collections: the Orson Welles My term as chair of Screen Arts & Cultures searches for four faculty positions, beginning Collection materials (photographs, fi lm will continue through June 2009. Challeng- in fall 2009: a senior position (open fi eld), -
List of American Comics Creators 1 List of American Comics Creators
List of American comics creators 1 List of American comics creators This is a list of American comics creators. Although comics have different formats, this list covers creators of comic books, graphic novels and comic strips, along with early innovators. The list presents authors with the United States as their country of origin, although they may have published or now be resident in other countries. For other countries, see List of comic creators. Comic strip creators • Adams, Scott, creator of Dilbert • Ahern, Gene, creator of Our Boarding House, Room and Board, The Squirrel Cage and The Nut Bros. • Andres, Charles, creator of CPU Wars • Berndt, Walter, creator of Smitty • Bishop, Wally, creator of Muggs and Skeeter • Byrnes, Gene, creator of Reg'lar Fellers • Caniff, Milton, creator of Terry and the Pirates and Steve Canyon • Capp, Al, creator of Li'l Abner • Crane, Roy, creator of Captain Easy and Wash Tubbs • Crespo, Jaime, creator of Life on the Edge of Hell • Davis, Jim, creator of Garfield • Defries, Graham Francis, co-creator of Queens Counsel • Fagan, Kevin, creator of Drabble • Falk, Lee, creator of The Phantom and Mandrake the Magician • Fincher, Charles, creator of The Illustrated Daily Scribble and Thadeus & Weez • Griffith, Bill, creator of Zippy • Groening, Matt, creator of Life in Hell • Guindon, Dick, creator of The Carp Chronicles and Guindon • Guisewite, Cathy, creator of Cathy • Hagy, Jessica, creator of Indexed • Hamlin, V. T., creator of Alley Oop • Herriman, George, creator of Krazy Kat • Hess, Sol, creator with -
PRODUCTION INFORMATION Michelangelo, Donatello, Leonardo, and Raphael Return to Theaters This Summer to Battle Bigger, Badder Vi
PRODUCTION INFORMATION Michelangelo, Donatello, Leonardo, and Raphael return to theaters this summer to battle bigger, badder villains, alongside April O’Neil (Megan Fox), Vern Fenwick (Will Arnett), and a newcomer: the hockey-masked vigilante Casey Jones (Stephen Amell). After supervillain Shredder (Brian Tee) escapes custody, he joins forces with mad scientist Baxter Stockman (Tyler Perry) and two dimwitted henchmen, Bebop (Gary Anthony Williams) and Rocksteady (WWE Superstar Stephen “Sheamus” Farrelly), to unleash a diabolical plan to take over the world. As the Turtles prepare to take on Shredder and his new crew, they find themselves facing an even greater evil with similar intentions: the notorious Krang. Paramount Pictures and Nickelodeon Movies present a Platinum Dunes Production , A Gama Entertainment / Mednick Production / Smithrowe Entertainment Production, Teenage Mutant Ninja Turtles: Out of the Shadows. The film is directed by Dave Green (Earth to Echo) , written by Josh Appelbaum & André Nemec (Teenage Mutant Ninja Turtles, Mission Impossible: Ghost Protocol) and produced by Michael Bay (the blockbuster Transformers franchise, Teenage Mutant Ninja Turtles), Andrew Form, Brad Fuller, Galen Walker and Scott Mednick. The executive producers are Denis L. Stewart, Grant Curtis, Eric Crown and Napoleon Smith III, André Nemec and Josh Appelbaum. The film stars Megan Fox, Will Arnett, Laura Linney, Stephen Amell, Noel Fisher, Jeremy Howard, Pete Ploszek, Alan Ritchson, and Tyler Perry. Rounding out the cast are Brian Tee, Stephen “Sheamus” Farrelly, Gary Anthony Williams, Brittany Ishibashi and Jane Wu. A NEW DIMENSION “Our story begins where the first film ends, in real life and in the movie,” says producer Andrew Form. -
Tales from the Crypt
Ah, HBO. Here in the year 2014, those three little initials are shorthand for quality, original programming; small screen event television almost certain to be immeasurably superior to the megabucks offerings of your local multiplex. The network also boasts a rich tradition of brining monsters into our living rooms, with the unsavoury actions of Livia Soprano, Gyp Rosetti, Cy Tolliver and Joffrey Baratheon horrifying viewers of all walks of life. Way back in the late 1980s, however, HBO introduced us to an altogether different kind of miscreant; a wisecracking living corpse, a teller of tall tales that focussed on vampires, zombies and the evil that men do. Jackanory it most certainly wasn’t – we’re referring, of course, to the legendary Tales from the Crypt. In the 80s, TV anthology horror was as much a fixture as leg warmers, John Hughes movies and the musical stylings of Duran Duran. Rod Serling’s Twilight Zone had enjoyed a redux, James Coburn invited us to his Darkroom, a certain pizza-faced dream demon hosted Freddy’s Nightmares, and genre enthusiasts were gripped by the Ray Bradbury Theater. Perhaps the most prosperous purveyor of small screen shivers was producer Richard Rubinstein, who enjoyed phenomenal success with Tales from the Darkside (the brainchild of none other than George Romero, director of the beloved portmanteau picture Creepshow) and Monsters. Bright and breezy 30-minute creature features with their tongue frequently placed firmly in their cheek, these shows were heavily influenced by the infamous EC horror comics of the 1950s, with a perverse sense of morality at the dark heart of the stories. -
Reminder List of Productions Eligible for the 86Th Academy Awards
REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 86TH ACADEMY AWARDS ABOUT TIME Notes Domhnall Gleeson. Rachel McAdams. Bill Nighy. Tom Hollander. Lindsay Duncan. Margot Robbie. Lydia Wilson. Richard Cordery. Joshua McGuire. Tom Hughes. Vanessa Kirby. Will Merrick. Lisa Eichhorn. Clemmie Dugdale. Harry Hadden-Paton. Mitchell Mullen. Jenny Rainsford. Natasha Powell. Mark Healy. Ben Benson. Philip Voss. Tom Godwin. Pal Aron. Catherine Steadman. Andrew Martin Yates. Charlie Barnes. Verity Fullerton. Veronica Owings. Olivia Konten. Sarah Heller. Jaiden Dervish. Jacob Francis. Jago Freud. Ollie Phillips. Sophie Pond. Sophie Brown. Molly Seymour. Matilda Sturridge. Tom Stourton. Rebecca Chew. Jon West. Graham Richard Howgego. Kerrie Liane Studholme. Ken Hazeldine. Barbar Gough. Jon Boden. Charlie Curtis. ADMISSION Tina Fey. Paul Rudd. Michael Sheen. Wallace Shawn. Nat Wolff. Lily Tomlin. Gloria Reuben. Olek Krupa. Sonya Walger. Christopher Evan Welch. Travaris Meeks-Spears. Ann Harada. Ben Levin. Daniel Joseph Levy. Maggie Keenan-Bolger. Elaine Kussack. Michael Genadry. Juliet Brett. John Brodsky. Camille Branton. Sarita Choudhury. Ken Barnett. Travis Bratten. Tanisha Long. Nadia Alexander. Karen Pham. Rob Campbell. Roby Sobieski. Lauren Anne Schaffel. Brian Charles Johnson. Lipica Shah. Jarod Einsohn. Caliaf St. Aubyn. Zita-Ann Geoffroy. Laura Jordan. Sarah Quinn. Jason Blaj. Zachary Unger. Lisa Emery. Mihran Shlougian. Lynne Taylor. Brian d'Arcy James. Leigha Handcock. David Simins. Brad Wilson. Ryan McCarty. Krishna Choudhary. Ricky Jones. Thomas Merckens. Alan Robert Southworth. ADORE Naomi Watts. Robin Wright. Xavier Samuel. James Frecheville. Sophie Lowe. Jessica Tovey. Ben Mendelsohn. Gary Sweet. Alyson Standen. Skye Sutherland. Sarah Henderson. Isaac Cocking. Brody Mathers. Alice Roberts. Charlee Thomas. Drew Fairley. Rowan Witt. Sally Cahill. -
Exhibition Hall
exhibition hall 15 the weird west exhibition hall - november 2010 chris garcia - editor, ariane wolfe - fashion editor james bacon - london bureau chief, ric flair - whooooooooooo! contact can be made at [email protected] Well, October was one of the stronger months for Steampunk in the public eye. No conventions in October, which is rare these days, but there was the Steampunk Fortnight on Tor.com. They had some seriously good stuff, including writing from Diana Vick, who also appears in these pages, and myself! There was a great piece from Nisi Shawl that mentioned the amazing panel that she, Liz Gorinsky, Michael Swanwick and Ann VanderMeer were on at World Fantasy last year. Jaymee Goh had a piece on Commodification and Post-Modernism that was well-written, though slightly troubling to me. Stephen Hunt’s Steampunk Timeline was good stuff, and the omnipresent GD Falksen (who has never written for us!) had a couple of good piece. Me? I wrote an article about how Tomorrowland was the signpost for the rise of Steampunk. You can read it at http://www.tor.com/blogs/2010/10/goodbye-tomorrow- hello-yesterday. The second piece is all about an amusement park called Gaslight in New Orleans. I’ll let you decide about that one - http://www.tor.com/blogs/2010/10/gaslight- amusement. The final one all about The Cleveland Steamers. This much attention is a good thing for Steampunk, especially from a site like Tor.com, a gateway for a lot of SF readers who aren’t necessarily a part of fandom. -
Postcoloniality, Science Fiction and India Suparno Banerjee Louisiana State University and Agricultural and Mechanical College, Banerjee [email protected]
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2010 Other tomorrows: postcoloniality, science fiction and India Suparno Banerjee Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Banerjee, Suparno, "Other tomorrows: postcoloniality, science fiction and India" (2010). LSU Doctoral Dissertations. 3181. https://digitalcommons.lsu.edu/gradschool_dissertations/3181 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. OTHER TOMORROWS: POSTCOLONIALITY, SCIENCE FICTION AND INDIA A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirements for the degree of Doctor of Philosophy In The Department of English By Suparno Banerjee B. A., Visva-Bharati University, Santiniketan, West Bengal, India, 2000 M. A., Visva-Bharati University, Santiniketan, West Bengal, India, 2002 August 2010 ©Copyright 2010 Suparno Banerjee All Rights Reserved ii ACKNOWLEDGEMENTS My dissertation would not have been possible without the constant support of my professors, peers, friends and family. Both my supervisors, Dr. Pallavi Rastogi and Dr. Carl Freedman, guided the committee proficiently and helped me maintain a steady progress towards completion. Dr. Rastogi provided useful insights into the field of postcolonial studies, while Dr. Freedman shared his invaluable knowledge of science fiction. Without Dr. Robin Roberts I would not have become aware of the immensely powerful tradition of feminist science fiction.