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X-Files: Seasons 10 and 11 Trading Cards Checklist
X-Files: Seasons 10 and 11 Trading Cards Checklist Base Cards # Card Title [ ] 01 My Struggle [ ] 02 My Struggle [ ] 03 My Struggle [ ] 04 My Struggle [ ] 05 My Struggle [ ] 06 My Struggle [ ] 07 Founder's Mutation [ ] 08 Founder's Mutation [ ] 09 Founder's Mutation [ ] 10 Founder's Mutation [ ] 11 Founder's Mutation [ ] 12 Founder's Mutation [ ] 13 Mulder & Scully Meet the Were-Monster [ ] 14 Mulder & Scully Meet the Were-Monster [ ] 15 Mulder & Scully Meet the Were-Monster [ ] 16 Mulder & Scully Meet the Were-Monster [ ] 17 Mulder & Scully Meet the Were-Monster [ ] 18 Mulder & Scully Meet the Were-Monster [ ] 19 Home Again [ ] 20 Home Again [ ] 21 Home Again [ ] 22 Home Again [ ] 23 Home Again [ ] 24 Home Again [ ] 25 Babylon [ ] 26 Babylon [ ] 27 Babylon [ ] 28 Babylon [ ] 29 Babylon [ ] 30 Babylon [ ] 31 My Struggle II [ ] 32 My Struggle II [ ] 33 My Struggle II [ ] 34 My Struggle II [ ] 35 My Struggle II [ ] 36 My Struggle II [ ] 37 My Struggle III [ ] 38 My Struggle III [ ] 39 My Struggle III [ ] 40 My Struggle III [ ] 41 My Struggle III [ ] 42 My Struggle III [ ] 43 This [ ] 44 This [ ] 45 This [ ] 46 This [ ] 47 This [ ] 48 This [ ] 49 Plus One [ ] 50 Plus One [ ] 51 Plus One [ ] 52 Plus One [ ] 53 Plus One [ ] 54 Plus One [ ] 55 The Lost Art of Forehead Sweat [ ] 56 The Lost Art of Forehead Sweat [ ] 57 The Lost Art of Forehead Sweat [ ] 58 The Lost Art of Forehead Sweat [ ] 59 The Lost Art of Forehead Sweat [ ] 60 The Lost Art of Forehead Sweat [ ] 61 Ghouli [ ] 62 Ghouli [ ] 63 Ghouli [ ] 64 Ghouli [ ] 65 Ghouli [ ] 66 Ghouli -
Typologies of Evil in the X-Files
TYPOLOGIES OF EVIL IN THE X-FILES BY MAGNE HÅLAND SUPERVISOR: PAUL LEER SALVESEN AND SOLVEIG AASEN UNIVERSITY OF AGDER 2019 FACULTY OF HUMANITIES AND EDUCATION DEPARTEMENT OF RELIGION, PHILOSOPHY AND HISTORY 0 ACKNOWLEDGEMENTS I would like to express great appreciation to my supervisors, Professor Paul Leer-Salvesen (University of Agder) and Solveig Aasen, PhD in philosophy (University of Oslo), for their valuable and constructive suggestions during the development of this research work. I would also like to express my deep gratitude to my colleagues at Arendal Upper Secondary School, Steinar Tvedt, Inger Johanne Hermansen, Ane Kristine Bruland and Ida Wullum for their patient guidance and useful critique of my writing in English. Finally, I wish to thank my father, a proud working-class man, for his support and encouragement throughout my whole life. Throughout his life, he was never able to read English. Therefore, he “forced” me to translate my work for him. The Nazi-form of evil with Himmler, Mengele and Eichmann concerned him. Often, he asked me, how could a man (Eichmann) be that blinded? Without my father giving me motivation, I would never have come this far in my studies. 1 CONTENTS ABSTRACT …..5 CHAPTER 1, INTRODUCTION 1.1) General introduction of evil in movies …..6-7 1.2) My Research Question ……7 1.3) A short overview on the typologies of evil …..7-9 1.4) Defining evil …..9-10 1.5) A critique and defense of evil ….10-12 1.6) What is The X-files about? ….12-14 1.7) Why explore The X-Files? …..14-15 CHAPTER 2, METHODS 2.1) Theory and applied ethics …..16-18 2.2) Specific evil episodes as subjects for research and constructing analysis chapters ..18-19 2.3) The importance of using scientific work related to movies and evil …..19-21 2.4) Methodological inspiration for my thesis, work done by Dean A. -
Pdfformatsite 3428.Pdf
Palabra Clave ISSN: 0122-8285 ISSN: 2027-534X Universidad de La Sabana Sigiliano, Daiana; Borges, Gabriela Transmedia Literacy: Analyzing the Impact of The X-Files Transmedia Strategies Palabra Clave, vol. 22, no. 2, e2223, 2019, April-June Universidad de La Sabana DOI: https://doi.org/10.5294/pacla.2019.22.2.3 Available in: https://www.redalyc.org/articulo.oa?id=64960594003 How to cite Complete issue Scientific Information System Redalyc More information about this article Network of Scientific Journals from Latin America and the Caribbean, Spain and Journal's webpage in redalyc.org Portugal Project academic non-profit, developed under the open access initiative Transmedia Literacy: Analyzing the Impact of The X-Files Transmedia Strategies Daiana Sigiliano1 Gabriela Borges2 Recibido: 02/02/2018 Enviado a pares: 11/02/2018 Aprobado por pares: 18/04/2018 Aceptado: 31/05/2018 DOI: 10.5294/pacla.2019.22.2.3 To reference this article / para citar este artículo / para citar este artigo Sigiliano, D. & Borges, G. (2019). Film Technique: A Modern Economy of Time, Body and Soul. Palabra Clave, 22(2), e2223. DOI: 10.5294/pacla.2019.22.2.3 Abstract Based on the theoretical framework that transmedia literacy encourages public participation and critical understanding of fictional universes, for ex- ample, when navigating different platforms, correlating to the transmedia strategies with the main media, the interacting agent performs an attentive or polysemic reading of the fictional universe; this paper aims to analyze a number of Twitter posts made by interacting audience members ofThe X-Files during the launch of transmedia actions regarding the show’s 10th season. -
Jung, the Shadow, and the X-Files
JUNG, THE SHADOW, AND THE X-FILES By JENIFER JENSEN A capstone submitted to the Graduate School-Camden Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Master of Arts Graduate Program in Liberal Studies Written under the direction of Greg Salyer And approved by ______________________________ Greg Salyer Camden, New Jersey May 2019 CAPSTONE ABSTRACT Jung, The Shadow, and The X-Files by Jenifer Jensen Capstone Director: Greg Salyer This capstone explores Jung’s theory of the shadow, personal unconscious, and collective unconscious, using The X-Files as its narrative transport. When television show The X- Files premiered on September 10, 1993, no one anticipated its impact on a generation of television viewers. The X-Files is an American pop cultural mainstay. The paradoxical brilliance of the show is that it both influenced and interpreted popular American culture. Something vital about our time in history speaks through the stories it tells. It is not the only science fiction television show to create legions of fans, spawn movies, books, comics, and general obsession in American geekdom. But it is the only television show which began in 1993, ran for almost a decade, and then returned, fourteen years later with episodes seeking transcendent answers about what it means to be human, and the possibility of knowledge, truth, and power in the era of Trump, fake news and social media. ii 1 Jung, the Shadow, and The X-Files Introduction – The X-Files I am interested in exploring Jung’s theory of the shadow, personal unconscious, and collective unconscious, using The X-Files as its narrative transport. -
The Expansion of the Fictional Universe of the X-Files on Social TV La Expansión Del Universo Ficticio De the X-Files En La
ONLINE VERSION | Reference: Sigiliano, D. & Borges, G. (2018). The expansion of the fictional universe of The X-Files on social TV. Dígitos. Revista de Comunicación Digital, 4 The expansion of the fictional universe of The X-Files on social TV La expansión del universo ficticio de The X-Files en la social TV Daiana Sigiliano1 Gabriela Borges2 Abstract The social TV marks the convergence of television experience with social media. The phenomenon refers to content sharing through social networks and second screen apps simultaneously to television broadcasting. In this context, this article aims to discuss the features explored by Fox during The X-Files 10th season to engage the interacting viewers with social TV. We analysed the dialogue between the fictional universe of the series and the backchannelthrough a monitoring of @thexfiles profile postings on Twitter during the exhibition of series episodes. We conclude that the network's engagement strategies reinforce the social bond, stimulate the participation of the interacting viewers, and amplify the narrative arcs of The X-Files. Keywords: Social TV; Television; Twitter; The X-Files. Resumen La social TV marca la convergencia de la experiencia televisiva con los nuevos medios. El fenómeno se refiere al intercambio de contenidos hecho a través de las redes sociales y de las aplicaciones de segunda pantalla de manera síncrona al flujo televisivo. A partir de ese contexto, este artículo tiene el objetivo de reflexionar sobre las acciones de social TV adoptadas por Fox durante la décima temporada de The X-Files. Hemos analizado las publicaciones de la página (@thexfiles) gestionada por el canal en Twitter con el fin de entender cómo contribuyen al desarrollo y la comprensión del universo de ficción de la serie. -
Transmedia Literacy: Analyzing the Impact of the X-Files Transmedia Strategies
Transmedia Literacy: Analyzing the Impact of The X-Files Transmedia Strategies Daiana Sigiliano1 Gabriela Borges2 Recibido: 02/02/2018 Enviado a pares: 11/02/2018 Aprobado por pares: 18/04/2018 Aceptado: 31/05/2018 DOI: 10.5294/pacla.2019.22.2.3 To reference this article / para citar este artículo / para citar este artigo Sigiliano, D. & Borges, G. (2019). Film Technique: A Modern Economy of Time, Body and Soul. Palabra Clave, 22(2), e2223. DOI: 10.5294/pacla.2019.22.2.3 Abstract Based on the theoretical framework that transmedia literacy encourages public participation and critical understanding of fictional universes, for ex- ample, when navigating different platforms, correlating to the transmedia strategies with the main media, the interacting agent performs an attentive or polysemic reading of the fictional universe; this paper aims to analyze a number of Twitter posts made by interacting audience members ofThe X-Files during the launch of transmedia actions regarding the show’s 10th season. In this context, the tweets will help us to reflect on the concept of transmedia literacy and how it stimulates the public’s multilateralism. The conclusion is that transmedia action encourages learning through collabo- ration and critical understanding. Keywords (Source: Unesco Thesaurus) Transmedia literacy; television; The X-Files; Twitter; interacting audience. 1 orcid.org/0000-0002-5163-9926. Universidade Federal de Juiz de Fora, Brazil. 2 orcid.org/0000-0002-0612-9732. Universidade Federal de Juiz de Fora, Brazil. [email protected] -
Completeandleft
MEN WOMEN 1. David Archuleta=American pop singer=126,384=16 Debbie Allen=Actress, choreographer, television director, DA Desi Arnaz+Jr.=actor, musician=66,903=43 television producer, singer, dancer=55,373=73 Desi Arnaz=Cuban-American musician=47,841=71 Diahnne Abbott=Actress=50,300=83 Damon Albarn=English singer-songwriter=39,325=82 Danneel Ackles=Actress, model=167,304=23 David Allan+Coe=Country music artist=18,337=167 Dawn Addams=Actress=17,552=200 Dallas Austin=American, Songwriter=20,345=156 Diane Addonizio= =24,068=162 Dan Abrams=American lawyer, writer, television Dianna Agron=Actress=438,083=5 executive, entrepreneur=16,488=181 Deborah Ann+Woll=American ctress=18,977=188 David Alan+Grier=American, Actor=14,533=203 Devon Aoki=American model and actress=85,724=47 Dave Annable=American, Actor=29,658=117 Danni Ashe=American pornographic actress=57,289=71 Darren Aronofsky=Film director=13,016=222 Dasha Astafieva=Ukrainian, Model David Arquette=American actor=50,310=67 (Adult/Glamour)=224,488=17 Dan Aykroyd=Canadian film actor=10,041=283 Denise Austin=American, Fitness Guru=30,200=131 ……………. COMPLETEandLEFT Deadstar Assembly DA,Dan Aykroyd Die Antwoord DA,Danny Aiello DA,Darrell Abbott Diego ,Abatantuono ,Actor ,Mediterraneo DA,Debbie Allen Dave ,Abbruzzese ,Drummer ,Former drummer, Pearl Jam DA,Desi Arnaz David ,Abercrombie ,Business ,Founder of Abercrombie & DA,Devon Aoki Fitch DA,Dianna Agron Dan ,Abrams ,Journalist ,NBC legal reporter DA,Dimebag Darrell Abbott Dannie ,Abse ,Poet ,Ash on a Young Man's Sleeve DA,Don Adams David ,Abshire -
An Exploration on Popular Culture and TV Series Supernatural
Popping the Question: The Question of Popular Culture Issue 4 – Spring 2015 | www.diffractions.net Popping (it) Up: an Diana Gonçalves exploration on popular culture and TV series Universidade Católica Portuguesa | Research Center for Supernatural Communication and Culture Abstract | Supernatural is a TV series created in 2005 that draws inspiration from urban legends, folklore and mythological tales to tell the journey of two brothers who hunt monsters, ghosts and creatures from the underworld in an apocalyptic scenario. This article intends to explore Supernatural as a reflection of/on the present time, its main concerns and practices. First, it analyzes the show as part of a post-9/11 culture that is deeply affected by the events of 2001 and the underlying sense of terror. Even though the show privileges the horror genre as a framework to deal with 9/11-ensued fears and anxieties, it also brings into play many other genres that blur its categorization and reproduce today’s fast pace and fluidity. Second, the article looks at how the show integrates and has been integrated into contemporary pop culture. Supernatural is known for pushing the boundaries, communicating with other cultural products, self-referencing and interacting with the audience, thus fostering an active interchange between the show, pop culture products, different media, and viewers. The article therefore understands Supernatural as both a cultural manifestation and a manifestation of culture, a product that impacts popular culture and is, in turn, impacted by it. It investigates how the present social, cultural and political context in America has influenced the creation of the series and its plot, and how the use of popular culture references, which pop up regularly throughout the show and create a sublayer of meaning the viewer must decode and interpret, has become a distinctive characteristic of the show and a key factor for its success and durability. -
GE NEWS Issue 44 Draft (3).Pub
Vol 9 Issue 44 2016 ININ THISTHIS ISSUEISSUE Website www.genews-ezine.com GE News 9th year in publication www.theapolloawards.com Pandora was shown to us through the eyes of an Avatar and – a long time ago in a galaxy far, far away – good was triumphing over evil. A young wizard has taken us on a magical journey and we are still boldly going where no one has gone before, defying zombies, werewolves, and smouldering vamps… From legends of mythic gods and monsters to the worlds of HG Wells and Jules Verne, science fiction and fantasy have existed or as long as humankind has been telling stories today, ‘genre film & TV’ dominate the entertainment industry and their ancillary spinoffs and merchandise are valuable properties in the mainstream business environment. This world is however under represented when it comes to the recognition it deserves. There are awards for the genre but none offer you the chance to nominate and vote for your favourite from today and years gone by. What makes these awards unique, amongst all other Film & Television and on line media honours, is that the choice is truly in the hands of the Australian audience. Awards Ceremony Host Dean Haglund is best known for the role of Richard "Ringo" Langly, one of The Lone Gunmen on The X‐Files. Haglund is also a stand‐up comedian, specializing in improvisational comedy (formerly with Vancouver Theatre Sports League.) In addition to The X‐Files, he played the voice of Sid in Tom Sawyer, Haglund also portrayed Langly in the spin‐off The Lone Gunmen, which aired thirteen episodes in 2001. -
In This Issue
Vol 9 Issue 44 2016 IN THIS ISSUE Website www.genews-ezine.com GE News 9th year in publication www.theapolloawards.com Pandora was shown to us through the eyes of an Avatar and – a long me ago in a galaxy far, far away – good was triumphing over evil. A young wizard has taken us on a magical journey and we are sll boldly going where no one has gone before, defying zombies, werewolves, and smouldering vamps… From legends of mythic gods and monsters to the worlds of HG Wells and Jules Verne, science ficon and fantasy have existed or as long as humankind has been telling stories today, ‘genre film & TV’ dominate the entertainment industry and their ancillary spinoffs and merchandise are valuable properes in the mainstream business environment. This world is however under represented when it comes to the recognion it deserves. There are awards for the genre but none offer you the chance to nominate and vote for your favourite from today and years gone by. What makes these awards unique, amongst all other Film & Television and on line media honours, is that the choice is truly in the hands of the Australian audience. Awards Ceremony Host Dean Haglund is best known for the role of Richard "Ringo" Langly, one of The Lone Gunmen on The X -Files. Haglund is also a stand-up comedian, specializing in improvisaonal comedy (formerly with Vancouver Theatre Sports League.) In addion to The X-Files, he played the voice of Sid in Tom Sawyer, Haglund also portrayed Langly in the spin-off The Lone Gunmen, which aired thirteen episodes in 2001. -
Analyzing the Impact of the X-Files Transmedia Strategies
Transmedia Literacy: Analyzing the Impact of The X-Files Transmedia Strategies Daiana Sigiliano1 Gabriela Borges2 Recibido: 02/02/2018 Enviado a pares: 11/02/2018 Aprobado por pares: 18/04/2018 Aceptado: 31/05/2018 DOI: 10.5294/pacla.2019.22.2.3 To reference this article / para citar este artículo / para citar este artigo Sigiliano, D. & Borges, G. (2019). Transmedia literacy: Analyzing the impact of The X-Files transmedia strategies. Palabra Clave, 22(2), e2223. DOI: 10.5294/pacla.2019.22.2.3 Abstract Based on the theoretical framework that transmedia literacy encourages public participation and critical understanding of fictional universes, for ex- ample, when navigating different platforms, correlating to the transmedia strategies with the main media, the interacting agent performs an attentive or polysemic reading of the fictional universe; this paper aims to analyze a number of Twitter posts made by interacting audience members ofThe X-Files during the launch of transmedia actions regarding the show’s 10th season. In this context, the tweets will help us to reflect on the concept of transmedia literacy and how it stimulates the public’s multilateralism. The conclusion is that transmedia action encourages learning through collabo- ration and critical understanding. Keywords (Source: Unesco Thesaurus) Transmedia literacy; television; The X-Files; Twitter; interacting audience. 1 orcid.org/0000-0002-5163-9926. Universidade Federal de Juiz de Fora, Brazil. 2 orcid.org/0000-0002-0612-9732. Universidade Federal de Juiz de Fora, Brazil. [email protected] Palabra Clave - ISSN: 0122-8285 - eISSN: 2027-534X - Vol. 22 No. 2 - Abril de 2019.