Year 5 Online Learning- 07/07/20 Looking: How Old Did You Need To

Total Page：16

File Type：pdf, Size：1020Kb

Year 5 Online Learning- 07/07/20 Looking: How Old Did You Need To

Year 5 Online Learning- 07/07/20 Here’s your work for Tuesday 7th of July. Remember to access Doodle Maths and to complete 30 minutes of reading. eading – Leon and the Place Between Billy the Kid Looking: How old did you need to be to join the army? Clue: Why did Joe think Hitler would invade England? Thinking: Why do you think Billy decided to join the army? Maths Answers – 06/07/20 Confident Very Confident Super Confident Maths – 07/07/20 Today, we are going to continue to work on converting measures. Confident Very Confident Super Confident English – 07/07/20 Task You are going to become newspaper reporters and write a newspaper article about what has happened to King Kong. You will need to gather a wealth of information to complete this task successfully. You need to come up with questions at a press conference that you would like to ask witnesses. This will help in gathering evidence/facts for your report. Characters to be questioned: Ann Darrow Jack Driscoll Carl Denham An eyewitness Detective in Charge You will need to think about the questions and potential answers for these characters. Example Characters Question Comments Ann Darrow Why do you think Kong took you? I truly think he developed an obsession and in some bizarre way was infatuated with me. Jack Driscoll Have Ann and you become an item? I’m very fond of Miss Darrow but would rather not discuss my private life. Carl Denham Do you think that you are to blame for Unfortunately, the beast was Kong’s death? out of control but it wasn’t my decision to kill him. An eyewitness What did you see on the evening of We were late arriving at the December 12th? theatre and it was a scene of total devastation. Terrified crowds came running and screaming out of the theatre. Detective in Charge Did you deal with this incident correctly? This is the first case of its kind and I congratulate the Air Force for their brave work. You will ask these characters more than one question and remember that this work will support you when writing a newspaper article about the incident. English Spellings – 07/07/20 What do we know about the word signature? A Healthy Diet – 07/07/20 Task: Today, we are going to look at eating a healthy meal. This chart is a reminder of work we covered in Year 4. What do you remember? What would you place on a plate for a healthy meal? Design and draw a healthy meal that you would enjoy to eat. We will carry out further research throughout the week. Label your plate, describing what and why you are eating it. .

Copy Link

Recommended publications

King Kong (2005) : Remake Ou Sauvegarde ? Jonathan Fruoco
King Kong (2005) : remake ou sauvegarde ? Jonathan Fruoco To cite this version: Jonathan Fruoco. King Kong (2005) : remake ou sauvegarde ?. ” Bis repetita placent ” ? Remake et technologie dans le cinéma et les séries télévisées du monde anglophone, Oct 2013, Saint Martin d’Hères, France. hal-01015112v1 HAL Id: hal-01015112 https://hal.archives-ouvertes.fr/hal-01015112v1 Submitted on 25 Jun 2014 (v1), last revised 29 Jan 2016 (v2) HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. King Kong (2005) : remake ou sauvegarde ? Jonathan Fruoco Le 4 février 2013, le critique cinéma français Rafik Djoumi remarquait sur les réseaux sociaux : « Krishna/Christ, Brahma/Abraham, Ikshwaka/Isaac, Seth/Satan, Baal Zebul/Belzébuth... Déjà, sur les forums d'Alexandrie, les geeks du IIème siècle se plaignaient "des remakes et des reboots en tous genres". » Il semble donc que le fait de transmettre encore et toujours la même histoire, qu’il s’agisse de mythologie, littérature ou cinéma, fasse partie intégrante de la nature humaine1. Néanmoins, aussi important que soit ce mode de transmission culturelle, il acquit une toute autre dimension avec l’invention du cinéma en ajoutant à la valeur artistique d’un « remake » une tonalité financière non-négligeable.
[Show full text]
Peter Jackson's King Kong (2005): a Critique of Postcolonial/Animal Horror Cinema
English Language and Literature Studies; Vol. 7, No. 2; 2017 ISSN 1925-4768 E-ISSN 1925-4776 Published by Canadian Center of Science and Education Peter Jackson’s King Kong (2005): A Critique of Postcolonial/Animal Horror Cinema Marwa Essam Eldin Fahmi1 1 College of Foreign Languages & Translation, MISR University for Science & Technology, Giza, Egypt Correspondence: Marwa Essam Eldin Fahmi, College of Foreign Languages & Translation, MISR University for Science & Technology, Giza, Egypt. E-mail:[email protected] Received: March 7, 2017 Accepted: March 26, 2017 Online Published: May 30, 2017 doi:10.5539/ells.v7n2p15 URL: http://doi.org/10.5539/ells.v7n2p15 Abstract The current study examines the fictional screen figure King Kong—as envisioned by the New Zealand director Peter Jackson in his 2005 remake—to question European ambivalence towards the Self/Other binary division. The modern 2005 Kong acts as a counter visual icon to the Eurocentric version of colonialist ideologies to expose their hypocrisy and myth-making colonial history. The present study is an attempt to integrate the visual narrative of King Kong (2005) into the framework of Postcolonial paradigm and within the theory of Adaptation to highlight the points of departure undertaken by the Postcolonial director Peter Jackson. The study seeks to establish Jackson’s revisit of a prior work as a “willful act” to reinterpret the screen figure Kong as a “Subaltern” subject whose quest for a voice is central to the film’s message. The dialogic relationship between the old and the new cinematic narratives is investigated to challenge Essentialist Western View of “Othering” so as to provide a Postcolonial revision of a fluid relationship between a prior work and a belated one.
[Show full text]
KING KONG IS BACK! E D I T E D B Y David Brin with Leah Wilson
Other Titles in the Smart Pop Series Taking the Red Pill Science, Philosophy and Religion in The Matrix Seven Seasons of Buffy Science Fiction and Fantasy Writers Discuss Their Favorite Television Show Five Seasons of Angel Science Fiction and Fantasy Writers Discuss Their Favorite Vampire What Would Sipowicz Do? Race, Rights and Redemption in NYPD Blue Stepping through the Stargate Science, Archaeology and the Military in Stargate SG-1 The Anthology at the End of the Universe Leading Science Fiction Authors on Douglas Adams’ Hitchhiker’s Guide to the Galaxy Finding Serenity Anti-heroes, Lost Shepherds and Space Hookers in Joss Whedon’s Fireﬂy The War of the Worlds Fresh Perspectives on the H. G. Wells Classic Alias Assumed Sex, Lies and SD-6 Navigating the Golden Compass Religion, Science and Dæmonology in Philip Pullman’s His Dark Materials Farscape Forever! Sex, Drugs and Killer Muppets Flirting with Pride and Prejudice Fresh Perspectives on the Original Chick-Lit Masterpiece Revisiting Narnia Fantasy, Myth and Religion in C. S. Lewis’ Chronicles Totally Charmed Demons, Whitelighters and the Power of Three An Unauthorized Look at One Humongous Ape KING KONG IS BACK! E D I T E D B Y David Brin WITH Leah Wilson BENBELLA BOOKS • Dallas, Texas This publication has not been prepared, approved or licensed by any entity that created or produced the well-known movie King Kong. “Over the River and a World Away” © 2005 “King Kong Behind the Scenes” © 2005 by Nick Mamatas by David Gerrold “The Big Ape on the Small Screen” © 2005 “Of Gorillas and Gods” © 2005 by Paul Levinson by Charlie W.
[Show full text]
The Moving Picture Ship
THE MOVING PICTURE SHIP By PAUL ANTHONY JOHNSON A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2005 TABLE OF CONTENTS page LIST OF FIGURES ........................................................................................................... iii ABSTRACT....................................................................................................................... iv CHAPTER 1 INTRODUCTION ........................................................................................................1 2 KONG ON TOP OF THE WORLD.............................................................................4 3 KONG THE MIRAGE .................................................................................................7 4 KONG HOLDS ANN.................................................................................................14 5 KONG LOOKS IN .....................................................................................................17 6 KONG ON DISPLAY ................................................................................................21 7 ANN EXPOSED.........................................................................................................25 8 KONG VERSUS THE DINOSAUR..........................................................................28 9 SKULL ISLAND........................................................................................................31 10 ANN’S
[Show full text]
The First Minutes of King Kong: an Example of Cinematic Self-Advertising
The first minutes of King Kong: an example of cinematic self-advertising. Xavier Pérez The first minutes of King Kong: an example of cinematic self-advertising Xavier Pérez If a single instant of perception were enough for the understanding and detailed enjoyment of a whole story, the art of cinema narration would have ceased to exist. Consuming a film needs time, not much time, admittedly, because the seventh art -a true child of its century- has a capacity for ellipsis that the novels of the nineteenth century did not need, and mostly reduces what it has to offer to an agreeable couple of hours. But, however fast it may be, the deployment of information in any film is not instantaneous. The events the public expect to find in it not only can, but must, be delayed. The receiver does not expect the whole story in the first few minutes: he knows that he has to give it time, that it will last a certain amount of time, and that his expectations will be satisfied gradually, leaving some in suspension until well into the film. The reception of a film requires the audience to accept suspension. The operations of suspension are so frequent and automatic that we do not even pay attention to them, and we might even say that the story does not emphasise them either. In some cases, however, that implicit game of anticipation may be heightened, explicitly underlining some of the future elements, thus arousing curiosity or a simple desire to keep watching. Advertising the existence of attractions is no more than suspending them temporarily, producing a distance (inherent to any advertising process) between the product to be consumed and the spot that advertises it.
[Show full text]
King Kong (1933) -- Study Guide _____/30 Pts
Name: ____________________________________ Date: ________________ Period: _______ Film Study 1 – Ms. Jones King Kong (1933) -- Study Guide _____/30 pts. Answer the following questions as you watch the film and after viewing the film. 1. How tall was the Kong model used in the making of the movie? 2. Where is Carl Denham planning on filming his new movie? 3. What is the name of the ship he hires? 4. What is Ann Darrow doing when Carl first meets her? 5. How many village girls does the chief say he will give Carl for Ann? 6. How tall was Kong? 7. What other dangerous creatures lived on the island besides Kong? 8. When Carl Denham exhibits Kong, how is Kong billed? 9. Which building does King Kong scale holding Ann? 10. What are we told that killed the 'Beast' at the end? Name: ____________________________________ Date: ________________ Period: _______ Film Study 1 – Ms. Jones After Viewing 11. Ann is a rather flat and one‐dimensional character. Does her character fulfill the audience’s (and your) expectations for a female lead in a horror film? Explain. 12. Discuss how the men treated the only woman on the ship. What was your opinion of that treatment? What might it say about the role of men and women in society in 1933? 13. This film could be viewed as a beauty and the beast fairytale. Why and how did beauty kill the beast in the movie? What do the two archetypes of beauty and the beast (an archetype is a type of character with traits that survive over time) tell you about the power and role of the masculine and feminine in society? Is there a beast in all of us? Did the beast need to die? Why or why not? 14.
[Show full text]
The Mythology of Judaism. Howard Schwartz
Book Reviews 685 If there is any limit to Reddy’s work, it is her unilateral reading of the white, male, heterosexual subject that is put forth in Hammett and Chandler. Several contemporary critics have indicated the split nature of the hard-boiled ethic, suggesting that a hysteric demand for the dissolution of identity frequently accompanies the more manifest desire for entrenchment (cf. Abbott, Forter, and Plain). A conversation with such criticism would certainly be fruitful; however, so too is the author’s suggestion that the genre is intractable on these questions. Reddy’s study is an excellent introduction to the history and pres- ence of race in detective fiction, for both the lay reader and specialist. The extensive bibliography, tireless examples of lesser known authors, and rigorous theoretical perspective ensure that Traces, Codes, and Clues will remain an indispensable text on the topic for some time to come. Alexander N. Howe University of the District of Columbia Tree of Souls: The Mythology of Judaism. Howard Schwartz. New York: Oxford University Press, 2004. If your library includes the major collections of mythology, you will want to add Tree of Souls: The Mythology of Judaism, the first anthology of Jewish mythology in English. Howard Schwartz, the author and editor of thirty volumes, is an expert in Jewish folk and traditional literature at the University of Missouri in St. Louis. Schwartz defines mythology as ‘‘a people’s sacred stories about origins, deities, ancestors, and heroes. Within a culture, myths may serve as the divine charter, and myth and ritual are inextricably bound’’ (xliv).
[Show full text]
*Not to Scale Meet the Panel
Lawyers vs Kaiju *Not to Scale Meet the Panel Monte Cooper Jeraline Singh Edwards Joshua Gilliland Megan Hitchcock Matt Weinhold Does your Homeowner’s insurance cover being stepped on? Can Local Governments Recover Emergency costs? Public Expenditures Made in the Performance of Governmental Functions ARE NOT Recoverable! Is King Kong protected by the Endangered Species Act? Lawyers in the Mist A species is “endangered” if it is “in danger of extinction throughout all or a significant portion of its range.” 16 U.S. CODE § 1532(6). A species is “threatened” if it is “likely to become an endangered species within the foreseeable future throughout all or a significant portion of its range.” Id. § 1532(20); Conservation Force, Inc. v. Jewell, 733 F.3d 1200, 1202 (D.C. Cir. 2013). A species is considered “endangered” because of “natural or manmade factors affecting its continued existence.” 16 USCS § 1533(a)(1)(E). Is King Kong Protected by the Convention on International Trade in Protected Species (CITES)? CITES is a multi-lateral treaty originally negotiated among 80 countries in Washington DC in 1973 Subjects international trade in specimens of selected species to certain export and import controls As of 2018, 183 states and the European Union have become parties to the Convention Roughly 5,000 species of animals and 29,000 species of plants are protected by CITES Western Gorillas are specifically listed as subject to CITES BUT … King Kong in all incarnations is a new primate species, called Megaprimatus kong in 2005… King Kong Is a Critically Endangered Species When in New York … 1933 – Bad Things Happen to Kong in New York 1976 – Clearly, the Passage of the Environmental 2005 – The White House Still Does Not Species Act Did Not Help … Believe that Kong Needs Protection… Unfortunately for Kong, Skull Island Is Not a U.S.
[Show full text]
Paratexts, Industrial Reflexivity, Affective Labour and King Kong: Peter Jackson's Production Diaries
MEDIANZ VOL 17 NO 2 • 2017 https://doi.org/10.11157/medianz-vol17iss2id193 – ARTICLE – Paratexts, Industrial Reflexivity, Affective Labour and King Kong: Peter Jackson’s Production Diaries Thierry Jutel Abstract King Kong: Peter Jackson’s Production Diaries (2005), a self-contained DVD package released at the same time as King Kong (2005), is an example of paratext and of what John Caldwell calls ‘industrial reflexivity’. While cast as a direct act of communication with fans and as a means of revealing the behind-the-scene workings of Jackson and his crew, the Production Diaries work also as industrial discourse which seeks to portray creative labour as a space of enjoyment, of affective investment and of individual fulfilment within a group of highly talented and motivated individuals. The diaries are both the production and the record of the creative labour and its transformation into a commodified media object through the process of affective labour. The Production Diaries provide an image of production for both external and internal purposes. Introduction Since the production and release of The Lord of the Rings trilogy (2001, 2002, 2003; LOTR henceforth), Peter Jackson and his collaborators have experimented with different ways of engaging with audiences, documenting their creative processes, and producing reflexive narratives about their industrial practices. LOTR generated multiple forms of paratexts. One essential ingredient of these paratexts was the focus on New Zealand as location and setting of Middle-earth (Jutel 2004) and the commodification of its landscape for the tourist gaze (Leotta 2011, 166). The focus on location and tourism tie- ins was itself the object of deliberate governmental policy in collaboration with New Line Cinema and, buttressed by grants and centralised coordination of multiple agencies and public bodies (Thompson 2007, 311).
[Show full text]
“Why, the Whole World Will Pay to See This…” Carl Denham, King Kong, 1933
“Why, the whole world will pay to see this…” Carl Denham, King Kong, 1933 For Immediate Release 07 September 2009 Contact: Jo Swetenham 020 7752 3121 [email protected] THE EIGHTH WONDER OF THE WORLD KING KONG ARMATURE ESTIMATE: £100,000-150,000 Popular Culture: Film & Entertainment Memorabilia 24 November 2009 “And now, ladies and gentlemen…I'm going to show you the greatest thing your eyes have ever beheld. He was a king and a god in the world he knew, but now he comes to civilization merely a captive - a show to gratify your curiosity. Ladies and gentlemen, look at Kong, the Eighth Wonder of the World.” Carl Denham, King Kong, 1933 Just as fictional explorer and film director Carl Denham enthralled crowds in the 1933 epic, seventy-five years on Christie’s South Kensington invites you to journey back and share in the spectacle that was King Kong as it presents the giant ape himself as the highlight of the November Popular Culture sale. This unique relic, the 22-inch armature (metal skeleton) (estimate: £100,000-150,000), was used to allow the animated ape to scale the dizzying heights of the Empire State Building in the films poignant and climactic final scenes. The King Kong storyline was the vision of adventurer and documentary maker Merian C. Cooper who worked alongside cinema legends including RKO chief technician Willis O’Brien to breathe life into this risky and expensive production. O’Brien, a pioneer in stop-motion animation, took on the challenge of creating the life-like illusion of a 50 foot ape.
[Show full text]
Pontifícia Universidade Católica Do Rio Grande Do
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
[Show full text]
KING KONG (1933) 104 Min
5 September 2006 XIII:2 KING KONG (1933) 104 min. Selected for the National Film Registry 1991 Fay Wray...Ann Darrow Robert Armstrong...Carl Denham Bruce Cabot...John 'Jack' Driscoll Frank Reicher...Capt. Englehorn Sam Hardy...Charles Weston Noble Johnson...Skull Island nation leader Steve Clemente...Witch King James Flavin...Second Mate Briggs Merian C. Cooper...Pilot of plane that kills Kong (uncredited) Original Music by Max Steiner Arnold Gray...Reporter (uncredited) Cinematography by Edward Linden, J.O. Taylor, Vernon Ernest B. Schoedsack...Machine-gunner on plane that kills L. Walker and Kenneth Peach Kong (uncredited) Edited by Ted Cheesman Jim Thorpe...Native Dancer (uncredited) Production Design by Carroll Clark Ivory Williams...Warrior (uncredited) Art Direction by Carroll Clark, Alfred Herman, Van Nest Polgase Directed by Merian C. Cooper and Ernest B. Schoedsack Sculptor…John Cerisoli Story by Merian C. Cooper and Edgar Wallace Sidney Saunders...rear projection process (uncredited) Screenplay by James Ashmore Creelman and Ruth Rose Ernest B. Schoedsack...camera operator (uncredited) Produced by Merian C. Cooper and Ernest B. Schoedsack Max Steiner...conductor Executive produce David O. Selznick MERIAN C. COOPER (24 October 1893, Jacksonville, Florida—21 April 1973, San Diego, California, cancer) was an aviation pioneer, film pioneer, war hero, film studio chief, and as infinitely more interesting than any of the fabulous characters who appeared in the 6 films he directed and 65 he produced. If his life were the subject matter of a novel publishers would reject it on the grounds of improbability: no one person could have done all that in one lifetime.
[Show full text]