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BATMAN Vs SUPERMAN What Would Superman Drive, What Should Batman Drive and Where Could Wonder Woman Store Her Outfit?
WIN A PULSAR BRUCE WAYNE’S JEEP WATCH PEUGEOT ADD FUEL OFFERS WORTH DUCHESS OF CAMBRIDGE PLAYS TENNIS £145 SHORTLISTED FOR NEWSPRESS MAGAZINE OF THE YEAR BATMAN vs SUPERMAN What would Superman drive, what should Batman drive and where could Wonder Woman store her outfit? Your magazine featuring the stars, their cars and more... freecarmag.co.uk 1 FUELLED BY FUN This ISSUEweek 30 / 2016 Batman vs Superman: Dawn of Justice. We don’t understand why there are a couple of superheroes slugging it out like a wrestling bout, with Wonder Woman watching disapprovingly. However, we are looking forward to making sense of it all very soon at the local multiplex. We’ve got a superhero of our own Free Car Mag, or possibly Margaret, but we are too frightened to call her that. Well she’s more than qualified to tell other superheroes and even super villains what to drive. There is still time to win yourself a brilliant Pulsar watch. All you have to do is sign up to get notification of the latest issue. If you have already signed up, then you are already in with a chance. Tell all your friends and family, because we don’t spam you with nonsense, or pass your details on. We are good like that. 4 News Events Celebs – Made in Chelsea We are also doing very well at the moment. Shortlisted as and Duchess of Cambridge Consumer Magazine and Editor of the Year in the Newspress 6 Batman vs Superman Awards after only being around for a year, it has taken a real 8 Supercars for Superheroes superhuman effort I can tell you. -
The Retriever, Issue 1, Volume 39
18 Features August 31, 2004 THE RETRIEVER Alien vs. Predator: as usual, humans screwed it up Courtesy of 20th Century Fox DOUGLAS MILLER After some groundbreaking discoveries on Retriever Weekly Editorial Staff the part of the humans, three Predators show up and it is revealed that the temple functions as prov- Many of the staple genre franchises that chil- ing ground for young Predator warriors. As the dren of the 1980’s grew up with like Nightmare on first alien warriors are born, chaos ensues – with Elm street or Halloween are now over twenty years Weyland’s team stuck right in the middle. Of old and are beginning to loose appeal, both with course, lots of people and monsters die. their original audience and the next generation of Observant fans will notice that Anderson’s filmgoers. One technique Hollywood has been story is very similar his own Resident Evil, but it exploiting recently to breath life into dying fran- works much better here. His premise is actually chises is to combine the keystone character from sort of interesting – especially ideas like Predator one’s with another’s – usually ending up with a involvement in our own development. Anderson “versus” film. Freddy vs. Jason was the first, and tries to allow his story to unfold and build in the now we have Alien vs. Predator, which certainly style of Alien, withholding the monsters almost will not be the last. Already, the studios have toyed altogether until the second half of the film. This around with making Superman vs. Batman, does not exactly work. -
Mapping Black Ash Dominated Stands Using Geospatial and Forest Inventory Data in Northern Minnesota, USA Peder S
892 ARTICLE Mapping black ash dominated stands using geospatial and forest inventory data in northern Minnesota, USA Peder S. Engelstad, Michael J. Falkowski, Anthony W. D’Amato, Robert A. Slesak, Brian J. Palik, Grant M. Domke, and Matthew B. Russell Abstract: Emerald ash borer (EAB; Agrilus planipennis Fairmaire, 1888) has been a persistent disturbance for ash forests in the United States since 2002. Of particular concern is the impact that EAB will have on the ecosystem functioning of wetlands dominated by black ash (Fraxinus nigra Marsh.). In preparation, forest managers need reliable and complete maps of black ash dominated stands. Traditionally, forest survey data from the United States Forest Inventory and Analysis (FIA) Program have provided rigorous measures of tree species at large spatial extents but are limited when providing estimates for smaller management units (e.g., stands). Fortunately, geospatial data can extend forest survey information by generating predictions of forest attributes at scales finer than those of the FIA sampling grid. In this study, geospatial data were integrated with FIA data in a randomForest model to estimate and map black ash dominated stands in northern Minnesota in the United States. The model produced low error rates (overall error = 14.5%; area under the curve (AUC) = 0.92) and was strongly informed by predictors from soil saturation and phenology. These results improve upon FIA-based spatial estimates at national extents by providing forest managers with accurate, fine-scale maps (30 m spatial resolution) of black ash stand dominance that could ultimately support landscape-level EAB risk and vulnerability assessments. Key words: compound topographic index (CTI), remote sensing, black ash, emerald ash borer, forest inventory. -
Preston, John, & Bishop, Mark
Preston, John, & Bishop, Mark (2002), Views into the Chinese Room: New Essays on Searle and Artificial Intelligence (Oxford: Oxford University Press), xvi + 410 pp., ISBN 0-19-825057-6. Reviewed by: William J. Rapaport Department of Computer Science and Engineering, Department of Philosophy, and Center for Cognitive Science, State University of New York at Buffalo, Buffalo, NY 14260-2000; [email protected], http://www.cse.buffalo.edu/ rapaport ∼ This anthology’s 20 new articles and bibliography attest to continued interest in Searle’s (1980) Chinese Room Argument. Preston’s excellent “Introduction” ties the history and nature of cognitive science, computation, AI, and the CRA to relevant chapters. Searle (“Twenty-One Years in the Chinese Room”) says, “purely . syntactical processes of the implemented computer program could not by themselves . guarantee . semantic content . essential to human cognition” (51). “Semantic content” appears to be mind-external entities “attached” (53) to the program’s symbols. But the program’s implementation must accept these entities as input (suitably transduced), so the program in execution, accepting and processing this input, would provide the required content. The transduced input would then be internal representatives of the external content and would be related to the symbols of the formal, syntactic program in ways that play the same roles as the “attachment” relationships between the external contents and the symbols (Rapaport 2000). The “semantic content” could then just be those mind-internal -
Women in Film Time: Forty Years of the Alien Series (1979–2019)
IAFOR Journal of Arts & Humanities Volume 6 – Issue 2 – Autumn 2019 Women in Film Time: Forty Years of the Alien Series (1979–2019) Susan George, University of Delhi, India. Abstract Cultural theorists have had much to read into the Alien science fiction film series, with assessments that commonly focus on a central female ‘heroine,’ cast in narratives that hinge on themes of motherhood, female monstrosity, birth/death metaphors, empire, colony, capitalism, and so on. The films’ overarching concerns with the paradoxes of nature, culture, body and external materiality, lead us to concur with Stephen Mulhall’s conclusion that these concerns revolve around the issue of “the relation of human identity to embodiment”. This paper uses these cultural readings as an entry point for a tangential study of the Alien films centring on the subject of time. Spanning the entire series of four original films and two recent prequels, this essay questions whether the Alien series makes that cerebral effort to investigate the operations of “the feminine” through the space of horror/adventure/science fiction, and whether the films also produce any deliberate comment on either the lived experience of women’s time in these genres, or of film time in these genres as perceived by the female viewer. Keywords: Alien, SF, time, feminine, film 59 IAFOR Journal of Arts & Humanities Volume 6 – Issue 2 – Autumn 2019 Alien Films that Philosophise Ridley Scott’s 1979 S/F-horror film Alien spawned not only a remarkable forty-year cinema obsession that has resulted in six specific franchise sequels and prequels till date, but also a considerable amount of scholarly interest around the series. -
NATIONAL ARBITRATION FORUM DECISION Directv, Inc. V. Future Movie Name Claim Number: FA0911001296482 PARTIES Complainant Is Dire
NATIONAL ARBITRATION FORUM DECISION DirecTV, Inc. v. Future Movie Name Claim Number: FA0911001296482 PARTIES Complainant is DirecTV, Inc. (“Complainant”), represented by Steven M. Levy, Pennsylvania, USA. Respondent is Future Movie Name (“Respondent”), California, USA. REGISTRAR AND DISPUTED DOMAIN NAME The domain name at issue is <diretv.com>, registered with Directnic, Ltd. PANEL The undersigned certifies that he or she has acted independently and impartially and to the best of his or her knowledge has no known conflict in serving as Panelist in this proceeding. Houston Putnam Lowry, Chartered Arbitrator, as Panelist. PROCEDURAL HISTORY Complainant submitted a Complaint to the National Arbitration Forum electronically on November 30, 2009; the National Arbitration Forum received a hard copy of the Complaint on December 2, 2009. On November 30, 2009, Directnic, Ltd confirmed by e-mail to the National Arbitration Forum that the <diretv.com> domain name is registered with Directnic, Ltd and that Respondent is the current registrant of the name. Directnic, Ltd has verified that Respondent is bound by the Directnic, Ltd registration agreement and has thereby agreed to resolve domain-name disputes brought by third parties in accordance with ICANN's Uniform Domain Name Dispute Resolution Policy (the "Policy"). On December 4, 2009, a Notification of Complaint and Commencement of Administrative Proceeding (the "Commencement Notification"), setting a deadline of December 24, 2009 by which Respondent could file a response to the Complaint, was transmitted to Respondent via e-mail, post and fax, to all entities and persons listed on Respondent's registration as technical, administrative and billing contacts, and to [email protected] by e-mail. -
Super Heroes
BRP WRE Bizarro Day! (DC Super Friends) Crime Wave! (DC Super Friends) Super Hardcover B8555BR Brain Freeze! (DC Super Friends) Heroes H2934GO Going Bananas (DC Super Friends) S5395TR T. Rex Trouble (DC Super Friends) W9441CR Crime Wave! (DC Super Friends) Juvenile Fiction Beginning Readers Paperback JUV ASH Batman: The Brave and the Bold Paperback BRP ASH Batman and Friends JUV DCS The Flash: Shadow of the Sun Captain Cold’s Artic Eruption (The BRP BRI Batman Versus Man-Bat Flash) Gorilla Warfare (The Flash) BRP ELI Flying High (DC Super Friends) Shell Shocker (The Flash) BRP FIG Spider-Man Saves the Day The Attack of Professor Zoom! (The Flash) BRP HIL Spider-Man Versus the Scorpion Wrath of the Weather Wizard (The Flash) Spider-Man Versus the Lizard Battle of the Blue Lanterns (Green Spider-Man Amazing Friends Lantern) Beware Our Power (Green Lantern) BRP LEM Superman Versus the Silver Banshee Guardian of Earth (Green Lantern) Batman: Who is Clayface? The Last Super Hero (Green Lantern) The Light King Strikes! (Green Lantern) BRP ROS Friends and Foes (Superman) Man of Steel: Superman’s Superpowers JUV JAF Wonder Woman Team Spirit (Marvel Super Hero Squad) The Trouble with Thor JUV JUS In Darkest Night (Justice League) BRP SAZ Superman: Escape from the Phantom Secret Origins (Justice League) Zone The Gauntlet (Justice League) Wings of War (Justice League) BRP SHE T. Rex Trouble (DC Super Friends) Aliens Attack (Marvel Super Hero JUV LER Batman Begins: The Junior Novel Squad) JUV SUP Superman Returns: The Last Son of BRP STE I Am Wonder -
Female Scientists in Film
FEMALE SCIENTISTS IN FILM: EMBRACING DUALITY WITH THE HEROINE’S JOURNEY by Anna Irina Sagatov A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Science and Natural History Filmmaking MONTANA STATE UNIVERSITY Bozeman, Montana April 2019 ©COPYRIGHT by Anna Irina Sagatov 2019 All Rights Reserved ii TABLE OF CONTENTS 1. THE PROBLEM: FILMIC DEPICTIONS OF WOMEN SCIENTISTS................................. 1 Flicker Types............................................................................................................................ 4 The Old Maid.....................................................................................................................4 The Male Woman...............................................................................................................5 The Naive Expert...............................................................................................................5 The Evil Plotter..................................................................................................................6 The Daughter or Assistant.................................................................................................6 The Lonely Heroine...........................................................................................................7 Will it Make a Difference? The Scully Effect……...................................................................8 2.ANALYSIS OF FEMALE SCIENTIST CHARACTERS........................................................9 -
Aliens, Predators and Global Issues: the Evolution of a Narrative Formula
CULTURA , LENGUAJE Y REPRESENTACIÓN / CULTURE , LANGUAGE AND REPRESENTATION ˙ ISSN 1697-7750 · VOL . VIII \ 2010, pp. 43-55 REVISTA DE ESTUDIOS CULTURALES DE LA UNIVERSITAT JAUME I / CULTURAL STUDIES JOURNAL OF UNIVERSITAT JAUME I Aliens, Predators and Global Issues: The Evolution of a Narrative Formula ZELMA CATALAN SOFIA UNIVERSITY ABSTRACT : The article tackles the genre of science fiction in film by focusing on the Alien and Predator series and their crossover. By resorting to “the fictional worlds” theory (Dolezel, 1998), the relationship between the fictional and the real is examined so as to show how these films refract political issues in various symbolic ways, with special reference to the ideological construct of “global threat”. Keywords: film, science fiction, narrative, allegory, otherness, fictional worlds. RESUMEN : en este artículo se aborda el género de la ciencia ficción en el cine mediante el análisis de las películas de la serie Alien y Predator y su combinación. Utilizando la teoría de “los mundos ficcionales” (Dolezel, 1999), se examina la relación entre los planos ficcional y real para mostrar cómo estas películas reflejan cuestiones políticas de diversas formas simbólicas, con especial referencia a la construccción ideológica de la “amenaza global”. Palabras clave: film, ciencia ficción, narrativa, alegoría, alteridad, mundos fic- cionales In 2004 20th Century Fox released Alien vs. Predator, directed by Paul Anderson and starring Sanaa Latham, Lance Henriksen, Raoul Bova and Ewen Bremmer. The film combined and continued two highly successful film series: those of the 1979 Alien and its three successors Aliens (1986), Alien 3 (1992) and Alien Resurrection (1997), and of the two Predator movies, from 1987 and 1990 respectively. -
Predator a Jumpchain C Y O A
A L I E N VS PREDATOR A JUMPCHAIN C Y O A The deadliest aliens ever discovered. The best hunters the galaxy has ever seen. And caught in the crossfire: humanity. When the three most dangerous species in the galaxy clash, who will come out the winner? Now that you’re here, it’s time to choose a side. You’ve got +1000CP to make your choice. Starting Time & Location Owing to a timeline and canon that’s a bit all over the place, you may freely choose the time and location of your insertion: the following are suggestions. Most of the stories set in this universe take place between 2100AD and 2400AD. You are still here for 10 years. 1. Earth, Sol System – The seat of human expansion in the galaxy. Or maybe its sole world, depending when you step in. A Xenomorph outbreak here could spell the end of humanity’s home. 2. Ryushi (AVP: Prey) – An arid but habitable world with two suns, used for grazing rynths, rhino-like alien beasts that provide copious meat and tough leather. Aside from the rynth ranches, it sports only a small Weyland-Yutani outpost. 3. San Drad, California 2310AD (AVP Arcade) – An Earth mega-city overrun by Xenomorphs and gang warfare, made all the deadlier by some gangs using stolen Yautja weaponry. 4. Gateway Station, 2159AD (AVP 1999) – The Weyland Yutani space station that most interstellar traffic stops at before entering the Sol system. Both a cargo port and quarantine checkpoint before ships enter the Sol system. 5. LV-1201 (AVP2) – Site of a Weyland-Yutani research facility for biological and archeological research into the ‘Space Jockeys’. -
Alien: Covenant, Dir. by Ridley Scott (Twentieth Century Fox, 2017)
The Irish Journal of Gothic and Horror Studies 17 (Autumn 2018) Alien: Covenant, dir. by Ridley Scott (Twentieth Century Fox, 2017) Alien: Covenant is the sixth instalment in the much-celebrated and critically acclaimed science-fiction/horror saga initiated in 1979 by Ridley Scott’s Alien and consisting also of James Cameron’s Aliens (1986), David Fincher’s Alien³ (1992), Jean-Pierre Jeunet’s Alien: Resurrection (1997) and the prequel film Prometheus (Scott, 2012).1 Alien: Covenant is also the twenty-fourth work by the eclectic eighty-year-old British producer and director, whose work has successfully spanned all cinematic genres, from science fiction (Blade Runner, 1982), through costume and historical drama (1492: Conquest of Paradise, 1992, and Kingdom of Heaven, 2005) and fantasy (Legend, 1985), to the detective film (Black Rain, 1989), the road movie (Thelma and Louise, 1991) and comedy (A Good Year, 2006). Covenant is a sequel to Prometheus; the earlier film depicts the search for the origins of the human species by a group of scientists, explorers, and the leading members of the Weyland Corporation, tracing their encounter with a being belonging to the race of the so- called Engineers. In Prometheus, the explorers discover near the end of the film that the last surviving Engineer had been frozen into hyper-sleep thousands of years earlier, preventing him from destroying Earth, a mission that he fortunately does not complete upon awakening. Prometheus is filled with references to religion, specifically Christian beliefs (allegedly, the Engineers’ mission to destroy our planet was ordered around the time of Christ’s death), the creation of life (the protagonist is sterile, but she gives birth to an alien life form), and, in a nod to Mary Shelley’s Frankenstein (1818), the horror of a creator refusing his own progeny. -
2010 Joint Conference of the National Popular Culture and American Culture Associations
2010 Joint Conference of the National Popular Culture and American Culture Associations March 31 – April 3, 2010 Rennaisance Grand Hotel St. Louis Delores F. Rauscher, Editor & PCA/ACA Conference Coordinator Jennifer DeFore, Editor & Assistant Coordinator Michigan State University Elna Lim, Wiley-Blackwell Editor Additional information about the PCA/ACA available at www.pcaaca.org 2 Table of Contents The 2009 National Conference Popular Culture Association & American Culture Association Area Chairs ___________________ 5 PCA/ACA Board Members _______________________________ 13 Officers _______________________________________________ 13 Executive Officers ______________________________________ 13 Past & Future Conferences _______________________________ 14 Conference Papers for Sale; Benefits Endowment _____________ 15 Exhibit Hours __________________________________________ 15 Business & Board Meetings _______________________________ 16 Film Screenings ________________________________________ 18 Dinners, Get-Togethers, Receptions, & Tours ________________ 23 Roundtables ___________________________________________ 25 Special Sessions ______________________________________________ 29 Schedule Overview ______________________________________ 33 Saturday ____________________________________________________ 54 Daily Schedule _________________________________________ 77 Wednesday, 12:30 P.M. – 2:00 P.M. ____________________________ 77 Wednesday, 2:30 P.M. – 4:00 P.M. ____________________________ 83 Wednesday, 4:30 P.M. – 6:00 P.M. ____________________________