1 Open Ninth: Conversations Beyond the Courtroom Live
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Gene Roddenberry: the Star Trek Philosophy
LIVING TREKISM – Database Gene Roddenberry: The Star Trek Philosophy "I think probably the most often asked question about the show is: ‘Why the Star Trek Phenomenon?’ And it could be an important question because you can ask: ‘How can a simple space opera with blinking lights and zap-guns and a goblin with pointy ears reach out and touch the hearts and minds of literally millions of people and become a cult in some cases?’ Obviously, what this means is, that television has incredible power. They’re saying that if Star Trek can do this, then perhaps another carefully calculated show could move people in other directions – as to keep selfish interest to creating other cults for selfish purposes – industrial cartels, political parties, governments. Ultimate power in this world, as you know, has always been one simple thing: the control and manipulation of minds. Fortunately, in the attempt however to manipulate people through any – so called Star Trek Formula – is doomed to failure, and I’ll tell you why in just a moment. First of all, our show did not reach and affect all these people because it was deep and great literature. Star Trek was not Ibsen or Shakespeare. To get a prime time show – network show – on the air and to keep it there, you must attract and hold a minimum of 18 million people every week. You have to do that in order to move people away from Gomer Pyle, Bonanza, Beverly Hill Billies and so on. And we tried to do this with entertainment, action, adventure, conflict and so on. -
Models of Time Travel
MODELS OF TIME TRAVEL A COMPARATIVE STUDY USING FILMS Guy Roland Micklethwait A thesis submitted for the degree of Doctor of Philosophy of The Australian National University July 2012 National Centre for the Public Awareness of Science ANU College of Physical and Mathematical Sciences APPENDIX I: FILMS REVIEWED Each of the following film reviews has been reduced to two pages. The first page of each of each review is objective; it includes factual information about the film and a synopsis not of the plot, but of how temporal phenomena were treated in the plot. The second page of the review is subjective; it includes the genre where I placed the film, my general comments and then a brief discussion about which model of time I felt was being used and why. It finishes with a diagrammatic representation of the timeline used in the film. Note that if a film has only one diagram, it is because the different journeys are using the same model of time in the same way. Sometimes several journeys are made. The present moment on any timeline is always taken at the start point of the first time travel journey, which is placed at the origin of the graph. The blue lines with arrows show where the time traveller’s trip began and ended. They can also be used to show how information is transmitted from one point on the timeline to another. When choosing a model of time for a particular film, I am not looking at what happened in the plot, but rather the type of timeline used in the film to describe the possible outcomes, as opposed to what happened. -
Star Trek" Mary Jo Deegan University of Nebraska-Lincoln, [email protected]
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by UNL | Libraries University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sociology Department, Faculty Publications Sociology, Department of 1986 Sexism in Space: The rF eudian Formula in "Star Trek" Mary Jo Deegan University of Nebraska-Lincoln, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/sociologyfacpub Part of the Family, Life Course, and Society Commons, and the Social Psychology and Interaction Commons Deegan, Mary Jo, "Sexism in Space: The rF eudian Formula in "Star Trek"" (1986). Sociology Department, Faculty Publications. 368. http://digitalcommons.unl.edu/sociologyfacpub/368 This Article is brought to you for free and open access by the Sociology, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sociology Department, Faculty Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. THIS FILE CONTAINS THE FOLLOWING MATERIALS: Deegan, Mary Jo. 1986. “Sexism in Space: The Freudian Formula in ‘Star Trek.’” Pp. 209-224 in Eros in the Mind’s Eye: Sexuality and the Fantastic in Art and Film, edited by Donald Palumbo. (Contributions to the Study of Science Fiction and Fantasy, No. 21). New York: Greenwood Press. 17 Sexism in Space: The Freudian Formula in IIStar Trek" MARY JO DEEGAN Space, the final frontier. These are the voyages of the starship Enterprise, its five year mission to explore strange new worlds, to seek out new life and new civilizations, to boldly go where no man has gone before. These words, spoken at the beginning of each televised "Star Trek" episode, set the stage for the fan tastic future. -
Australian Found-Footage Horror Film
Finders Keepers AUSTRALIAN FOUND-FOOTAGE HORROR FILM Alexandra Heller-Nicholas looks at how two Australian films,The Tunnel and Lake Mungo, fit into the hugely popular found-footage horror trend, and what they can reveal about this often critically disregarded subgenre. 66 • Metro Magazine 176 | © ATOM FACING PAGE, FROM TOP: MATHEW (MARTIN SHARPE) USES TECHNOLOGY TO TRY TO CONTROL HIS DEAD SISTER IN LAKE MUNGO; STEVE (STEVE MILLER) EXPLORES WHAT LURKS BELOW IN THE TUNNEL THIS PAGE, TOP ROW: THE TUNNEL BOTTOM ROW AND INSET BELOW: LAKE MUNGO When horror academic Mark Jancovich Ghostwatch. Looking beyond film, television dismissed The Blair Witch Project (Daniel and radio, there are numerous significant Myrick & Eduardo Sánchez, 1999) as ‘a media hoaxes such as the New York Sun’s one-off gimmick rather than the start of a ‘Great Moon Hoax’ in 1835 that suggest a new cycle of horror production’ in 2002, few broader history behind the current found- suspected how premature this prediction footage horror phenomenon. would be.1 The extraordinarily successful Paranormal Activity franchise (2007–2012) While the diversity of this subgenre’s history left Blair Witch in its dust, and found footage has been simplified, the broader areas from – or faux found footage – has become the which found-footage horror has drawn its horror format du jour. Horror fans and critics inspiration have also been largely under- now discuss found footage as an overused stated. Documentary is the most obvious, cliché that is past its use-by date, and even but found-footage horror’s relationship to horror directors themselves go to consid- amateur filmmaking traditions is arguably erable lengths to clarify how their found- to a number of screen trends and events, just as important. -
Expressions in Fan Culture
Háskóli Íslands Hugvísindasvið Japanskt mál og menning Expressions in Fan Culture Cosplay, Fan Art, Fan Fiction Ritgerð til BA-prófs í japönsku máli og menningu Ragnhildur Björk Jóhannsdóttir Kt.: 210393-2189 Leiðbeinandi: Gunnella Þorgeirsdóttir Maí 2017 Expressions in Fan Culture Abstract This composition is a BA thesis for Japanese Language and Culture at the University of Iceland. In this essay, I will give the reader a little insight into the world of fan culture and will be focusing on how fans express themselves. Fans get inspired by books, movies and television programmes to create all kinds of fan work; whether it is fan fiction, fan art, doujinshi, cosplay, or any other creations. Furthermore, the thesis will explore fan culture as it presents itself in Japan and compare it to fan culture in Europe and the USA. I will discuss the effect these creations, although mainly fan fiction, has on authors of popular media and on social media and how the Internet has made it easier for fans all over the world to connect, as well as for fans and creators to connect. 2 Expressions in Fan Culture Contents Abstract ..................................................................................................................... 2 Contents .................................................................................................................... 3 Introduction ............................................................................................................... 4 What is Fan Culture .................................................................................................. -
For Fans by Fans: Early Science Fiction Fandom and the Fanzines
FOR FANS BY FANS: EARLY SCIENCE FICTION FANDOM AND THE FANZINES by Rachel Anne Johnson B.A., The University of West Florida, 2012 B.A., Auburn University, 2009 A thesis submitted to the Department of English and World Languages College of Arts, Social Sciences, and Humanities The University of West Florida In partial fulfillment of the requirements for the degree of Master of Arts 2015 © 2015 Rachel Anne Johnson The thesis of Rachel Anne Johnson is approved: ____________________________________________ _________________ David M. Baulch, Ph.D., Committee Member Date ____________________________________________ _________________ David M. Earle, Ph.D., Committee Chair Date Accepted for the Department/Division: ____________________________________________ _________________ Gregory Tomso, Ph.D., Chair Date Accepted for the University: ____________________________________________ _________________ Richard S. Podemski, Ph.D., Dean, Graduate School Date ACKNOWLEDGMENTS First, I would like to thank Dr. David Earle for all of his help and guidance during this process. Without his feedback on countless revisions, this thesis would never have been possible. I would also like to thank Dr. David Baulch for his revisions and suggestions. His support helped keep the overwhelming process in perspective. Without the support of my family, I would never have been able to return to school. I thank you all for your unwavering assistance. Thank you for putting up with the stressful weeks when working near deadlines and thank you for understanding when delays -
Book Review: Only at Comic-Con: Hollywood, Fans, and the Limits of Exclusivity Hanna, Erin NEWARK: RUTGERS UNIVERSITY PRESS, 2020
Media Industries 7.2 (2020) Book Review: Only at Comic-Con: Hollywood, Fans, and the Limits of Exclusivity Hanna, Erin NEWARK: RUTGERS UNIVERSITY PRESS, 2020. Tanya D. Zuk1 GEORGIA STATE UNIVERSITY tzuk1 [AT] gsu.edu Comic-Con International: San Diego, known colloquially as Comic-Con, is one of the largest and most influential fan conventions in the world. Comic-Con as an event and as a brand has impacted fandom, popular culture, and, more importantly, for Erin Hanna, the media industries in Hollywood. Since its inception, Comic-Con has been intertwined with the media industries: comic creators and industry professionals attended the very first conven- tion. Comic-Con has, however, expanded beyond comic books to include all popular media and has opened its doors to industry creatives, synergistic promotion, and audience testing, making Comic-Con a useful event for Hollywood’s buzz machine.2 Comic-Con, as both an exclusive event and a franchise, has made fan conventions widely popular (and lucrative) with both audiences and global pop- ular culture industries. In this book, Hanna explores how Hollywood studios and related industries foster the appeal of exclusivity as a means of promotion that exploits fan labor. Media Industries 7.2 (2020) In Only at Comic-Con, Erin Hanna uses a framework of exclusivity to dismantle the power structures embedded in fan conventions generally and Comic-Con specifically. According to Hanna, “exclusivity is not defined by presences at all, but by the power to produce absences.”3 Hanna outlines the power dynamics between media industry representatives and conven- tion organizers (and fans), between fans and convention staff, and between fans themselves. -
Download the Borg Assimilation
RESISTANCE IS FUTILE… BORG CUBES Monolithic, geometric monstrosities capable of YOU WILL BE ASSIMILATED. defeating fleets of ships, they are a force to be Adding the Borg to your games of Star Trek: Ascendancy feared. introduces a new threat to the Galaxy. Where other civilizations may be open to negotiation, the Borg are single-mindedly BORG SPIRES dedicated to assimilating every civilization they encounter into Borg Spires mark Systems under Borg control. the Collective. The Borg are not colonists or explorers. They are Over the course of the game, Borg Spires will build solely focused on absorbing other civilizations’ technologies. new Borg Cubes. The Borg are not controlled by a player, but are a threat to all the forces in the Galaxy. Adding the Borg also allows you to play BORG ASSIMILATION NODES games with one or two players. The rules for playing with fewer Borg Assimilation Nodes are built around Spires. Built than three players are on page 11. Nodes indicate how close the Spire is to completing a new Borg Cube and track that Borg System’s current BORG COMPONENTS Shield Modifier. • Borg Command Console Card & Cube Card BORG TECH CARDS • 5 Borg Cubes & 5 Borg Spires Players claim Borg Tech Cards when they defeat • 15 Borg Assimilation Nodes & 6 Resource Nodes the Borg in combat. The more Borg technology you • 20 Borg Exploration Cards acquire, the better you will fare against the Borg. • 7 Borg System Discs • 20 Borg Technology Cards BORG COMMAND CARDS • 30 Borg Command Cards Borg Command Cards direct the Cubes’ movement • 9 Borg Dice during the Borg’s turn and designate the type of System each Cube targets. -
'Star Trek' Actors Head for Videogame Frontier 6 June 2012
'Star Trek' actors head for videogame frontier 6 June 2012 The actors who played Captain James T. Kirk and lead game producer Brian Miller. Spock in the 2009 film reboot of "Star Trek" will give voice to those characters in a videogame "Kirk and Spock find themselves in an incredibly based on the beloved science fiction franchise. challenging amount of mayhem as they confront the Gorn throughout the game." Paramount Pictures and game publisher NAMCO BANDAI Games America Inc. announced on The game is being developed by Canada-based Tuesday that Chris Pine and Zachary Quinto will studio Digital Extremes, according to NAMCO. reprise their roles from the "Star Trek" film directed by J.J. Abrams. (c) 2012 AFP "We are thrilled to have these incredible actors lending their voice to the legendary characters of Kirk and Spock in the videogame realm," said LeeAnne Stables, head of Paramount's videogame unit. "Players are in for a truly authentic experience." The "Star Trek" videogame is scheduled for release early next year, with versions tailored for play on Xbox 360 and PlayStation 3 videogame consoles as well as on personal computers powered by Windows software. "There are certain elements at the core of Star Trek -- insurmountable odds, exploration, villains like the Gorn and heroes like Kirk and Spock," said NAMCO vice president of marketing Carlson Choi. "Our goal is to pull gamers as deep into the Star Trek universe as possible and an integral part of that is the talent that makes these characters their own." An original storyline for the game was being created by Marianne Krawczyk, a writer known for her work on the hit "God of War" videogame franchise, and people working on an upcoming "Star Trek" film, according to Paramount. -
Hasbro's KRE-O STAR TREK Beams Into the Toy Aisle with New Building Sets and a Stop Motion Digital Short Produced by Bad Robot
May 7, 2013 Hasbro's KRE-O STAR TREK Beams into the Toy Aisle with New Building Sets and a Stop Motion Digital Short Produced by Bad Robot The Digital Short, Utilizing KRE-O STAR TREK Building Sets Now On Shelves, Will Make its TV Broadcast Premiere May 13 on Cartoon Network PAWTUCKET, R.I.--(BUSINESS WIRE)-- Hasbro, Inc. (NASDAQ: HAS), announced the availability of the new KRE-O STAR TREK line at retail locations beginning today. Also releasing today is a stop motion animated short featuring KRE-O building sets and KREON figures based on the iconic STAR TREK film franchise. Fans can watch the video, with a new stand-alone STAR TREK storyline, now on the official KRE-O YouTube channel at youtube.com/KREO. The digital short will make its television broadcast premiere May 13 at 7:30 p.m. EST on Cartoon Network. The KRE-O STAR TREK stop motion digital short animation was produced through film director J.J. Abrams' production company, Bad Robot, with special effects for the piece created by Kelvin Optical, one of the visual effects teams also working on the soon-to-be released STAR TREK INTO DARKNESS from Paramount Pictures. "KRE-O STAR TREK marks the first time the STAR TREK universe has been available as building sets, and we are thrilled to show off the universe of KRE-O STAR TREK building sets and KREON figures with this exciting stop motion digital short from the Bad Robot team," says Kim Boyd, KRE-O senior brand director for Hasbro. "We're especially excited that kids The KRE-O STAR TREK U.S.S. -
The Human Adventure Is Just Beginning Visions of the Human Future in Star Trek: the Next Generation
AMERICAN UNIVERSITY HONORS CAPSTONE The Human Adventure is Just Beginning Visions of the Human Future in Star Trek: The Next Generation Christopher M. DiPrima Advisor: Patrick Thaddeus Jackson General University Honors, Spring 2010 Table of Contents Basic Information ........................................................................................................................2 Series.......................................................................................................................................2 Films .......................................................................................................................................2 Introduction ................................................................................................................................3 How to Interpret Star Trek ........................................................................................................ 10 What is Star Trek? ................................................................................................................. 10 The Electro-Treknetic Spectrum ............................................................................................ 11 Utopia Planitia ....................................................................................................................... 12 Future History ....................................................................................................................... 20 Political Theory .................................................................................................................... -
A Course Whose Time Has Come
A course whose time has come Paul R. Joseph Law is a central component of the democratic State. It defines the relation between the government and its people and sets the rules (and limits) of the restrained warfare of politics. Law becomes the battle ground for moral debates about issues such as abortion, discrimination, euthanasia, pornography and religion. Today we also debate the role Using science fiction and functioning of the legal system itself. Are lawyers ethical? Do judges usurp the legislative role? Are there too many ‘frivolous’ law materials to teach law. suits? Law and popular culture Where do the masses of people learn about the law? What shapes their views? Some peruse learned treatises, others read daily newspapers or tune in to the nightly news. Some watch key events, such as Supreme Court confirmation hearings, live, as they happen. Some have even been to law school. Many people also rely (whether consciously or not) on popular culture for their understanding of law and the legal system. Movies, television programs and other popular culture elements play a dual role, both shaping and reflecting our beliefs about the law. If popular culture helps to shape the public’s view about legal issues, it also reflects those views. By its nature as a mass commercial product, popular culture is unlikely to depart radically from images which the public will accept. By examining popular culture, we, the legally trained, can get an idea about how we and the things we do are understood and viewed by the rest of the body politic.