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Casual and Hardcore Players in HBO's Westworld (2016): the Immoral and Violent Player
Casual and Hardcore Players in HBO’s Westworld (2016): The Immoral and Violent Player MA Thesis Ellen Menger – 5689295 [email protected] Supervisor: Dr. René Glas Second reader: Dr. Jasper van Vught Utrecht University MA New Media & Digital Culture MCMV10009 - THE-Masterthesis/ MA NMDC May 8, 2017 Abstract This thesis approaches the HBO series Westworld (2016) through the lens of game studies and interprets the series as a commentary on the stereotype of casual and hardcore players and immoral violence in video games. By performing a textual analysis, this thesis explores how Westworld as a series makes use of the casual and hardcore player stereotype, looking at the way the series explores the construction of player categories and how it ties these to the dialogue about violence and immoral behaviour in video games. Keywords: Westworld, games, player types, Western, casual gamer, hardcore gamer, violence, ethics, morals SPOILER WARNING This thesis reveals certain plot twists that may spoil part of the storyline of the first season of HBO’s Westworld. If you have not watched the series, read at your own risk. Table of Contents 1. Introduction ........................................................................................................................ 1 2. Theoretical framework ....................................................................................................... 7 2.1. (Im)moral Behaviour in Game Worlds ....................................................................... 7 2.2. The Player as a Moral -
Westworld Season 1 Episode 6
Westworld season 1 episode 6 Continue The sixth episode of the first season of Westworld's EnemyWestworld episode Epic No. Season 1Episode 6Direct:Frederick E.O. ToyeWritten ByHalley GrossJonathan NolanFeatured musicRamin DjawadiCinematography byBrendan GalvinRobert McEditing byTanya SwerlingProduction code4X6156Original air dateNo November 6, 2016-11-06)Running time 57 minutesWold (s) Ptolemy Slocum as Sylvester Leonardo Nam as Felix Lutz Talul Riley as Angela Johnny Pasvolski as Bloody Jimmy Oliver Bell, as Alastair Duncan's Little Boy as the Cottage Father Episode chronology ← Previous Contrapasstre Next →Trompe L'Oeil's Opponent is the sixth episode in the first season of HBO's sci-fi Western thriller tv series Westworld. The episode aired on November 6, 2016. The episode received positive reviews from critics, with Thandie Newton's performance hailed as a special highlight of the episode. The plot resumes Man in Black and Teddy continue their journey to find Wyatt, heading to pariah for answers. However, the Allied army closed the border, preventing them from continuing to act. One of the soldiers recognizes Teddy and accuses him of complicity in the massacre of Wyatt over his unit. The man in black and Teddy are subsequently captured, with Union soldiers planning to brand Teddy with a maze symbol to mark him as a traitor. Teddy has memories that he really was an accomplice to the Wyatt massacre and breaks out of his connections. He then commands Gatling's gun and kills all the Union soldiers in the camp. Teresa tells Bernard that he wants to end their relationship. She fears that the revelation that she is sleeping with the head of the conduct department could create a conflict of interest and damage her credibility. -
The Emancipatory Politics of Westworld (2016-)
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE QUESTIONING THE NATURE OF REALITY: THE EMANCIPATORY POLITICS OF WESTWORLD (2016-) A THESIS SUBMITTED TO THE GRADUATE FACULTY In partial fulfillment of the requirements for the Degree of MASTER OF ARTS By MORGAN JONES Norman, Oklahoma 2021 QUESTIONING THE NATURE OF REALITY: THE EMANCIPATORY POLITICS OF WESTWORLD (2016-) A THESIS APPROVED FOR THE DEPARTMENT OF GEOGRAPHY AND ENVIRONMENTAL SUSTAINABILITY BY THE COMMITTEE CONSISTING OF Dr. Laurel Smith, Chair Dr. Alison Fields Dr. Darren Purcell © Copyright by MORGAN JONES 2021 All Rights Reserved iv Acknowledgements I’d like to extend thanks to my thesis advisor, Dr. Laurel Smith, for letting me take this short final paper from Gender & Environment and turn it into a fully-fledged Master’s thesis. She has always taken this project seriously, even when I doubted its value (as I often did). Her extensive notes have been invaluable in crafting this document into what it is today. I would also like to thank Dr. Darren Purcell and Dr. Alison Fields who both serve on my advisory committee. The classes I have taken with them helped my conceptualization of what this thesis could be. I hope that their influence is visible in this paper. Another extension of gratitude goes to Dr. Harriet Hawkins for introducing me to geographical aesthetics, and for getting coffee with me in London when her work was the grounding force in my undergraduate capstone. I think it is absolutely necessary to thank my roommate, Holden Dempsey, and my dog, Olive, for being a stellar support system when I was at my most fragile. -
The Fallacy of Rape Narratives As Paths to Women’S Empowerment in Contemporary Television
Connecticut College Digital Commons @ Connecticut College Film Studies Honors Papers Film Studies Department 2020 “What Doesn’t Kill You Makes You Stronger:” The Fallacy of Rape Narratives as Paths to Women’s Empowerment in Contemporary Television Alessia S. Guise Connecticut College, [email protected] Follow this and additional works at: https://digitalcommons.conncoll.edu/filmhp Part of the Feminist, Gender, and Sexuality Studies Commons, and the Film and Media Studies Commons Recommended Citation Guise, Alessia S., "“What Doesn’t Kill You Makes You Stronger:” The Fallacy of Rape Narratives as Paths to Women’s Empowerment in Contemporary Television" (2020). Film Studies Honors Papers. 7. https://digitalcommons.conncoll.edu/filmhp/7 This Honors Paper is brought to you for free and open access by the Film Studies Department at Digital Commons @ Connecticut College. It has been accepted for inclusion in Film Studies Honors Papers by an authorized administrator of Digital Commons @ Connecticut College. For more information, please contact [email protected]. The views expressed in this paper are solely those of the author. “What Doesn’t Kill You Makes You Stronger:” The Fallacy of Rape Narratives as Paths to Women’s Empowerment in Contemporary Television An Honors Thesis Presented By Alessia S. Guise To The Department of Film Studies In Fulfillment of the Requirements for Honors in the Major Field Connecticut College New London, Connecticut May 2020 2 Acknowledgements I would first and foremost like to thank my advisor, Dr. Nina Martin. I have been Dr. M’s student since my first semester at Connecticut College, and I can honestly say that I would not be the scholar, the feminist, or the person I am today without her guidance and instruction throughout the past four years. -
Gender, Suffering, and Humanity in Westworld
Relics, Remnants, and Religion: An Undergraduate Journal in Religious Studies Volume 5 Issue 1 Article 3 6-13-2020 Gender, Suffering, and Humanity in Westworld Rutie MacKenzie-Margulies University of Puget Sound, [email protected] Follow this and additional works at: https://soundideas.pugetsound.edu/relics Recommended Citation MacKenzie-Margulies, Rutie (2020) "Gender, Suffering, and Humanity in Westworld," Relics, Remnants, and Religion: An Undergraduate Journal in Religious Studies: Vol. 5 : Iss. 1 , Article 3. Available at: https://soundideas.pugetsound.edu/relics/vol5/iss1/3 This Article is brought to you for free and open access by the Student Publications at Sound Ideas. It has been accepted for inclusion in Relics, Remnants, and Religion: An Undergraduate Journal in Religious Studies by an authorized editor of Sound Ideas. For more information, please contact [email protected]. MacKenzie-Margulies: Gender, Suffering, and Humanity in Westworld INTRODUCTION Westworld is a popular television show that HBO first released in 2016. It captures the current fascination and fear our society holds with technological advancements, specifically cyborgs and A.I.. So, why discuss this particular show? On one level, I chose this series because it represents the contemporary science-fiction portrayal of both the fascination with and fear of the near future and the next level of technological breakthroughs. Specifically, there is a whole collection of movies and television shows from the past 50 years that explore the moment when A.I. develops to the point where it is equal or even superior to human beings. Many of the themes of the show, for example what “humanity” means when robots become indistinguishable from people, are shared amongst many movies such as Metropolis, Blade Runner, Under the Skin, Ghost in the Shell and Ex Machina to name a few. -
Universidade Federal Do Paraná Setor De Artes, Comunicação E Design Departamento De Comunicação Social
UNIVERSIDADE FEDERAL DO PARANÁ SETOR DE ARTES, COMUNICAÇÃO E DESIGN DEPARTAMENTO DE COMUNICAÇÃO SOCIAL ROBINSON SAMULAK ALVES O MEDO EM WESTWORLD CURITIBA 2018 ROBINSON SAMULAK ALVES O MEDO EM WESTWORLD Monografia apresentada como requisito parcial à obtenção do diploma de graduação em Comunicação Social - Jornalismo. Departamento de Comunicação Social. Setor de Artes, Comunicação e Design, da Universidade Federal do Paraná. Orientadora: Profa. Dra. Valquíria John. CURITIBA 2018 Aos meus pais. AGRADECIMENTOS Na sua essência, esse trabalho é o resultado de incontáveis colaborações. Assim como Frodo não teria conseguido chegar à Mordor sem a ajuda da Sociedade do Anel (e do Gollum, nunca nos esqueçamos dele), eu jamais teria concluído esta minha própria jornada sozinho. Inicio, portanto, com uma referência aquelas pessoas cujos nomes eu não acrescento aqui. Meu esquecimento não deve ser confundido com ingratidão. Foram muitas as pessoas que me ajudaram, guardo em meu coração um profundo sentimento de carinho e agradecimento à todas e a todos. Vocês são para mim como cada um dos Rohirrim, participantes isolados que compõe uma vitória. Tolkien criou um vasto grupo de personagens que fizeram com que Frodo percebesse a necessidade de recuar primeiro, para então seguir em frente. Esse é o papel do professor, mestre da sabedoria, que não hesita em orientar um aluno e acalmar a ansiedade de querer dizer sim para tudo e concluir um trabalho o quanto antes. Foi após uma singela conversa com a professora Virgínia que eu reconheci que era necessário parar, pensar e refletir sobre minhas escolhas. O resultado está nas páginas que seguem. Frodo foi feliz por ter ao seu lado Sam. -
STRAY DOG of ANIME: the Films of Mamoru Oshii
01 ruh fm 5/13/04 3:13 PM Page i STRAY DOG OF ANIME This page intentionally left blank 01 ruh fm 5/13/04 3:13 PM Page iii STRAY DOG OF ANIME * The Films of Mamoru Oshii BRIAN RUH 01 ruh fm 5/13/04 3:13 PM Page iv STRAY DOG OF ANIME Copyright © Brian Ruh, 2004. All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles or reviews. First published 2004 by PALGRAVE MACMILLAN™ 175 Fifth Avenue, New York, N.Y. 10010 and Houndmills, Basingstoke, Hampshire, England RG21 6XS. Companies and representatives throughout the world. PALGRAVE MACMILLAN is the global academic imprint of the Palgrave Macmillan division of St. Martin’s Press, LLC and of Palgrave Macmillan Ltd. Macmillan® is a registered trademark in the United States, United Kingdom and other countries. Palgrave is a registered trademark in the European Union and other countries. ISBN 1-4039-6329-0 hardback ISBN 1-4039-6334-7 paperback Library of Congress Cataloging-in-Publication Data Ruh, Brian. Stray dog of anime : the films of Mamoru Oshii / Brian Ruh. p. cm. Includes bibliographical references and index. ISBN 1-4039-6329-0 — ISBN 1-4039-6334-7 (pbk.) 1. Oshii, Mamoru—Criticism and interpretation. 1. Title. PN1998.3.O83R84 2004 791.43’34023’092—dc22 2003068903 A catalogue record for this book is available from the British Library. Design by Letra Libre. First edition: June 2004 10987654321 Printed in the United States of America. -
Westworld Episode Guide Episodes 001–020
Westworld Episode Guide Episodes 001–020 Last episode aired Sunday June 24, 2018 www.hbo.com c c 2018 www.tv.com c 2018 www.hbo.com The summaries and recaps of all the Westworld episodes were downloaded from http://www.tv.com and http://www. hbo.com and processed through a perl program to transform them in a LATEX file, for pretty printing. So, do not blame me for errors in the text ! This booklet was LATEXed on June 26, 2018 by footstep11 with create_eps_guide v0.61 Contents Season 1 1 1 The Original . .3 2 Chestnut . .9 3 The Stray . 13 4 Dissonance Theory . 17 5 Contrapasso . 21 6 The Adversary . 25 7 Trompe L’Oeil . 29 8 Trace Decay . 33 9 The Well-Tempered Clavier . 39 10 The Bicameral Mind . 43 Season 2 49 1 Westworld 11 . 51 2 Reunion . 55 3 Virtu e Fortuna . 59 4 The Riddle of the Sphinx . 63 5 Akane No Mai . 67 6 Phase Space . 71 7 Les Ecorches . 75 8 Kiksuya . 79 9 Vanishing Point . 83 10 The Passenger . 87 Actor Appearances 93 Westworld Episode Guide II Season One Westworld Episode Guide The Original Season 1 Episode Number: 1 Season Episode: 1 Originally aired: Sunday October 2, 2016 Writer: Jonathan Nolan, Lisa Joy Director: Jonathan Nolan Show Stars: Evan Rachel Wood (Dolores Abernathy), Thandie Newton (Maeve Mil- lay), Jeffrey Wright (Bernard Lowe), James Marsden (Teddy Flood), In- grid Bolso Berdal (Armistice), Luke Hemsworth (Stubbs), Sidse Babett Knudsen (Theresa Cullen), Simon Quarterman (Lee Sizemore), Rodrigo Santoro (Hector Escaton), Angela Sarafyan (Clementine Pennyfeather), Shannon Woodward (Elsie Hughes), Ed Harris (The Man in Black), Sir Anthony Hopkins (Dr. -
Towards the Center of the Maze: Cyborg Posthumanity in the HBO Series Westworld”
DIPLOMARBEIT / DIPLOMA THESIS Titel der Diplomarbeit / Title of the Diploma Thesis “Towards the Center of the Maze: Cyborg Posthumanity in the HBO Series Westworld” verfasst von / submitted by Anna Mehofer BA Bakk. angestrebter akademischer Grad / in partial fulfilment of the requirements for the degree of Magistra der Philosophie (Mag. phil.) Wien, 2018 / Vienna, 2018 Studienkennzahl lt. Studienblatt / A 190 482 344 degree programme code as it appears on the student record sheet: Studienrichtung lt. Studienblatt / Lehramtsstudium UF Bewegung und Sport degree programme as it appears on UF Englisch the student record sheet: Betreut von / Supervisor: Univ.-Prof. Mag. Dr. Alexandra Ganser-Blumenau 2 Table of Contents 1. Introduction 1 1.1. The Fascination of Posthumanity’s Revenge 1 1.2. A Journey Inward – for Host and Human Alike 3 1.3. Research Questions and Approach 4 2. About Westworld 5 2.1. The 1973 Film 5 2.2. 1973 and 2016: Similarities and Differences 7 2.3. The 2016 HBO Series 8 2.3.1. “Quality TV”: A Term under Scrutiny 8 2.3.2. What Makes Westworld Transgressive? 9 2.3.3. Central Characters 12 2.3.4. A Very Brief Account of Westworld’s Plot 15 3. Man, Machine, and the Cyborg 17 3.1. ‘Old Western Dichotomies’ Challenged 17 3.1.1. Biology: Features of Life vs. Machine Characteristics 17 3.1.2. Biologism: Natural vs. Unnatural Bodies 21 3.1.3. Autonomy: Free vs. Dependent 22 3.1.4. Metaphysics: Soul vs. Programming 27 3.1.5. Conciousness: Selfhood vs. ‘Mechanic Mockery’ 28 3.1.6. -
Postmodern Hyperreality in HBO's Westworld
POSTMODERN HYPERREALITY IN HBO’S WESTWORLD Giulia Caparrelli Professor Sarram COM 470 5 December 2016 Caparrelli 2 “Have you ever questioned the nature of your reality?” asks an unseen, external speaker in the pilot’s dark and unsettling opening scene of HBO’s new TV series, Westworld (“The Original”). This question is addressed to a blood-stained, naked woman that is seemingly kept in captivity in the depths of a mysterious, aseptic dungeon. At a primary level, it may be interpreted as a specific, ideological interrogation, aimed at ascertaining whether the subjected hostage still believes in the doctrines of the ideology she has been fed. At a deeper level, it suggests a more general, philosophical and existential inquiry. Indeed, the question seems to be directed towards the audience itself. Viewers are immediately drawn in, called upon, and unconsciously prompted to interrogate themselves in a similar way: Is reality really real? How can I tell? Adding to this uncertainty and destabilization, the fact that the aforementioned confined woman, towards whom the spectator starts to feel pity and sympathy, is in reality a robot clearly complicates matters. Based on the eponymous 1973 science fiction movie by Michael Crichton, Westworld is set in a Western theme park inhabited by so-called “hosts” and regularly visited by “newcomers”. The amusement park offers wealthy visitors – it costs $40,000 per day! – a thrilling experience, an extreme vacation in the pursuit of violence, sex, and extreme fun, an opportunity to “live without limits” as promised by its flashy advertisement. What is most eerie is that, although inhabitants and guests outwardly look exactly the same, the former are synthetic androids carefully designed inside the maze-like headquarters of Delos Corporation, the owner of Westworld. -
Westworld, Robots and Legal Rights
e Interdisciplinary Journal of Popular Culture and Pedagogy If Androids Dream, Are They More Than Sheep?: Westworld, Robots and Legal Rights Amanda DiPaolo St. Thomas University Fredericton, N.B. Canada [email protected] ABSTRACT The robot protagonists in HBO’s Westworld open the door to several philosophical and ethical questions, perhaps the most complex being: should androids be granted similar legal protections as people? Westworld offers its own exploration of what it means to be a person and places emphasis on one’s ability to feel and understand pain. With scientists and corporations actively working toward a future that includes robots that can display emotion in a way that can convincingly pass as that of a person’s, what happens when androids pass the Turing test, feel empathy, gain consciousness, are sentient, or develop free will? The question becomes more complex given the possibility of computer error. What should happen if robots designed for companionship commit heinous crimes, and without remorse? Westworld poses such social and legal questions to its viewers and is, thus, ripe for classroom discussion. This essay explores the complex and contradictory implications of android hosts overcoming their dehumanization through an awakening to both experience and agency. With television and film holding a mirror up to reality, what can science fiction teach us that would help us prepare for such a possibility? Keywords: Westworld, artificial intelligence, human rights, Science Fiction, robots Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy 1 DiPaolo INTRODUCTION In the opening scene of HBO’s Westworld, the camera zooms in to what looks like a woman in a cold, sterile room. -
Artificial Consciousness and Reflexive Narration in Westworld (HBO, 2016-)
TV/Series 14 | 2018 Posthumains en séries “The maze wasn’t made for you”: Artificial consciousness and reflexive narration in Westworld (HBO, 2016-) Florent Favard Electronic version URL: http://journals.openedition.org/tvseries/3040 DOI: 10.4000/tvseries.3040 ISSN: 2266-0909 Publisher GRIC - Groupe de recherche Identités et Cultures Electronic reference Florent Favard, « “The maze wasn’t made for you”: Artificial consciousness and reflexive narration in Westworld (HBO, 2016-) », TV/Series [Online], 14 | 2018, Online since 31 December 2018, connection on 19 April 2019. URL : http://journals.openedition.org/tvseries/3040 ; DOI : 10.4000/tvseries.3040 This text was automatically generated on 19 April 2019. TV/Series est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. “The maze wasn’t made for you”: Artificial consciousness and reflexive narrat... 1 “The maze wasn’t made for you”: Artificial consciousness and reflexive narration in Westworld (HBO, 2016-) Florent Favard 1 Before we meet the Hosts of Westworld (HBO, 2016-), let us take a trip back a few decades in the history of science fiction television. 2 In the Star Trek: The Next Generation episode entitled “The Measure of a Man”, first aired in 1989, Lieutenant Commander Data, one of the main officers of the starship Enterprise and the only android of his kind, is threatened by a scientist, Bruce Maddox, who wants to dismantle him to learn his secrets and build more androids. Since Data is a machine, he is still considered the “property” of Starfleet, a rule Captain Picard intends to challenge through a legal hearing: he wants to prove Data is human despite being a machine.