The Walking Dead Alive and Kicking on Presto
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Topps the Walking Dead Season 6 Checklist MVO 6-7(1)
Topps The Walking Dead Season 6 Trading Cards - Base Cards 1 Before They Come For Us 34 Being Stalked 67 Choices 2 Doing It Live 35 Falling Down 68 Why Are You Still Wearing That? 3 One More Peanut Butter 36 Climbing to Safety 69 Lucky 4 Who You Are 37 Running Scared 70 Picking a Head 5 Just the Pizza Guy 38 Born this Way 71 Infiltrating the Compound 6 Road Block 39 "Dolor Hic Tibi Proderit Olim" 72 Fight’s Not Over 7 Keeping a Secret 40 You Gotta Earn It 73 Nervous Little Bird 8 Idiot 41 Confrontation 74 Choosing Something 9 Overheard 42 Meat Ponchos 75 Fighting Back 10 JSS 43 Who’s Negan? 76 Afraid 11 Just Filling In 44 Nibble on That 77 Kill Floor 12 Quick or Slow 45 New Plan 78 Can’t Anymore 13 Carol in Wolf’s Clothing 46 You’re Still Here 79 Tick Tick Click 14 Try 47 Walking Through the Monsters 80 The Apothecary 15 Fighting a Way Out 48 Shot 81 This Way’s Faster 16 Thank You 49 Courage 82 Wake… Up 17 Going Mad 50 Cavalry 83 Should Have Taken the Long Way 18 Clear 51 Lake of Fire 84 I’m Nobody 19 Lying in Wait 52 What We Can Do 85 Following the Blood Trail 20 The Cheesemaker 53 Envy of All Corns 86 Tracking Dwight 21 Redirection 54 Searching for Deanna 87 People Can Come Back 22 Open the Gate 55 Looking for Jesus 88 Someone New 23 Through the Sewer 56 What Do You Know About Us? 89 Captured 24 A New Leader 57 Law of Averages 90 Hi Daryl 25 Ambush 58 Proper Burial 91 Defending the Home Front 26 Separated 59 Finally 92 Real Soon 27 Good Guy Daryl 60 Crashed 93 Last Day on Earth 28 Howdy, Gentlemen 61 We’re With Jesus 94 Keep Driving -
Dead Man Talking Pdf, Epub, Ebook
DEAD MAN TALKING PDF, EPUB, EBOOK Casey Daniels | 291 pages | 06 Oct 2009 | Berkley Books | 9780425230749 | English | New York, NY, United States Dead Man Talking PDF Book In addition to Talking Dead —patient zero for the concept of a talk show designed to regurgitate little chunks of a TV episode you literally just watched—Hardwick will host Talking Dead: Fear Edition , Talking Saul , and Talking Preacher , granting three of AMC's other buzziest dramas their own weekly check-ins. Anyway, that's how I ended up in the salon, sitting next to my mother, in a pedicure chair. More tellingly, Glenn was left out of Talking Dead 's customary "In Memoriam" segment; instead of a conventional tribute, the after-show threw up a title card that said, "Please don't let this be true. It's called an after-death communication. Prep Time: 1 hour 0 mins. Spencer said such busts allowed the living to talk to the dead and ask them for help here on Earth [source: Spencer ]. Yet, if I could use Edison's spirit phone to talk to somebody, who would it be? The real problem with these after-shows is that they originate from the same brain trust that produces the shows being analyzed. Rumors of the haunting quickly spread through the countryside. You can make the dip up to 3 days ahead and refrigerate, then heat in the microwave and serve hot or at room temperature. He also built a voice recorder, a "spirit box" that can record the voice of the dead [source: Podsada ]. -
Paleyfest Featuring 'The Walking Dead
February 7, 2013 "PaleyFest Featuring ‘The Walking Dead' and ‘The Big Bang Theory'" Events Broadcast to U.S. Cinemas This March NCM® Fathom Events and The Paley Center for Media Present "PaleyFest Featuring ‘The Walking Dead'" on Thursday, March 7 and "PaleyFest Featuring ‘The Big Bang Theory'" on Wednesday, March 13 in Select Movie Theaters Nationwide Movie Theater Audiences Will Have Opportunity to Submit Questions to "The Big Bang Theory" Cast LIVE via Twitter LOS ANGELES & CENTENNIAL, Colo.--(BUSINESS WIRE)-- For the first time ever, the stars and producers of the phenomenally successful "The Walking Dead" and No. 1 comedy series "The Big Bang Theory" are coming to theaters nationwide as part of the ultimate TV fan festival — PaleyFest (The William S. Paley Television Festival). Presented by NCM® Fathom Events and The Paley Center for Media in celebration of PaleyFest's 30th anniversary, "PaleyFest" will feature a lively panel discussion from these sold-out events, giving audiences an exclusive look inside these TV hits. "PaleyFest Featuring ‘The Walking Dead,'" the festival's opening night presentation, pre-recorded March 1 featuring appearances by the cast and creative team, will be broadcast to select U.S. movie theaters on Thursday, March 7 at 8:00 p.m. local time."PaleyFest Featuring ‘The Big Bang Theory,'" broadcast LIVE from the Saban Theatre in Beverly Hills, Calif., on Wednesday, March 13 at 10:00 p.m. ET / 9:00 p.m. CT / 8:00 p.m. MT / 7:00 p.m. PT, will feature a live and uncensored Q&A with the cast and producers of TV's most-watched comedy. -
The Role of Players in the Walking Dead: a Telltale Game Series
Open Cultural Studies 2017; 1: 350–358 Research Article Matteo Genovesi* Choices and Consequences: The Role of Players in The Walking Dead: A Telltale Game Series https://doi.org/10.1515/culture-2017-0032 Received August 19, 2017; accepted November 20, 2017 Abstract: One of the most important features in a transmedia structure, as Max Giovagnoli argues in his book Transmedia: Storytelling e Comunicazione [Transmedia: Storytelling and Communication], is the development of the user’s decision-making power, defined by the author as “choice excitement.” In this, every choice of the user should have a consequence in the fictional universe of a specific franchise. Consequently, a narrative universe that wants to emphasize choice excitement and the active role of people can focus on video games, where the interactive approach is prominent. This essay will discuss a specific video game, based on the famous franchise of The Walking Dead. This brand, which appears in comic books, novels, TV series, Web episodes and video games, is analysable not only as an exemplary case of transmedia storytelling, where every ramification of the franchise published in different media is both autonomous and synergistic with the others, but also by focusing on the choice excitement of users in the first season of the video game The Walking Dead: A Telltale Game Series. Keywords: agency, transmedia storytelling, episodic video game The purposes of this essay are to observe that the famous franchise of The Walking Dead is an exemplary case of transmedia storytelling, and then to take a closer look at the video game The Walking Dead: A Telltale Game Series in order to underline the relevance of one of the most important features in a transmedia experience: the user’s decision-making power, called by Max Giovagnoli “choice excitement.” This is manifested when a user can influence some elements of a narration integrated into a specific medium and correlated to a larger fictional universe (88-90). -
Revenant Landscapes in the Walking Dead
Revenant Landscapes in The Walking Dead Abstract This paper considers The Walking Dead comic (Kirkman, Moore and Adlard, Image 2003-present) and television series (AMC, 2010-present), arguing that although the two series rely on similar imagery they are distinct in their use of space. This contradicts established industry, audience and creator discourses surrounding this text and offers a counter-argument to the popular perspective that comics can be used as simple storyboards for their television adaptations. Firstly, geographies of the urban gothic and themes such as inversion and decay are used to interrogate paratextual claims of fidelity between the two texts. The paper compares key scenes and settings and goes beyond aesthetics to show that in both versions the functions of urban spaces are inverted (the highway, prison, farm, etc). It argues that the zombies’ decaying flesh echoes the disrepair of the landscape and the protagonists’ own bodily fragmentation through injury and violence is mirrored in the destruction of the places they encounter. These claims are then reconsidered using the space of the comics page, applying the work of Thierry Groensteen and critical theories of gothic narrative structure. This demonstrates that comics’ mono-sensory narratives allow depictions to be thematically linked with an emotive use of space to engage readers, and that this contributes to a gothic architecture of the page. The paper concludes that the critical discourse of fidelity that surrounds The Walking Dead is superficial and that each version’s spaces are medium-specific and distinct in their affect on the reader/viewer. Presenter biography: Dr Julia Round is a principal lecturer in the Faculty of Media and Communication at Bournemouth University, UK, and co-edits the academic journal Studies in Comics (Intellect). -
Download, Or Email Articles for Individual Use
University of Massachusetts Amherst From the SelectedWorks of Stephen Olbrys Gencarella April, 2016 Thunder without Rain: Fascist Maculinity in AMC's The alW king Dead Stephen Olbrys Gencarella Available at: https://works.bepress.com/stephen_gencarella/3/ HOST 7 (1) pp. 125–146 Intellect Limited 2016 Horror Studies Volume 7 Number 1 © 2016 Intellect Ltd Article. English language. doi: 10.1386/host.7.1.125_1 STEPHEN OLBRYS GENCARELLA University of Massachusetts Thunder without rain: Fascist masculinity in AMC’s The Walking Dead ABSTRACT KEYWORDS In this article, I offer a critique of the five seasons of the television series The fascism Walking Dead (TWD) broadcast to date (2010–2015). As the popularity of this masculinity show continues to rise, many viewers have demonstrated a willingness to praise Male Fantasies TWD without carefully examining its narrative commitments to violence or to ghouls attack media critics who point out negative elements at work. My critique contends critique that the series is decidedly fascistic in nature, and celebratory of fascist masculin- The Walking Dead ity as the key to surviving an apocalyptic situation. I analyse the show through a comparison with the literature of the Freikorps as detailed by Klaus Theweleit’s study of fascism, Male Fantasies ([1977] 1987, [1978] 1989). I examine in detail the prevalence of the ‘soldier male’ in TWD, the limited roles for women, and the representation of the ghoulish undead, drawing upon Theweleit and related scholar- ship on fascist aesthetics. It is not the corpses that this man loves; he loves his own life. But he loves it … for its ability to survive. -
2016 Topps the Walking Dead Survival Box
2016 Topps The Walking Dead Survival Box BASE BASE CARDS 1 Rick Grimes 2 Carl Grimes 3 Daryl Dixon 4 Michonne 5 Glenn Rhee 6 Maggie Greene 7 Beth Greene 8 Hershel Greene 9 Shane Walsh 10 Dale Horvath 11 Merle Dixon 12 Andrea 13 Carol Peletier 14 Abraham Ford 15 The Governor 16 Tyreese Williams 17 Sasha Williams 18 Bob Stookey 19 Paul "Jesus" Rovia 20 Tara Chambler 21 Eugene Porter 22 Rosita Espinosa 23 Gabriel Stokes 24 Noah 25 Enid 26 Jessie Anderson 27 Pete Anderson 28 Sam Anderson 29 Lizzie Samuels 30 Mika Samuels 31 Nicholas 32 Dawn Lerner 33 Tobin 34 Reg Monroe 35 Alpha Wolf 36 Denise Cloyd 37 Otis 38 Caesar Martinez 39 Milton Mamet 40 Karen 41 Shumpert 42 Axel 43 Jimmy 44 Tomas 45 Caleb Subramanian 46 Joe 47 Rick & Carl Grimes 48 Daryl & Merle Dixon 49 Glenn Rhee & Maggie Greene 50 Tyreese & Sasha Williams INSERT BASE CARD SHORT PRINTS 1 Rick Grimes 2 Carl Grimes 3 Daryl Dixon 4 Michonne 5 Glenn Rhee 6 Maggie Greene 7 Beth Greene 8 Hershel Greene 9 Shane Walsh 10 Dale Horvath 11 Merle Dixon 12 Andrea 13 Carol Peletier 14 Abraham Ford 15 The Governor 16 Tyreese Williams 17 Sasha Williams 18 Bob Stookey 19 Paul "Jesus" Rovia 20 Tara Chambler 21 Eugene Porter 22 Rosita Espinosa 23 Gabriel Stokes 24 Noah 25 Enid WALKER BITE CARDS 1 Dale Horvath 2 Andrea 3 Tyreese Williams 4 Bob Stookey 5 Noah KILL OR BE KILLED 1 Shane Walsh vs. Otis 2 Rick Grimes vs. Shane Walsh 3 Carol vs. -
Hegemonic Masculinity in the Walking Dead
“What’s the Difference Between Men and Women?”: Hegemonic Masculinity in The Walking Dead GRAEME JOHN WILSON The Walking Dead is an undisputed cultural phenomenon. The horror series, which airs on cable channel AMC, follows a group of survivors during the aftermath of a zombie apocalypse. The Walking Dead is the most-watched cable series in television history, and is notably the only drama series to be listed among the 50 highest viewed cable telecasts of all time, with the rest consisting entirely of sports broadcasts (Rice 26). The program premiered in 2010, during a period many television critics and scholars refer to as the current Golden Age of Television, characterized by a wealth of acclaimed and innovative American drama series (Albrecht 6; Damico and Quay viii; Sepinwall 41; Wood 11). Many eminent series of this Golden Age, such as The Sopranos and Breaking Bad, are concerned with themes of masculine identity and power. Such themes resonate with male audiences due to ongoing “cultural shifts regarding the dominant idea[s] surrounding masculinity,” such as the increased visibility of feminism in the new millennium (Wayne 206). While feminism has experienced an increased acceptance in mainstream American society during recent decades, feminist movements seeking to advance women’s rights continue to be dismissed and rejected within conservative communities that ascribe to traditional gender hierarchy and neoliberal philosophy. Neoliberalism describes a political and economic system “in which state policies synchronize with cultural practices to apply market-based individualism as a governmental rationale across the institutions and practices of everyday life” (McCarthy 21). Neoliberalism thus emphasizes strong individualism, a traditional marker of classic conservative masculinity. -
Becoming Glenn”: Asian American Masculinity on the Walking Dead
Becoming Glenn”: Asian American masculinity on The Walking Dead Helen K. Ho Abstract For six of seven seasons, Glenn Rhee (Steven Yeun) was the only racial minority who survived alongside The Walking Dead’s main hero, Rick Grimes (Andrew Lincoln). While The Walking Dead centers on Rick’s struggles to lead and protect his band of survivors, it also allows for a more nuanced portrayal of Asian American masculinity rarely seen on American television. Glenn’s evolution in the show’s narrative highlights the unsustainable nature of white male characters’ rigid masculinities. Their failures allow for Glenn to succeed and adapt more flexibly as a man in the changing social, racial, and gender relations of the zombie post-apocalypse. This chapter briefly discusses the role of the Asian American model minority stereotype in upholding the dominance of white male characters then offers a reading of Glenn as a fighter, lover, and leader in his own right. By embracing traditionally “masculine” characteristics from a “feminized” starting point, Glenn challenges the rigid frameworks imposed by white masculinity and instead presents an alternative, more fluid formulation of manhood that is, overall, more successful. The chapter also suggests that Glenn’s success is illuminated by the sense of loss—felt by the show’s characters and the show’s fans—triggered by his death, even if his demise ultimately served TWD’s white male universe. Introduction Since its debut in 2010, viewers of AMC’s The Walking Dead (TWD) have followed a band of survivors attempting to establish a sense of home as they navigate an apocalyptic wilderness. -
Relações Transmidiáticas E Influências No Desenvolvimento De Personagens De the Walking Dead
1 UNIVERSIDADE CANDIDO MENDES / AVM PÓS-GRADUAÇÃO LATO SENSU Transmídia: Gestão de Mídias Digitais Relações Transmidiáticas e Influências no Desenvolvimento de Personagens de The Walking Dead Clécia dos Reis Oliveira ORIENTADOR: Prof. Jorge Vieira Rio de Janeiro 2018 DOCUMENTO PROTEGIDO PELA LEIDE DIREITO AUTORAL 2 UNIVERSIDADE CANDIDO MENDES / AVM PÓS-GRADUAÇÃO LATO SENSU Transmídia: Gestão de Mídias Digitais Relações Transmidiáticas e Influências no Desenvolvimento de Personagens de The Walking Dead Apresentação de monografia à AVM como requisito parcial para obtenção do grau de especialista em Transmídia: Gestão de Mídias Digitais. Por: Clécia dos Reis Oliveira. Rio de Janeiro 2018 3 RESUMO A proposta do trabalho é verificar a influência das relações transmidiáticas na série de TV The Walking Dead, especialmente nas mudanças no desenrolar da trama e comportamento de personagens. Nesse caso, vamos considerar a representação das personagens femininas, mais visível em Carol, que se destacou como protagonista em momentos decisivos. O comportamento das mulheres se modifica ao longo das temporadas e elas se tornam cada vez mais fortes, independentes e decisivas, surpreendendo o público com suas ações. É feita uma comparação entre a fase inicial (1ª temporada) e a última temporada (4ª), exibida integralmente até 2014. As mulheres deixam de atuar somente como mães e donas de casa para dividirem com o líder, masculino, o protagonismo nos episódios da série. 4 METODOLOGIA A pesquisa foi realizada com foco na análise dos conteúdos dos episódios, observando, principalmente, a evolução das ações das personagens femininas. Isso foi feito também por meio de comparação quantitativa em relação ao tempo em que Rick, Carol e outras personagens femininas relevantes permaneceram em cena. -
Kandidat 6507
EN-212 1 Bacheloroppgave i engelsk Kandidat 6507 Oppgaver Oppgavetype Vurdering Status 1 Forside Flervalg Automatisk poengsum Levert 2 Oppgaveinnlevering Filopplasting Manuell poengsum Levert EN-212 1 Bacheloroppgave i engelsk Emnekode EN-212 PDF opprettet 15.02.2017 14:35 Vurderingsform EN-212 Opprettet av Digital Eksamen Starttidspunkt: 12.05.2016 22:45 Antall sider 37 Sluttidspunkt: 27.05.2016 12:45 Oppgaver inkludert Ja Sensurfrist 201606170000 Skriv ut automatisk rettede Ja 1 Kandidat 6507 Seksjon 1 1 OPPGAVE Forside Kan besvarelsen brukes til undervisningsformål? Velg ett alternativ Ja Nei Jeg/vi bekrefter at jeg/vi ikke siterer eller på annen måte bruker andres arbeider uten at dette er oppgitt, og at alle referanser er oppgitt i litteraturlisten. Velg ett alternativ Ja Nei Gjelder kun ved gruppeeksamen: Vi bekrefter at alle i gruppa har bidratt til besvarelsen Velg ett alternativ Ja Nei EN-212 1 Bacheloroppgave i engelsk Page 2 av 37 Kandidat 6507 2 OPPGAVE Oppgaveinnlevering Her laster du opp din besvarelse. Husk å velge riktig fil, for deretter å laste opp din besvarelse. Husk å trykke "lever prøve" når du er ferdig. NB: Lever i PDF format. Laste opp dokumentet her. Maks én fil. BESVARELSE Filopplasting Filnavn 4699634_cand-2388276_4957413 Filtype pdf Filstørrelse 6544.942 KB Opplastingstid 27.05.2016 11:24:06 Neste side Besvarelse vedlagt EN-212 1 Bacheloroppgave i engelsk Page 3 av 37 Kandidat 6507 Pettersen 1 Video Games, The Modern Narrator: Telltale Games’ Adaptation from Robert Kirkman’s Comics, The Walking Dead. by Candidate number: 6507 Tanya Laolapha Pettersen _________________________________________ EN-212 English Bachelor Thesis Spring 2016 University of Agder Faculty of Humanities and Education Department of Foreign Languages and Translation Studies EN-212 1 Bacheloroppgave i engelsk Page 4 av 37 Kandidat 6507 Pettersen 2 Tanya Laolapha Pettersen EN-212 Professor Michael J. -
Fight the Dead, Fear Reality: a Fantasy Theme Analysis of the Walking Dead
University of Texas at El Paso DigitalCommons@UTEP Open Access Theses & Dissertations 2018-01-01 Fight the Dead, Fear Reality: A Fantasy Theme Analysis of The alW king Dead Katherine Elizabeth Alanis Ramirez University of Texas at El Paso, [email protected] Follow this and additional works at: https://digitalcommons.utep.edu/open_etd Part of the Communication Commons Recommended Citation Alanis Ramirez, Katherine Elizabeth, "Fight the Dead, Fear Reality: A Fantasy Theme Analysis of The alW king Dead" (2018). Open Access Theses & Dissertations. 32. https://digitalcommons.utep.edu/open_etd/32 This is brought to you for free and open access by DigitalCommons@UTEP. It has been accepted for inclusion in Open Access Theses & Dissertations by an authorized administrator of DigitalCommons@UTEP. For more information, please contact [email protected]. FIGHT THE DEAD, FEAR REALITY: A FANTASY THEME ANALYSIS OF THE WALKING DEAD KATHERINE ELIZABETH ALANIS RAMIREZ Master’s Program in Communication APPROVED: Roberto Avant-Mier, Ph.D., Chair Carlos Tarin, Ph.D. Jeffrey Sirkin, Ph.D. Charles H. Ambler, Ph.D. Dean of the Graduate School Copyright © by Katherine Alanis Ramirez 2018 Dedication “Since childhood, I’ve been faithful to monsters. I have been saved and absolved by them, because monsters, I believe, are patron saints of our blissful imperfection and they allow and embody the possibility of failing.” – Guillermo del Toro, Golden Globes, 2018 This project stems from my love of television, monsters and all things spooky. It is my curiosity working