Greedy Attack and Gumbel Attack: Generating Adversarial Examplesfor Discrete Data
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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. -
A IDEOLOGICAL CRITICISM of DOCTOR WHO Noah Zepponi University of the Pacific, [email protected]
University of the Pacific Scholarly Commons University of the Pacific Theses and Dissertations Graduate School 2018 THE DOCTOR OF CHANGE: A IDEOLOGICAL CRITICISM OF DOCTOR WHO Noah Zepponi University of the Pacific, [email protected] Follow this and additional works at: https://scholarlycommons.pacific.edu/uop_etds Part of the Communication Commons Recommended Citation Zepponi, Noah. (2018). THE DOCTOR OF CHANGE: A IDEOLOGICAL CRITICISM OF DOCTOR WHO. University of the Pacific, Thesis. https://scholarlycommons.pacific.edu/uop_etds/2988 This Thesis is brought to you for free and open access by the Graduate School at Scholarly Commons. It has been accepted for inclusion in University of the Pacific Theses and Dissertations by an authorized administrator of Scholarly Commons. For more information, please contact [email protected]. 2 THE DOCTOR OF CHANGE: A IDEOLOGICAL CRITICISM OF DOCTOR WHO by Noah B. Zepponi A Thesis Submitted to the Graduate School In Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS College of the Pacific Communication University of the Pacific Stockton, California 2018 3 THE DOCTOR OF CHANGE: A IDEOLOGICAL CRITICISM OF DOCTOR WHO by Noah B. Zepponi APPROVED BY: Thesis Advisor: Marlin Bates, Ph.D. Committee Member: Teresa Bergman, Ph.D. Committee Member: Paul Turpin, Ph.D. Department Chair: Paul Turpin, Ph.D. Dean of Graduate School: Thomas Naehr, Ph.D. 4 DEDICATION This thesis is dedicated to my father, Michael Zepponi. 5 ACKNOWLEDGEMENTS It is here that I would like to give thanks to the people which helped me along the way to completing my thesis. First and foremost, Dr. -
THE UNIVERSITY of HULL (Neo-)Victorian
THE UNIVERSITY OF HULL (Neo-)Victorian Impersonations: 19th Century Transvestism in Contemporary Literature and Culture being a Thesis submitted for the Degree of PhD in the University of Hull by Allison Jayne Neal, BA (Hons), MA September 2012 Contents Contents 1 Acknowledgements 3 List of Illustrations 4 List of Abbreviations 6 Introduction 7 Transvestites in History 19th-21st Century Sexological/Gender Theory Judith Butler, Performativity, and Drag Neo-Victorian Impersonations Thesis Structure Chapter 1: James Barry in Biography and Biofiction 52 ‘I shall have to invent a love affair’: Olga Racster and Jessica Grove’s Dr. James Barry: Her Secret Life ‘Betwixt and Between’: Rachel Holmes’s Scanty Particulars: The Life of Dr James Barry ‘Swaying in the limbo between the safe worlds of either sweet ribbons or breeches’: Patricia Duncker’s James Miranda Barry Conclusion: Biohazards Chapter 2: Class and Race Acts: Dichotomies and Complexities 112 ‘Massa’ and the ‘Drudge’: Hannah Cullwick’s Acts of Class Venus in the Afterlife: Sara Baartman’s Acts of Race Conclusion: (Re)Commodified Similarities Chapter 3: Performing the Performance of Gender 176 ‘Let’s perambulate upon the stage’: Dan Leno and the Limehouse Golem ‘All performers dress to suit their stages’: Tipping the Velvet ‘It’s only human nature after all’: Tipping the Velvet and Adaptation 1 Conclusion: ‘All the world’s a stage and all the men and women merely players’ Chapter 4: Cross-Dressing and the Crisis of Sexuality 239 ‘Your costume does not lend itself to verbal declarations’: -
Hetherington, K
KRISTINA HETHERINGTON Editor Feature Films: THE DUKE - Sony/Neon Films - Roger Michell, director BLACKBIRD - Millennium Films - Roger Michell, director Toronto International Film Festival, World Premiere RED JOAN - Lionsgate - Trevor Nunn, director Toronto International Film Festival, Official Selection CHRISTOPHER ROBIN (additional editor) - Disney - Marc Forster, director MY COUSIN RACHEL - Fox Searchlight Pictures - Roger Michell, director DETOUR - Magnet Releasing - Christopher Smith, director TRESPASS AGAINST US - A24 - Adam Smith, director LE WEEK-END - Music Box Films - Roger Michell, director JAPAN IN A DAY - GAGA - Philip Martin & Gaku Narita, directors A BOY CALLED DAD - Emerging Pictures - Brian Percival, director SUMMER - Vertigo Films - Kenny Glenaan, director YASMIN - Asian Crush - Kenny Glenaan, director BLIND FIGHT - Film1 - John Furse, director LIAM - Lions Gate Films - Stephen Frears, director Television: SITTING IN LIMBO (movie) - BBC One/BBC - Stella Corradi, director THE CHILD IN TIME (movie) - BBC One/BBC - Julian Farino, director THE CROWN (series) - Netflix/Left Blank Pictures - Stephen Daldry & Philip Martin, directors MURDER (mini-series) - BBC/Touchpaper Television - Iain Forsyth & Jane Pollard, directors BIRTHDAY (movie) - Sky Arts/Slam Films - Roger Michell, director THE LOST HONOUR OF CHRISTOPHER JEFFERIES - ITV/Carnival Film & TV - Roger Michell, director RTS of West England Award Winner, Best Editing in Drama KLONDIKE (mini-series) - Discovery Channel/Scott Free Productions - Simon Cellan Jones, director -
Othello Draft 7
Studying Othello Studying Othello Studying Othello – Credits Credits Written and edited by Barbara Bleiman and Lucy Webster, with Juliet Harrison and David Kinder Video: Michael Simons and Guido Martini Cover: Blaise Thompson Printed by: Spiderweb Published by: The English and Media Centre, 18 Compton Terrace, London N1 2UN www.englishandmedia.co.uk ISBN: 0-907016-81-2 Acknowledgements – text Thanks to the following who have kindly given permission for the use of copyright material: ‘Why should he call her whore?’ in Reading Shakespeare Historically by Lisa Jardine (Routledge, 1996); Shakespeare’s Language by Frank Kermode (Penguin, 2001) Copyright © Frank Kermode, 2001; Abner Stein and author for Shakespeare’s Division of Experience (Jonathan Cape, 1981) by Marilyn French Copyright © Marilyn French; Shakespeare is Hard, but so is Life by Fintan O’Toole (Granta Books, 1990, 2000); extracts from a conversation between Sam Mendes, director of the National Theatre’s 1997 production of Othello and Genista McIntosh © National Theatre, reproduced by permission; ‘Shakespeare: interpretative contexts’ by Catherine Belsey in Literature in Context (2001) edited by Rick Rylance and Judy Simons reproduced with permission of Palgrave Macmillan; This Stage- Play World, Texts and Contexts 1580-1625 by Julia Briggs (Oxford University Press, 1983, 1987) and Shakespeare, Race and Colonialism by Ania Loomba (Oxford University Press, 2002) by permission of the authors and Oxford University Press. Thanks also to Sarah Robertson for permission to reproduce extracts from her AS coursework (pages 125-128), to Katherine Harding for her visual representation of the play (page 77) and to Sally Phoenix for comments on the text. -
A Companion to Literature, Film, and Adaptation Blackwell Companions to Literature and Culture
A Companion to Literature, Film, and Adaptation Blackwell Companions to Literature and Culture This series offers comprehensive, newly written surveys of key periods and movements and certain major authors, in English literary culture and history. Extensive volumes provide new perspectives and positions on contexts and on canonical and post-canonical texts, orientating the beginning student in new fields of study and providing the experienced undergraduate and new graduate with current and new directions, as pioneered and developed by leading scholars in the field. Published Recently 62. A Companion to T. S. Eliot Edited by David E. Chinitz 63. A Companion to Samuel Beckett Edited by S. E. Gontarski 64. A Companion to Twentieth-Century United States Fiction Edited by David Seed 65. A Companion to Tudor Literature Edited by Kent Cartwright 66. A Companion to Crime Fiction Edited by Charles Rzepka and Lee Horsley 67. A Companion to Medieval Poetry Edited by Corinne Saunders 68. A New Companion to English Renaissance Literature and Culture Edited by Michael Hattaway 69. A Companion to the American Short Story Edited by Alfred Bendixen and James Nagel 70. A Companion to American Literature and Culture Edited by Paul Lauter 71. A Companion to African American Literature Edited by Gene Jarrett 72. A Companion to Irish Literature Edited by Julia M. Wright 73. A Companion to Romantic Poetry Edited by Charles Mahoney 74. A Companion to the Literature and Culture of the American West Edited by Nicolas S. Witschi 75. A Companion to Sensation Fiction Edited by Pamela K. Gilbert 76. A Companion to Comparative Literature Edited by Ali Behdad and Dominic Thomas 77. -
Critiquing Psychiatry, Narrating Trauma: Madness in Twentieth- Century North American Literature and Film
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-10-2020 11:00 AM Critiquing Psychiatry, Narrating Trauma: Madness in Twentieth- Century North American Literature and Film Sarah Blanchette, The University of Western Ontario Supervisor: Phu, Thy, The University of Western Ontario A thesis submitted in partial fulfillment of the equirr ements for the Doctor of Philosophy degree in English © Sarah Blanchette 2020 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Feminist, Gender, and Sexuality Studies Commons, Literature in English, North America Commons, and the Literature in English, North America, Ethnic and Cultural Minority Commons Recommended Citation Blanchette, Sarah, "Critiquing Psychiatry, Narrating Trauma: Madness in Twentieth-Century North American Literature and Film" (2020). Electronic Thesis and Dissertation Repository. 7213. https://ir.lib.uwo.ca/etd/7213 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract This dissertation explores representations of trauma and mental distress in twentieth-century novels and films. Drawn on research that emphasizes the ways that marginalized communities— in particular women-coded, racialized, and Indigenous persons—have historically been pathologized, the thesis considers how select novels -
DOCTOR WHO by Matthew Jacobs Mysterious Theatre 337 – Show 200401 Part 1 - Revision 0 by the Usual Suspects Transcription by Steve Hill
DOCTOR WHO By Matthew Jacobs Mysterious Theatre 337 – Show 200401 Part 1 - Revision 0 By the usual suspects Transcription by Steve Hill Film starts cold. DOCTOR (v.o.) It was on the planet Skaro that my old enemy the Master was finally put MIKE: Captain's log, stardate one nine nine nine. on trail. They say he listened calmly as his list of evil crimes was read ROB: I thought Skaro was destroyed? and sentence passed. Then he made his last, and I thought somewhat STEVE: (on slit-eye) I spy with my little eye… curious request. He demanded that I, the Doctor, a rival Time Lord, SCOTT: He's still part cat, then. should take his remains back to our home planet, Gallifrey. DALEKS Exterminate! Exterminate! DOCTOR STEVE: How much did Gordon Tipple make for that scene? It was a request they should never have granted. Opening titles Doctor Who – whoosh! SCOTT: (on logo) It's so shiny and new! ROB: Even though it's the Pertwee logo? Asteroids! MIKE: You're watching SeaQuest Gallifrey! Paul McGann STEVE: (on Eric Roberts) What's so special about Eric Roberts? Eric Roberts MIKE: (anytime) Oh look, they used the I Dream of Jeannie font. Daphne Ashbrook Sylvester McCoy SCOTT: (asteroids on screen) Oh look, rocks! Yee Jee Tso Novak, Simms Tardis STEVE: And the Tardis as itself. MIKE: Ooh, look at that yaw control. DOCTOR (v.o.) ROB: (Doctor carries remains) The holy hand grenade of Antioch! A time lord has thirteen lives, and the Master had used all of his. -
Screen Othellos Sujata Iyengar, University of Georgia Screen Media
Intermediated Bodies and Bodies of Media: Screen Othellos Sujata Iyengar, University of Georgia Screen media both appropriate and remediate Othello. Appropriation brings Shakespeare into dialogue with adaptors and audience; evaluating a performance as an appropriation weighs adapted text and origin text as independent artworks, each of which uncovers something hitherto unnoticed about the other.1 In Remediation, Jay David Boulter and Richard Grusin argue that the specific material, technological, and user-centered capabilities (the ‘affordances’) of a so-called ‘new’ medium build upon but also attempt to erase the media that preceded them. Thus photographers adopted and adapted the conventions of painting, even as they argued that photography could represent the world more realistically than painting could; television ‘variety shows’ remediated music-hall or vaudeville; e-texts remediate both medieval scroll and printed book.2 Following Friedrich Kittler, media scholars have suggested that so-called new media don’t replace old ones but nudge them into a different niche in a particular ‘media ecology’;3 similarly, appropriations or remediations of Shakespeare do not replace Folio or Quarto texts or modern printed copies of the text but reframe aspects of even their perceived content as medium-specific. Jens Schröter suggests that we consider using the term ‘intermediality,’ rather than the words ‘remediation’ or even 1 I extend thanks to the editors of this volume for their comments and suggestions and to Katherine Rowe for the titular phrase. Christy Desmet and Robert Sawyer, Shakespeare and Appropriation (London: Routledge, 1999), ‘Introduction’ and passim. 2 Jay David Boulter and Richard Grusin, Remediation: Understanding New Media (Boston: MIT Press, 2000. -
10 Objects of Dr
The right of Philip Bates to be identified as the Author of the Work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. An unofficial Doctor Who Publication Doctor Who is © British Broadcasting Corporation, 1963, 2021 Editor: Shaun Russell Editorial: Will Rees Cover and illustrations by Martin Baines Published by Candy Jar Books Mackintosh House 136 Newport Road, Cardiff, CF24 1DJ www.candyjarbooks.co.uk All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted at any time or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the copyright holder. This book is sold subject to the condition that it shall not by way of trade or otherwise be circulated without the publisher’s prior consent in any form of binding or cover other than that in which it is published. Come one, come all, to the Museum of ! Located on the SS. Shawcraft and touring the Seven Systems, right now! Are you a fully-grown human adult? I would like to speak to someone in charge, so please direct me to any children in the vicinity. No, no, that's not fair – I was programmed not to judge, for I am a simple advertisement bot, bringing you the best in junk mail. Are you always that short? No, don’t look at me like that: my creators were from Ravan-Skala, where the people are six hundred ft tall; you have to talk to them in hot air balloons, and the tourist information centre is made of one of their hats. -
PAUL KNIGHT Editor
(7/16/21) PAUL KNIGHT Editor www.paulknightediting.com FILM & TELEVISION DIRECTOR COMPANIES PRODUCERS “PEAKY BLINDERS” Anthony Byrne BBC Annie Harrison Baxter (Seasons 5 & 6) Tiger Aspect “A DISCOVERY OF WITCHES” Jamie Donoughue Bad Wolf Edoardo Ferretti (Series, Season 3) Acorn Media Group BBC America “DEADWATER FELL” Lynsey Miller Kudos Film & Television Daisy Coulam (Mini-series) Endemol Shine Caroline Levy David Tennant “THE VICTIM” Niall MacCormick STV Sarah Brown “THE INNOCENTS” Jamie Donoghue New Pictures Chris Croucher “DEEP STATE” Matthew Parkhill Endor Productions Sara Johnson (Season 1, 4 Episodes) 6 Degree Media Matthew Parkhill “DIANA AND I” Peter Cattaneo BBC Karen Lewis (TV movie) Big Talk Productions “IN DARKNESS” * Anthony Byrne XYZ Films Adam Morane-Griffiths Ben Pugh Josh Varney “NO OFFENSE” Catherine Morshead Abbott Vision Paul Abbott (Season 2, 1 Episode) Martin Carr “THE LAST KINGDOM” Jamie Donoughue Carnival Film & Television Stephen Butchard (Seasons 1 & 2, 8 Episodes) Peter Hoar Nigel Marchant Nick Murphy Gareth Neame “RIPPER STREET” Anthony Byrne BBC Stephen Smallwood (Season 3, 3 Episodes) Lookout Point Ltd. Simon Vaughan Tiger Aspect Prods. Richard Warlow “GLASGOW GIRLS” Brian Welsh BBC Kate Cook (TV Movie) Minnow Films Colin Barr Winner: RTS Scotland Award for Best Drama Winner: British Academy Scotland Award for Best Television Drama “PREY” Nick Murphy Red Production Co. Tom Sherry (Season 1) Nicola Shindler Nomination: BAFTA Award for Best Mini-Series “DRACULA” Tim Fywell Carnival Film & Television Colin -
(Title of the Thesis)*
DOMESTICATIONS AND DISRUPTIONS: LESBIAN IDENTITIES IN TELEVISION ADAPTATIONS OF CONTEMPORARY BRITISH NOVELS by Heather Erin Emmens A thesis submitted to the Department of English In conformity with the requirements for the degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada (May, 2009) Copyright © Heather Erin Emmens, 2009 Abstract The first decade of this century marked a moment of hypervisibility for lesbians and bisexual women on British television. During this time, however, lesbian hypervisibility was coded repeatedly as hyperfemininity. When the BBC and ITV adapted Sarah Waters’s novels for television, how, I ask, did the screen versions balance the demands of pop visual culture with the novels’ complex, unconventional – and in some cases subversive – representations of lesbianism? I pursue this question with an interdisciplinary methodology drawn from queer and feminist theories, cultural and media studies, and film adaptation theory. Chapter Two looks back to Jeanette Winterson’s Oranges Are Not the Only Fruit (BBC 1990). I examine this text – the first BBC television serial to feature a lesbian protagonist – to establish a vocabulary for discussing the page-to-screen adaptation of queer identities throughout this dissertation. Chapter Three investigates Waters’s first novel Tipping the Velvet (1998) and its complex intertextual relationship with Andrew Davies’s serialized version (BBC 2002). I also examine responses to the serial in the British press, tracing the ways in which dominant cultural forces seek to domesticate non-normative instances of gender and sexuality. Chapter Four examines Waters’s novel Fingersmith (2002) in relation to Peter Ransley’s adaptation (BBC 2005) to situate adaptations of Waters’s retro-Victorian texts amid the genre of television and film adaptations of Jane Austen novels.