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Casco Bay Weekly : 21 September 1989
Portland Public Library Portland Public Library Digital Commons Casco Bay Weekly (1989) Casco Bay Weekly 9-21-1989 Casco Bay Weekly : 21 September 1989 Follow this and additional works at: http://digitalcommons.portlandlibrary.com/cbw_1989 Recommended Citation "Casco Bay Weekly : 21 September 1989" (1989). Casco Bay Weekly (1989). 38. http://digitalcommons.portlandlibrary.com/cbw_1989/38 This Newspaper is brought to you for free and open access by the Casco Bay Weekly at Portland Public Library Digital Commons. It has been accepted for inclusion in Casco Bay Weekly (1989) by an authorized administrator of Portland Public Library Digital Commons. For more information, please contact [email protected]. RECE1VE SEP 22 i989 ascj •. ,'-.' \. .' ~,. .- ~ ~-" . ~ . , . , -~- .. , ~'. -.;;. Greater Portland's news and arts weekly ~i~~ '.} _ ~ - . , ~.' ",. ,I :.... __ SEPT. 21, 1989 An oil spill that never happened left a green stain on me. • On Tuesday, September 12, an imaginary 200,000 gallons of crude oil spilled into Casco Bay just off the Eastern Prom so that the Coast Guard could test the readiness of Portland's cleap.up crews. Within 'an hour, local contractors were on the scene to con- tain the peat moss used to simulate the spill; within four hours, Governor John McKernan and a pack of journal- ists were on the scene to soak up the pUblicity. I stayed ashore. I'd seen this act before. While growing up in Anchorage, Alaska, I watched similar demonstra- tions of how well-prepared the oil companies were - just in case oil ever spilled into the then-pristine waters of Prince William Sound. And, yes, the Governor of Alaska showed up ." for many of those demonstrations, too. -
“Why So Serious?” Comics, Film and Politics, Or the Comic Book Film As the Answer to the Question of Identity and Narrative in a Post-9/11 World
ABSTRACT “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD by Kyle Andrew Moody This thesis analyzes a trend in a subgenre of motion pictures that are designed to not only entertain, but also provide a message for the modern world after the terrorist attacks of September 11, 2001. The analysis provides a critical look at three different films as artifacts of post-9/11 culture, showing how the integration of certain elements made them allegorical works regarding the status of the United States in the aftermath of the attacks. Jean Baudrillard‟s postmodern theory of simulation and simulacra was utilized to provide a context for the films that tap into themes reflecting post-9/11 reality. The results were analyzed by critically examining the source material, with a cultural criticism emerging regarding the progression of this subgenre of motion pictures as meaningful work. “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of Communications Mass Communications Area by Kyle Andrew Moody Miami University Oxford, Ohio 2009 Advisor ___________________ Dr. Bruce Drushel Reader ___________________ Dr. Ronald Scott Reader ___________________ Dr. David Sholle TABLE OF CONTENTS ACKNOWLEDGMENTS .......................................................................................................................... III CHAPTER ONE: COMIC BOOK MOVIES AND THE REAL WORLD ............................................. 1 PURPOSE OF STUDY ................................................................................................................................... -
Apologizes Inning, Not an End Late Night Assaults Take Place on YSU Campus
POW! BIFF! Batman Summertime sun isn't movie a smash hit always fun PAGE 6 PAGE 4 THURSDAY, JUNE 29, 1989 YOUNGSTOWN STATE UNIVERSITY VOL. 69, NO. 58 apologizes By RICK GEORGE Jambar Editor 46 u One step has been taken to solve the pro• I just blems within the YSU Police Department. want to get it According to a published report from the behind us and Tuesday, June 27 edition of The Vindicator, get on with our the police officers have accepted the apology Taking of Police Chief Robert T. Robinson even duties." it easy though they are still going through with a R. ROBINSON grievance. YSU Police Chief YSU's Ron Robinson wrote a letter to the Northern Thomas, a Ohio Patrolmen's Benevolent Association's senior, A&S, (NOPBA) local chairman, Frank McGuire, have 10 days to give a response back. spents apologizing for his remarks in the May 14 Hopefully I can get it done sooner." some time edition of The Vindicator. If needed, Miller said he might have to at the Water ... In.the article, Robinson said''Members of ask for an extension because he wants to end- fountain the force should quit their jobs if they can• the grievance before it lingers on. yesterday not keep their prejudices off campus." The grievance process is first heard by the afternoon Robinson said he did not mean to offend head of the department (Robinson). If studying his anyone by the article. nothing is accomplished, the executive direc• french. "I had no intention of offending anyone," tor hears the grievance. -
Present and Future Urban Spaces Cinematically Considered
Exploding Spaces Present and Future Urban Spaces Cinematically Considered University of Cape Town lan-Malcolm Rijsdijk The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town [Abstract] Urban visions in contemporary film considered to be science fiction are, in fundamental ways, not extrapolations from (or even analogies with) the present, but rather derive their extrapolative impetus from the confluence of urban utopianism and the development of the film medium in the first three decades of the twentieth century. This study seeks to understand the visual dynamics of contemporary science fiction cities in film by exploring a number of diverse architectural and cinematic influences. The argument is initiated through a consideration of utopianism and science fiction, before moving onto specific architectural analysis focused on utopian plans from the modernist period, and the growth of New York during the 1920s. Through a brief reading of German Expressionist Cinema in Chapter 3, the spatial and architectural groundwork is laid for the analysis of several films in Chapters 4-6: Disclosure, Blade Runner, Selen, The Devil's Advocate, 12 Monkeys and The Fifth Element. (While not all the films would be considered as science fiction, those non-science fiction films offer provocative readings of the city as a whole). -
Istanbul Technical University Institute of Science And
İSTANBUL TECHNICAL UNIVERSITY INSTITUTE OF SCIENCE AND TECHNOLOGY HOW DO OBJECTS COMMUNİCATE: SET DESIGN ANALYSIS OF STANLEY KUBRICK’S “A CLOCKWORK ORANGE” M.Sc. Thesis by Zeynep GÜNGÖR, B.I.D. 502041978 Date of submission : 15 September 2008 Date of defence examination: 24 September 2008 Supervisor (Chairman) : Prof. Dr. Nigan Bayazıt (ITU) Members of the Examining Committee : Assoc. Prof. Dr. Belkıs ULUOĞLU(ITU) Assis. Prof. Sebnem Timur ÖĞÜT (ITU) SEPTEMBER 2008 İSTANBUL TEKNİK ÜNİVERSİTESİ FEN BİLİMLERİ ENSTİTÜSÜ OBJELERİN İLETİŞİM KURMA YOLLARI: STANLEY KUBRİCK’İN “OTOMATİK PORTAKAL” FİLMİNİN SET ANALİZİ YÜKSEK LİSANS TEZİ Zeynep Güngör 502041978 Tezin Enstitüye Verildiği Tarih : 15 Eylül 2008 Tezin Savunulduğu Tarih : 24 Eylül 2008 Tez Danışmanı : Prof. Dr. Nigan Bayazıt (ITU) Diğer Jüri Üyeleri : Doç. Dr. Belkıs ULUOĞLU(ITU) Yrd. Doç. Dr. Şebnem Timur ÖĞÜT (ITU EYLÜL 2008 FOREWORD I dedicate this thesis to my mother who has been a patient assistant, a moral supporter and a magnificent role model; to my dear husband Hakan who supported me for always and for all; to my sister who always listens from the heart; to Hacer and Mehmet Çopur to whom I owe my beloved; to Ayla who always believed in me; to my friends who are the greatest people in the world; to Siganka who never quit cheering me and distracting me; to Prof. Dr. Nigan Bayazıt who enjoyed my topic of study even more than I do and enlightened my way. October, 2008 Zeynep Güngör ii TABLE OF CONTENTS Page LIST OF TABLES ıv LIST OF FIGURES v SUMMARY vııı ÖZET ıx 1. INTRODUCTION 1 2. -
Deconstructing Los Angeles Or a Secret Fax from Magritte Regarding Postliterate Legal Reasoning: a Critique of Legal Education
University of Michigan Journal of Law Reform Volume 26 1992 Deconstructing Los Angeles or a Secret Fax from Magritte Regarding Postliterate Legal Reasoning: A Critique of Legal Education C. Garrison Lepow Loyola University School of Law Follow this and additional works at: https://repository.law.umich.edu/mjlr Part of the Legal Education Commons, and the Legal Profession Commons Recommended Citation C. G. Lepow, Deconstructing Los Angeles or a Secret Fax from Magritte Regarding Postliterate Legal Reasoning: A Critique of Legal Education, 26 U. MICH. J. L. REFORM 69 (1992). Available at: https://repository.law.umich.edu/mjlr/vol26/iss1/3 This Article is brought to you for free and open access by the University of Michigan Journal of Law Reform at University of Michigan Law School Scholarship Repository. It has been accepted for inclusion in University of Michigan Journal of Law Reform by an authorized editor of University of Michigan Law School Scholarship Repository. For more information, please contact [email protected]. DECONSTRUCTING LOS ANGELES OR A SECRET FAX FROM MAGRITTE REGARDING POSTLITERATE LEGAL REASONING: A CRITIQUE OF LEGAL EDUCATION C. Garrison Lepow* Not only is it clear that most law students become impatient at some point during their three years of formal education, but it is clear also that how students learn the law is more the cause of their impatience than what they learn.' Moreover, others besides law students may be entitled to challenge the style of education that manufactures a lawyer-culture. If one assumes for the sake of argument that the intellectual processes of lawyers, and consequently their values, differ from those of their society, this fact does not explain the difference between legal thinking and regular thinking, or explain why there should not be harmony between the two. -
Wie Wohnt Eigentlich James Bond? Oder Was
Skript zur Einführung in das Szenenbild Wie wohnt eigentlich James Bond? oder Was Architektur im Film erzählen kann Teil 1 Fragen zum Szenenbild Teil 2 Recherchematerial Szenenbildentwurf zum Projekt „Monitors“ Korbinian Greiner und Kai Bagsik 1 Teil 1 Fragen zum Szenenbild Studio Babelsberg 2017 Was ist eigentlich ein Szenenbildner? Das Szenenbild (engl. Production Design) ist neben der Drehbuch- /Projektentwicklung, der Regie, der Kamera und der Produktion eine der Säulen der Filmkunst. Der Szenenbildner, Szenograf, Produktionsdesigner oder Filmarchitekt - die Berufsbezeichnungen sind so vielfältig, wie die verschiedenen Aufgabengebiete - erarbeitet mit den anderen „Heads of Department“ eine bildnerische Umsetzung der Drehbuchvorgaben. Im Idealfall wird der Szenenbildner frühzeitig in die Projektentwicklung eingebunden, so dass nach seinen Umsetzungsvorschlägen und der Kalkulation das Drehbuch entsprechend modifiziert werden kann. Sein Tätigkeitsgebiet umfasst neben dem Kinofilm auch den Fernsehfilm, die Fernseh- bzw. Web-Serie, die Werbung, Musikvideos und den Eventbereich. 2 Szenenbild 2007 Innen/Nacht Szenenbild Kai Bagsik Was unterscheidet die Filmarchitektur von der Hochbauarchitektur? Der zweifache Oscar Preisträger Ken Adam faste in etwa zusammen: „Der Entwurf eines Szenenbildes ist, der Entwurf von Schatten und Licht.“ Das ist natürlich eine Vereinfachung bzw. Zuspitzung, aber eine, die veranschaulicht. Das Szenenbild ist eine Vertiefung der Architektur unter Einbeziehung der bildenden Kunst, des Designs und der Innenarchitektur. -
Human' Jaspects of Aaonsí F*Oshv ÍK\ Tke Pilrns Ana /Movéis ÍK\ É^ of the 1980S and 1990S
DOCTORAL Sara MarHn .Alegre -Human than "Human' jAspects of AAonsí F*osHv ÍK\ tke Pilrns ana /Movéis ÍK\ é^ of the 1980s and 1990s Dirigida per: Dr. Departement de Pilologia jA^glesa i de oermanisfica/ T-acwIfat de Uetres/ AUTÓNOMA D^ BARCELONA/ Bellaterra, 1990. - Aldiss, Brian. BilBon Year Spree. London: Corgi, 1973. - Aldridge, Alexandra. 77» Scientific World View in Dystopia. Ann Arbor, Michigan: UMI Research Press, 1978 (1984). - Alexander, Garth. "Hollywood Dream Turns to Nightmare for Sony", in 77» Sunday Times, 20 November 1994, section 2 Business: 7. - Amis, Martin. 77» Moronic Inferno (1986). HarmorKlsworth: Penguin, 1987. - Andrews, Nigel. "Nightmares and Nasties" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney: Ruto Press, 1984:39 - 47. - Ashley, Bob. 77» Study of Popidar Fiction: A Source Book. London: Pinter Publishers, 1989. - Attebery, Brian. Strategies of Fantasy. Bloomington and Indianapolis: Indiana University Press, 1992. - Bahar, Saba. "Monstrosity, Historicity and Frankenstein" in 77» European English Messenger, vol. IV, no. 2, Autumn 1995:12 -15. - Baldick, Chris. In Frankenstein's Shadow: Myth, Monstrosity, and Nineteenth-Century Writing. Oxford: Oxford Clarendon Press, 1987. - Baring, Anne and Cashford, Jutes. 77» Myth of the Goddess: Evolution of an Image (1991). Harmondsworth: Penguin - Arkana, 1993. - Barker, Martin. 'Introduction" to Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Media. London and Sydney: Ruto Press, 1984(a): 1-6. "Nasties': Problems of Identification" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney. Ruto Press, 1984(b): 104 - 118. »Nasty Politics or Video Nasties?' in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Medß. -
Batman and Robin As Evolving Cutural Icons Elizabeth C
St. Catherine University SOPHIA 2014 Sr. Seraphim Gibbons Undergraduate Sr. Seraphim Gibbons Undergraduate Symposium Research Symposium The Dynamic Duo Then and Now: Batman and Robin as Evolving Cutural Icons Elizabeth C. Wambheim St. Catherine University Follow this and additional works at: https://sophia.stkate.edu/undergraduate_research_symposium Wambheim, Elizabeth C., "The Dynamic Duo Then and Now: Batman and Robin as Evolving Cutural Icons" (2014). Sr. Seraphim Gibbons Undergraduate Symposium. 2. https://sophia.stkate.edu/undergraduate_research_symposium/2014/Humanities/2 This Event is brought to you for free and open access by the Conferences and Events at SOPHIA. It has been accepted for inclusion in Sr. Seraphim Gibbons Undergraduate Symposium by an authorized administrator of SOPHIA. For more information, please contact [email protected]. THE DYNAMIC DUO THEN AND NOW: BATMAN AND ROBIN AS EVOLVING CULTURAL ICONS by Elizabeth C. Wambheim A Senior Project in Partial Fulfillment of the Requirements of the Honors Project ST. CATHERINE UNIVERSITY April 1, 2014 2 With many thanks to Patricia Montalbano (project advisor), Rachel Neiwart Emily West and Sharon Doherty for their continuous and invaluable interest, assistance, and patience with the project. 3 Introduction When presented with the simple silhouette of a stylized bat inside a yellow oval, people the world over are able to recognize this emblem and, at the very least, name its wearer. Even as the logo is altered with time, the yellow backdrop traded for a grey one, the awareness persists. Yet even as people recognize Batman’s logo, one person’s impression of the superhero does not always align with another’s: a cheerful, law-abiding Batman who orders orange juice instead of alcohol at bars is Batman as he appeared in the 1960s, and a brooding hero wreathed in darkness and prone to conflicted inner monologues is the Batman of the 1980s. -
Special Effects and the Fantastic Transmedia Franchise Book Author(S): Bob Rehak Published By: NYU Press
NYU Press Chapter Title: Introduction: Seeing Past the State of the Art Book Title: More Than Meets the Eye Book Subtitle: Special Effects and the Fantastic Transmedia Franchise Book Author(s): Bob Rehak Published by: NYU Press. (2018) Stable URL: https://www.jstor.org/stable/j.ctvf3w4fp.3 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms NYU Press is collaborating with JSTOR to digitize, preserve and extend access to More Than Meets the Eye This content downloaded from 130.58.34.230 on Tue, 14 Apr 2020 20:20:18 UTC All use subject to https://about.jstor.org/terms Introduction Seeing Past the State of the Art At first glance, the relationship between special effects and contempo- rary Hollywood blockbusters might seem so straightforward as to go without saying. As of 2017, the top ten movies enjoying domestic U.S. grosses in the $500 million to $1 billion range were all pointedly spec- tacular productions, such as the dinosaur theme- park adventure Jurassic World (Colin Trevorrow, 2015) and Christopher Nolan’s IMAX Batman epic The Dark Knight (2007); spots two and three belonged to Avatar (2009) and Titanic (1997), brainchildren of writer- director James Cam- eron, a “technological auteur” renowned for his cutting- edge use of visual effects technologies;1 and two others, The Avengers (Joss Whedon, 2012) and Avengers: Age of Ultron (Joss Whedon, 2015), assembled teams of amazing superheroes to combat world- destroying villains. -
The Encyclopedia of Stanley Kubrick
THE ENCYCLOPEDIA OF STANLEY KUBRICK THE ENCYCLOPEDIA OF STANLEY KUBRICK GENE D. PHILLIPS RODNEY HILL with John C.Tibbetts James M.Welsh Series Editors Foreword by Anthony Frewin Afterword by Leon Vitali The Encyclopedia of Stanley Kubrick Copyright © 2002 by Gene D. Phillips and Rodney Hill All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For information contact: Facts On File, Inc. 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data Hill, Rodney, 1965– The encyclopedia of Stanley Kubrick / Gene D. Phillips and Rodney Hill; foreword by Anthony Frewin p. cm.— (Library of great filmmakers) Includes bibliographical references and index. ISBN 0-8160-4388-4 (alk. paper) 1. Kubrick, Stanley—Encyclopedias. I. Phillips, Gene D. II.Title. III. Series. PN1998.3.K83 H55 2002 791.43'0233'092—dc21 [B] 2001040402 Facts On File books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions, or sales promotions. Please call our Special Sales Department in New York at (212) 967-8800 or (800) 322-8755. You can find Facts On File on the World Wide Web at http://www.factsonfile.com Text design by Erika K.Arroyo Cover design by Nora Wertz Illustrations by John C.Tibbetts Printed in the United States of America VB FOF 10 9 8 7 6 5 4 3 2 1 This book is printed on acid-free paper. -
Open Oberhardt.Pdf
The Pennsylvania State University The Graduate School College of Arts and Architecture FRAMES WITHIN FRAMES: THE PEDAGOGY OF THE ART MUSEUM AS CULTURAL ARTIFACT A Thesis in Art Education by Suzanne Oberhardt Copyright 2000 Suzanne Oberhardt Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May , 2000 We approve the thesis of Suzanne Oberhardt. Date of Signature ______________________________ ________________ Charles R. Garoian Director, School of Visual Arts Professor of Art Education Thesis Advisor Chair of Committee ______________________________ ________________ Paul E. Bolin Associate Professor of Art Education Head of the Department of Art Education ______________________________ ________________ Marjorie Wilson Associate Professor of Art Education ______________________________ ________________ Joe L. Kincheloe Professor of Education iii ABSTRACT In this thesis, I provoke new ways of seeing the art museum as it is transformed and reinvented in the twenty-first century. The art museum has changed shape. Its bricks have been flattened on paper, celluloid and plastic and diffused into virtual spaces. The relationship between flesh and environment has been irrevocably changed as people no longer have to attend the built structure of the art museum to know the art museum. It recurs infinitely in our daily lives – on television, movie and computer screens, in books and magazines, and on urban artifacts from matchbook covers to billboards. These representations may not be real art museums per se but they provide the basis upon which most people now partake of the museum’s sacred rituals. I confront the dilemma of defining the cultural and material parameters of the art museum by analyzing it in terms of four frames.