Genre/Form Terms for Library and Archival Materials (LCGFT)
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'Racing Is Life. Anything Before Or After Is Just Waiting.'
Steve McQueen’s 1963 Ferrari 250 GT Berlinetta Lusso recently went under the hammer at Christie’s in Monterey, offering another reminder of a man whose motoring exploits mirrored some of his most famous onscreen performances. Christopher Kanal pays tribute to a legendary car driven by a screen icon. Thegetaway n 16 August 2007, Steve McQueen’s 1963 Ferrari 250 GT Berlinetta McQueen was also an avid racing enthusiast, performing many of his Lusso went under the hammer at Christies. This remarkable car was own stunts, and at one time considered becoming a professional racing Obought by an anonymous owner, who placed his bid by phone, for driver. Two weeks after breaking an ankle in one bike race, he and co-driver a cool $2.31 million – nearly twice the estimated pre-sale price. The auction Peter Revson raced a Porsche 908/02 in the 12 Hours of Sebring, winning drew 800 people to the Monterey Jet Center in California and attracted their engine class and finishing second to Mario Andretti’s Ferrari by a spirited bidding according to Christie’s Rik Pike. margin of just 23 seconds. So begins another chapter in the life of one of McQueen’s favourite cars, which he drove for nearly a decade. McQueen’s Lusso inspires an almost fetish- like fascination, created from a potent blend of McQueen mythology and an ‘racing IS LIFE. insatiable desire for limited-edition 12-cylinder Ferraris. McQueen is dead 27 years but his iconic status has never been more assured. The Lusso is widely ANYTHING BEFORE acknowledged as Ferrari’s greatest aesthetic and engineering achievement. -
"Police Chase" Daily Update ⋅ April 3, 2017
www.PursuitForChange.org Police Pursuit archives from April 2017 "police chase" Daily update ⋅ April 3, 2017 NEWS Update : Police chase in Alburgh ends in a serious crash. WCAX Police say they had tried to stop the driver for speeding. They say the pursuit ended when the car rolled into a telephone pole on Alburgh Springs ... Flag as irrelevant Fatal Police Chase Comes to Closure KARK NORTHEAST, Ark.-- The case of a fatal police chase is finally coming to a close after two people involved pleaded guilty. Back in October officials say ... Flag as irrelevant 2 in custody after brief police chase in KCMO KSHB KANSAS CITY, Mo. - Two people are in custody after a police chase in Clay County Missouri. Clay County Sheriff's deputy attempted to pull the ... Clay County sheriff's deputies arrest two after pursuit ends in KC - Kansas City Star Police cruiser struck in chase that leads to arrest of two people at I-435 & Gregory - fox4kc.com Full Coverage www.PursuitForChange.org Police Pursuit archives from April 2017 Flag as irrelevant Police chase man carrying assault rifle through Paterson streets NJ.com PATERSON -- A city man was charged with multiple offenses after police chased him through city streets and found him in possession of a loaded rifle ... Police: Man threatened family member with assault weapon - Merced Sun-Star Full Coverage Flag as irrelevant Tyngsboro pharmacy robbery leads to police chase Boston Herald Tyngsboro cops are turning to the public for help after two men allegedly robbed a pharmacy before leading officers on a car chase into New .. -
Myth, Metatext, Continuity and Cataclysm in Dc Comics’ Crisis on Infinite Earths
WORLDS WILL LIVE, WORLDS WILL DIE: MYTH, METATEXT, CONTINUITY AND CATACLYSM IN DC COMICS’ CRISIS ON INFINITE EARTHS Adam C. Murdough A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2006 Committee: Angela Nelson, Advisor Marilyn Motz Jeremy Wallach ii ABSTRACT Angela Nelson, Advisor In 1985-86, DC Comics launched an extensive campaign to revamp and revise its most important superhero characters for a new era. In many cases, this involved streamlining, retouching, or completely overhauling the characters’ fictional back-stories, while similarly renovating the shared fictional context in which their adventures take place, “the DC Universe.” To accomplish this act of revisionist history, DC resorted to a text-based performative gesture, Crisis on Infinite Earths. This thesis analyzes the impact of this singular text and the phenomena it inspired on the comic-book industry and the DC Comics fan community. The first chapter explains the nature and importance of the convention of “continuity” (i.e., intertextual diegetic storytelling, unfolding progressively over time) in superhero comics, identifying superhero fans’ attachment to continuity as a source of reading pleasure and cultural expressivity as the key factor informing the creation of the Crisis on Infinite Earths text. The second chapter consists of an eschatological reading of the text itself, in which it is argued that Crisis on Infinite Earths combines self-reflexive metafiction with the ideologically inflected symbolic language of apocalypse myth to provide DC Comics fans with a textual "rite of transition," to win their acceptance for DC’s mid-1980s project of self- rehistoricization and renewal. -
Animation: Types
Animation: Animation is a dynamic medium in which images or objects are manipulated to appear as moving images. In traditional animation, images are drawn or painted by hand on transparent celluloid sheets to be photographed and exhibited on film. Today most animations are made with computer generated (CGI). Commonly the effect of animation is achieved by a rapid succession of sequential images that minimally differ from each other. Apart from short films, feature films, animated gifs and other media dedicated to the display moving images, animation is also heavily used for video games, motion graphics and special effects. The history of animation started long before the development of cinematography. Humans have probably attempted to depict motion as far back as the Paleolithic period. Shadow play and the magic lantern offered popular shows with moving images as the result of manipulation by hand and/or some minor mechanics Computer animation has become popular since toy story (1995), the first feature-length animated film completely made using this technique. Types: Traditional animation (also called cel animation or hand-drawn animation) was the process used for most animated films of the 20th century. The individual frames of a traditionally animated film are photographs of drawings, first drawn on paper. To create the illusion of movement, each drawing differs slightly from the one before it. The animators' drawings are traced or photocopied onto transparent acetate sheets called cels which are filled in with paints in assigned colors or tones on the side opposite the line drawings. The completed character cels are photographed one-by-one against a painted background by rostrum camera onto motion picture film. -
Available Papers and Transcripts from the Society for Animation Studies (SAS) Annual Conferences
SAS Conference papers Pagina 1 NIAf - Available papers and transcripts from the Society for Animation Studies (SAS) annual conferences 1st SAS conference 1989, University of California, Los Angeles, USA Author (Origin) Title Forum Pages Copies Summary Notes Allan, Robin (InterTheatre, European Influences on Disney: The Formative Disney 20 N.A. See: Allan, 1991. Published as part of A Reader in Animation United Kingdom) Years Before Snow White Studies (1997), edited by Jayne Pilling, titled: "European Influences on Early Disney Feature Films". Kaufman, J.B. (Wichita) Norm Ferguson and the Latin American Films of Disney 8 N.A. In the years 1941-43, Walt Disney and his animation team made three Published as part of A Reader in Animation Walt Disney trips through South America, to get inspiration for their next films. Studies (1997), edited by Jayne Pilling. Norm Ferguson, the unit producer for the films, made hundreds of photo's and several people made home video's, thanks to which Kaufman can reconstruct the journey and its complications. The feature films that were made as a result of the trip are Saludos Amigos (1942) and The Three Caballero's (1944). Moritz, William (California Walter Ruttmann, Viking Eggeling: Restoring the Aspects of 7 N.A. Hans Richter always claimed he was the first to make absolute Published as part of A Reader in Animation Institute of the Arts) Esthetics of Early Experimental Animation independent and animations, but he neglected Walther Ruttmann's Opus no. 1 (1921). Studies (1997), edited by Jayne Pilling, titled institutional filmmaking Viking Eggeling had made some attempts as well, that culminated in "Restoring the Aesthetics of Early Abstract the crude Diagonal Symphony in 1923 . -
The Importance of Being Earnest SEETHU BABY MANGALAM 2020-2021 the Importance of Being Earnest Comedy of Manners
SUBJECT: BRITISH LITERATURE 19TH CENTURY TOPIC: The Importance of being Earnest SEETHU BABY MANGALAM 2020-2021 The Importance of being Earnest Comedy of Manners A Comedy of Manners is a play concerned with satirising society’s manners A manner is the method in which everyday duties are performed, conditions of society, or a way of speaking. It implies a polite and well-bred behaviour. Comedy of Manners is known as high comedy because it involves a sophisticated wit and talent in the writing of the script. In this sense it is both intellectual and very much the opposite of slapstick. Comedy of Manners In a Comedy of Manners however, there is often minimal physical action and the play may involve heavy use of dialogue. A Comedy of Manners usually employs an equal amount of both satire and farce resulting in a hilarious send-up of a particular social group. This was usually the middle to upper classes in society. The satire tended to focus on their materialistic nature, never-ending desire to gossip and hypocritical existence. Comedy of Manners The plot of such a comedy, usually concerned with an illicit love affair or similarly scandalous matter, is subordinate to the play’s brittle atmosphere, witty dialogue, and pungent commentary on human foibles. This genre is characterized by realism (art), social analysis and satire. These comedies held a mirror to the finer society of their age. These comedies are thus true pictures of the noble society of the age. This genre held a mirror to the high society of the Restoration Age. -
Kaiju-Rising-II-Reign-Of-Monsters Preview.Pdf
KAIJU RISING II: Reign of Monsters Outland Entertainment | www.outlandentertainment.com Founder/Creative Director: Jeremy D. Mohler Editor-in-Chief: Alana Joli Abbott Publisher: Melanie R. Meadors Senior Editor: Gwendolyn Nix “Te Ghost in the Machine” © 2018 Jonathan Green “Winter Moon and the Sun Bringer” © 2018 Kane Gilmour “Rancho Nido” © 2018 Guadalupe Garcia McCall “Te Dive” © 2018 Mari Murdock “What Everyone Knows” © 2018 Seanan McGuire “Te Kaiju Counters” © 2018 ML Brennan “Formula 287-f” © 2018 Dan Wells “Titans and Heroes” © 2018 Nick Cole “Te Hunt, Concluded” © 2018 Cullen Bunn “Te Devil in the Details” © 2018 Sabrina Vourvoulias “Morituri” © 2018 Melanie R. Meadors “Maui’s Hook” © 2018 Lee Murray “Soledad” © 2018 Steve Diamond “When a Kaiju Falls in Love” © 2018 Zin E. Rocklyn “ROGUE 57: Home Sweet Home” © 2018 Jeremy Robinson “Te Genius Prize” © 2018 Marie Brennan Te characters and events portrayed in this book are fctitious or fctitious recreations of actual historical persons. Any similarity to real persons, living or dead, is coincidental and not intended by the authors unless otherwise specifed. Tis book or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher except for the use of brief quotations in a book review. Published by Outland Entertainment 5601 NW 25th Street Topeka KS, 66618 Paperback: 978-1-947659-30-8 EPUB: 978-1-947659-31-5 MOBI: 978-1-947659-32-2 PDF-Merchant: 978-1-947659-33-9 Worldwide Rights Created in the United States of America Editor: N.X. Sharps & Alana Abbott Cover Illustration: Tan Ho Sim Interior Illustrations: Frankie B. -
ARTICLE American Movie Audiences of the 1930S1
ARTICLE American Movie Audiences of the 1930s1 Richard Butsch Rider University Abstract The Depression and movies with sound changed movie audiences of the 1930s from those of the 1920s and earlier. Sound silenced audiences, discouraging the sociabili- ty that had marked working-class audiences before. The Depression led movie com- panies to change marketing strategies and construction plans. They stopped selling luxury and building movie palaces. Instead, they expanded their operation of neigh- borhood theaters, displacing independents that had been more worker friendly, and instituted centrally controlled show bills and policies. Audiences also appear to have become more heterogeneous. All this, too, discouraged the voluble behavior of working-class people. Ironically, in this era of labor activism, workers and their fam- ilies seem to have become quieter in movie theaters, satisfied with the convenience of chain-operated movie houses. The 1930s were an exciting decade for labor activism in the United States and a high point for the growth of unions. Workers in steel, automobile, and other heavy industries organized industrial unions. The Committee on Industrial Or- ganization (later Congress of Industrial Organizations or CIO) was formed with a membership of more than a million workers. Factory workers initiated new tactics in struggles with employers, such as sit-down strikes. In politics, they ad- vanced legislation and programs in the New Deal to help employed and unem- ployed workers. Ironically, at the same time that workers’ collective action and class con- sciousness were at a high point, movie audiences became quiet. They did not act collectively to control their experience in the theater. -
Science Fiction and Fantasy Posters
http://oac.cdlib.org/findaid/ark:/13030/c8z3252z No online items Science fiction and fantasy posters Special Collections & University Archives The UCR Library P.O. Box 5900 University of California Riverside, California 92517-5900 Phone: 951-827-3233 Fax: 951-827-4673 Email: [email protected] URL: http://library.ucr.edu/libraries/special-collections-university-archives © 2012 The Regents of the University of California. All rights reserved. Science fiction and fantasy MS 260 1 posters Descriptive Summary Title: Science fiction and fantasy posters Date (inclusive): circa 2000-2012 Collection Number: MS 260 Extent: 0.42 linear feet(20 flat file folders) Repository: Rivera Library. Special Collections Department. Riverside, CA 92517-5900 Abstract: The collection of Science Fiction and Fantasy posters consists of oversize tv/movie posters from the Science Fiction and Fantasy genre. Languages: The collection is in English. Access This collection is unprocessed. Please contact Special Collections & University Archives regarding the availability of materials for research use. Publication Rights Copyright Unknown: Some materials in these collections may be protected by the U.S. Copyright Law (Title 17, U.S.C.). In addition, the reproduction, and/or commercial use, of some materials may be restricted by gift or purchase agreements, donor restrictions, privacy and publicity rights, licensing agreement(s), and/or trademark rights. Distribution or reproduction of materials protected by copyright beyond that allowed by fair use requires the written permission of the copyright owners. To the extent other restrictions apply, permission for distribution or reproduction from the applicable rights holder is also required. Responsibility for obtaining permissions, and for any use rests exclusively with the user. -
The Rhetorical Significance of Gojira
UNLV Theses, Dissertations, Professional Papers, and Capstones 5-2010 The Rhetorical Significance of Gojira Shannon Victoria Stevens University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Repository Citation Stevens, Shannon Victoria, "The Rhetorical Significance of Gojira" (2010). UNLV Theses, Dissertations, Professional Papers, and Capstones. 371. http://dx.doi.org/10.34917/1606942 This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. THE RHETORICAL SIGNIFICANCE OF GOJIRA by Shannon Victoria Stevens Bachelor of Arts Moravian College and Theological Seminary 1993 A thesis submitted in partial fulfillment of the requirements for the Master of Arts in Communication Studies Department of Communication Studies Greenspun College of Urban Affairs Graduate College University of Nevada, Las Vegas May 2010 Copyright by Shannon Victoria Stevens 2010 All Rights Reserved THE GRADUATE COLLEGE We recommend the thesis prepared under our supervision by Shannon Victoria Stevens entitled The Rhetorical Significance of Gojira be accepted in partial fulfillment of the requirements for the degree of Master of Arts in Communication Studies David Henry, Committee Chair Tara Emmers-Sommer, Committee Co-chair Donovan Conley, Committee Member David Schmoeller, Graduate Faculty Representative Ronald Smith, Ph. -
Leonard, Philip. "Global Catastrophe." Orbital Poetics: Literature, Theory, World
Leonard, Philip. "Global Catastrophe." Orbital Poetics: Literature, Theory, World. London: Bloomsbury Academic, 2019. 107–140. Bloomsbury Collections. Web. 28 Sep. 2021. <http:// dx.doi.org/10.5040/9781350075115.ch-005>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 28 September 2021, 23:01 UTC. Copyright © Philip Leonard 2019. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 5 Global Catastrophe The end of the world, Shakespeare’s Lear tells us, will come when a vengeful nature overwhelms all that is known: Blow, winds, and crack your cheeks! Rage, blow! You cataracts and hurricanoes, spout Till you have drench’d our steeples, drowned the cocks! You sulphurous and thought-executing fires, Vaunt-couriers to oak-cleaving thunderbolts, Singe my white head! And thou, all-shaking thunder, Strike flat the thick rotundity o’ the world, Crack Nature’s moulds, all germens spill at once That make ingrateful man! (3.2.1–9) At this moment in the play, Lear has descended into madness following the catastrophic collapse of both family and kingdom. The bonds of blood and the principle of sovereign authority have been betrayed, and as a result civilization as he understands it has fallen into disarray. ‘Blow, winds, and crack your cheeks’ is his desperate apostrophe to an enraged nature that is unmoved by the plight of a humanity that struggles with its place in the world, and Lear addresses the unruly storm that engulfs him not to seek deliverance or absolution, but to yield to a greater authority. -
Conventions of the Play
Conventions of the Play Nikpreet Singh (SVV@G_D@VVG) Colin Ludwig Mu’az Abdul-aziz Julian Stanley IB English 12 Formal Structure Prologos ● Entire part of an ancient Greek play that precedes the parodos (an ode sung by the chorus at the entrance). Formal Structure Episodes ● One series of events throughout the course of the drama. Formal Structure Exodus ● Final scene or departure How do you think the final messenger influenced the exodus? DQ 1 Discussion: 1) Who? 2) Purpose? 3) Impact? “You are right; there is sometimes danger in too much silence” (1324). Use of Peripeteia and Anagnorisis Peripeteia = turning point or shift in the drama Page 2088 when the chorus begins speaking Anagnorisis = “recognition” When a character makes a crucial finding ● Find an example on page 2083 Conventions of a play Use of Chorus- Acts as a narrator for the play, giving info not given from the actors themselves How does Sophocles use the chorus as a proactive character and how would the story change if he used a different form of narration? DQ 2 ● Uses the chorus to ask question to Creon and find out what he’s thinking ● Chorus is the one who tells the messenger to go look for Conventions of a play Conventional Characters- Stereotypical characters that are usually flat Messengers used to deliver off stage to the audience Blind Seer- embodies a contradiction High Status Characters High on the social ladder, placed in a position of power In Antigone, status contributes to the pride of Creon and how he handles Antigone’s ‘crime’ Conventions of the Tragic Hero Aristotle’s Poetica: •This text is Aristotle’s theory on drama, and the general effects of drama on humanity.