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On His Own Terms
Adobe Premiere Pro CS5 Success Story Sharlto Copley On his own terms Sharlto Copley revisits his District 9 character, Wikus Van De Merwe Sharlto Copley Sharlto Copley shapes his own creative destiny using Adobe® Los Angeles, California www.facebook.com/pages/SHARLTO- Premiere® Pro CS5 software COPLEY/108950282368 www.funnyordie.com/sharlto_copley Sharlto Copley is just as comfortable in front of the camera as he is behind it. He is perhaps best known for appearing as if from nowhere and landing a starring role as the sinister Wikus Van De Merwe in the 2009 Oscar-nominated movie District 9, directed by Neill Blomkamp. He is playing Captain “Howling Mad” Murdock in The A-Team, slated for release in June 2010. He is also a director, writer, producer, and visual effects producer with many films and television programs to his credit. In short, when it comes to filmmaking, Sharlto Copley does it all. From the very beginning of his career, Adobe Premiere Pro software has been his choice for non-linear editing. “I’ve always been a big fan of Adobe Premiere Pro,” says Copley. “It was the first software to break the mold and deliver timeline-based editing. Adobe Premiere Pro transformed the industry and outclassed old-style systems that force you to think about A and B roll and toggle between windows. It was a different school of thought—one that supports the fluid way today’s new filmmaking breed thinks.” “Adobe Premiere Pro CS5 is so incredibly stable—and with native 64-bit support, I found myself sitting there saying ‘Wow’ at its amazing performance.” Sharlto Copley Actor and filmmaker Challenge An Adobe Premiere Pro veteran • Gain more creative control in Copley has used Adobe Premiere Pro for years, but he is more devoted and enthusiastic than ever now filmmaking that he is using Adobe Premiere Pro CS5. -
Fall 2020 Letter from the Editor
FALL 2020 LETTER FROM THE EDITOR Welcome, Greetings, Salutations and yI'el! Welcome to the Fall 2020 issue of the Ticonderoga newsletter. This issue finds the intrepid crew of the Ticonderoga once again boldly moving where only the foolish dare...among Dragons! Not only that, but we are going to explore our adventures among those whom we love to meet, who frequently bring dragons to life...the actors, authors, and artists that we've met and gotten their autographs!! This has been an unusual year with the world health issues having made it difficult to get out and enjoy conventions, films, or most any of the large gatherings that we all love so much. So this edition is going to help us live with our memories and share the times that we have had in the past meeting our celebrity crushes, while we look forward to the times in the near future where we will build new memories. “Lockhart'll sign anything if it stands still long enough!” — J.K. Rowling , Chamber of Secrets Some autographs are rather easy to obtain because the “autographee” seems to be at every event ever planned, while others fall under the “holy grail” category due to the rarity of encounters. For those who collect them, the reward is worth the chase in either case. So enjoy these stories of chasing dragons and autographs, stay safe and we'll all meet up on the other side! “Star Trek' says that it has not all happened, it has not all been discovered, that tomorrow can be as challenging and adventurous as any time man has ever lived.” —Gene Roddenberry As always.. -
But, You're Just a Girl
University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses Spring 5-17-2013 But, You're Just A Girl Sasha McTee [email protected] Follow this and additional works at: https://scholarworks.uno.edu/td Part of the English Language and Literature Commons Recommended Citation McTee, Sasha, "But, You're Just A Girl" (2013). University of New Orleans Theses and Dissertations. 1655. https://scholarworks.uno.edu/td/1655 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO 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 University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. “But, You’re Just A Girl:” The Female Hero in Modern Science Fiction and Fantasy A Thesis Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree of Master of Arts in English by Sasha Rene McTee B.A. University of Colorado at Boulder, 2007 May, 2013 Table of Contents Abstract ............................................................................................................................. -
Battlestar Galactica
Diaspora narrative in Battlestar Galactica Grace L. Dillon Science Fiction Film and Television, Volume 5, Issue 1, Spring 2012, pp. 1-21 (Article) Published by Liverpool University Press DOI: 10.1353/sff.2012.0001 For additional information about this article http://muse.jhu.edu/journals/sff/summary/v005/5.1.dillon.html Access provided by Portland State University (11 Jul 2013 09:31 GMT) dummy header Diaspora narrative in Battlestar Galactica Grace L. Dillon Seek the welfare of the city where I have sent you into exile, and pray to the Lord on its behalf, for in its welfare you will find your welfare. – Jeremiah 29:7 This article reads the original Battlestar Galactica series and its 1980 sequel as a diasporic narrative. It compares exodus and diaspora, contextualises the Colonial journey within emerging diaspora theory and views the Galactica allegory as an indicator of American imperialism. Reliance on the theme of exodus is a common characteristic that receives little attention in the scholarship on the original Battlestar Galactica (US 1978–9), its spinoff Galactica 1980 (US 1980) and the ‘reimagined’ Battlestar Galactica (US 2004–9). The proliferation of biblical allusions, along with the presence of original series creator Glen A. Larson’s theology, offers exodus as a ready-made description of characters’ movements throughout the narrative. However, ‘exo- dus’ has become the shorthand term of choice for artists and critics. Certainly the association heightens dramatic tension. Invoking it often and casually, how- ever, has diminished its contribution to the Battlestar Galactica storyline while overshadowing the significance of diaspora as a unifying element of original and remade series. -
Christianish-BOOK.Pdf
What people are saying about … Christianish “No one blends self-deprecating hilarity and spiritual profundity like Mark Steele. Christianish is everything we’ve come to love about his writing: It’s entertaining, it’s challenging, and it’s completely devoid of cheese.” Jason Boyett, author of Pocket Guide to the Afterlife “Mark Steele is no Jeremiah. It’s a good thing, because we’d have to kill him. Funny, incisive, and wise, Steele calls us (along with himself) to account for all our fakery and get on with the serious business of (gulp) living like Jesus.” Patton Dodd, deputy editor of PurposeDriven. com and author of My Faith So Far: A Story of Conversion and Confusion “Look out! Mark Steele is in the temple and he’s flippin’ tables! Mark always has something funny to say about Christianity, but this book is as convicting as it is hilarious. He continues to use his comedy as a metal detector that finds ‘the real stuff’ under the rubble. In between references to Boss Hogg and Cannonball Run 2, you might actually reexamine your whole approach to following Jesus.” Cory Edwards, writer and director of Hoodwinked Christianish-int-F.indd 1 5/29/09 1:03:04 PM “Sometimes when I’m feeling depressed and lonely I like to imag- ine Mark Steele is my best friend, and we are walking through a grassy meadow in the warm sunshine. As the butterflies float by and bunnies bound ahead of us, Mark cheers me up by offering gentle wisdom and hilarious life stories about his journey on this earth. -
Theorizing Film Acting
ROUTLEDGE ADVANCES IN FILM STUDIES Theorizing Film Acting Edited by Aaron Taylor Theorizing Film Acting Routledge Advances in Film Studies 1 Nation and Identity in the New 8 The Politics of Loss and Trauma German Cinema in Contemporary Israeli Cinema Homeless at Home Raz Yosef Inga Scharf 9 Neoliberalism and Global 2 Lesbianism, Cinema, Space Cinema The Sexual Life of Apartments Capital, Culture, and Marxist Lee Wallace Critique Edited by Jyotsna Kapur and 3 Post-War Italian Cinema Keith B. Wagner American Intervention, Vatican Interests 10 Korea’s Occupied Cinemas, Daniela Treveri Gennari 1893-1948 The Untold History of the Film 4 Latsploitation, Exploitation Industry Cinemas, and Latin America Brian Yecies with Ae-Gyung Shim Edited by Victoria Ruétalo and Dolores Tierney 11 Transnational Asian Identities in Pan-Paci c Cinemas 5 Cinematic Emotion in Horror The Reel Asian Exchange Films and Thrillers Edited by Philippa Gates & Lisa The Aesthetic Paradox of Funnell Pleasurable Fear Julian Hanich 12 Narratives of Gendered Dissent in South Asian Cinemas 6 Cinema, Memory, Modernity Alka Kurian The Representation of Memory from the Art Film to Transnational 13 Hollywood Melodrama and the Cinema New Deal Russell J.A. Kilbourn Public Daydreams Anna Siomopoulos 7 Distributing Silent Film Serials Local Practices, Changing Forms, 14 Theorizing Film Acting Cultural Transformation Edited by Aaron Taylor Rudmer Canjels Theorizing Film Acting Edited by Aaron Taylor NEW YORK LONDON First published 2012 by Routledge 711 Third Avenue, New York, NY 10017 Simultaneously published in the UK by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2012 Taylor & Francis The right of Aaron Taylor to be identified as the author of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. -
Starlog Magazine Issue
Sex & the single alien: SPECIES II speaks! SPECIAL MILLENNIUM EDITION ..99/$6.50 CANADA U.K. £2.95 June 1998 #251 COMET TARGET 1 i • Startling Will you- und "Trie everyone else- Facts" expised! X-FILES Movie FBI Agents DEEP desperately TiTTjI. seeking iliens! 1 1 Cat fight of the century! K A4~\K TCT r!T>C * « CI/- ; . i_ 1 1 'i' 1807-68 6 E fi B 0 H 8 * TRROIfli V THE "STAR TREK AUTOGRAPH CHALLENGE S" GAME FOR A CHANCE TO tfIN ONE OF 5D COMPLETE SETS OF SEASON H AUTOGRAPHED CARDS. COiyyMG STARDAft 5;9S ONE AUTOGRAPHED CARD GUARANTEED tl\l EVERY BCSX'l • NO PURCHASE NECESSARY. OPEN TO LEGALjAL RESIDENTSRES) OF THE UNITED STATES AND CANADA (EXC. QUEBEC PROVINCE). VOID WHERE PROHIBITED. GAME ENDS OCTOBER 31- 1998. FOR LAUREL. HJ 08054. ONE Sl-. * THREE FREE GAME CARDS AND OFFICIAL RULES,RULES. iSEND A SELF-ADDRESSED. STAMPED ENVELOPE TO: STAR TREK AUTOGRAPH CHALLENGE 2. P.O. BOX 651. MT. 5kyBox iSfc REQUEST PER ENVELOPE. MAILED SEPARATELY.:LY. WA,WA. VT & CDN RESIDENTS MAY OMIT RETURN POSTAGE. ODDS OF WINNING. BASED ON OBTAINING RARE GAME CARDS: ARE 1:14.400 PA" TM 1 .=>TOU) PUUMfUIMTPir!tIIRF5: Alt Rll US'" . ALL RIGHTS RESERVED. STAR TREK AND RELATED MARKS ARE TRADEMARKS OF PARAMOUNT PICTURES. FLEER SKYBQX AUTHORIZED This is the way the world ends when a comet makes Deep Impact. See page 46. IL 61054-0430. Printed in u.S.£. ; ^^^^^Dept.. P.O. Box 430, Mt. Morris. «• • / ; LOG subscription 353- 1^ s4EhMBL/ im?mS * i , —"r **-n v SIGNED, SEALED & DELIVERED. -
The Star Trek Philosophy
LIVING TREKISM – Database Ron Moore's Deep Space Journey By JOHN HODGMAN The interior of the Battlestar Galactica is a warren of shadowy, angular hallways and spare functional chambers split over two sound stages situated on the semi-industrial fringe of Vancouver, British Columbia. The Galactica is a spaceship, but it does not feel particularly space-age. The communication panels on the walls were scavenged from a Canadian destroyer; the desk lamps are from Ikea. If you have seen ''Battlestar Galactica,'' which began its second season on the Sci Fi Channel on Friday, you will know that this Galactica only vaguely resembles the ship that previously bore that name, when ''Battlestar Galactica'' first flew on prime time in 1978, square in the shadow of ''Star Wars.'' And it certainly does not resemble the Enterprise, the ''Star Trek'' vehicle that has defined the visual and thematic vocabulary of television science fiction for four decades. On the Galactica, there is no captain's chair; there are no windows full of stars. The command center is busy and dark, protected deep within the ship the way it would be on an actual military vessel. As the actors move from room to room, hand-held cameras swoop behind them, closing in on them claustrophobically. The characters do not travel heroically from planet to planet, solving the problems of aliens. There are, in fact, no aliens at all. To be fair, though, there are androids. As in the original show, the humans of the Galactica and its fleet are relentlessly pursued by evil robots called Cylons. -
Love It When a Plan Comes Together Movie
Love it when a plan comes together movie Continue You may or may not be a fan of the 80s television series The A-Team, but you probably know the show's famous slogan: I like it when a plan comes together. It was frequently used throughout the show's five-season run from 1983 to 1986 by the head of the cigar-chomping team, Colonel John Hannibal Smith, played by actor George Peppard. Peppard first uttered the line in the 2-hour pilot episode Mexican Slayride, which originally aired on January 23, 1983 as an NBC Sunday Night Movie. The first regular one-hour episode of The A-Team aired the following week, january 30, 1983, after the Superbowl. After that, the show moved to a time slot Tuesday at 8 p.m. Other members of Hannibal's good-bonaary mercenary team include Templeton Face Peck, played by Dirk Benedict throughout the regular series, but by Tim Dunigan in the pilot; Howling Mad Murdock, played by Dwight Schultz; and Boscoe B.A. (for Bad Attitude) Baracus, memorably played by Mr. T. Naturally, Peppard's slogan in the television series A-Team was resurrected and used several times in the 2010 film A-Team, which starred Liam Neeson as Hannibal Smith. Some people assume that the A-Team series is also the origin of another well-known slogan - Mr. T's famous phrase I feel sorry for the fool. In fact, this line was first used by Mr. T in the 1982 film Rocky III, in which he played Rocky 'Clubber' Lang's boxing opponent. -
Packet 1 Bonus
All bonuses PACKET 1 BONUS 1-Are you not entertained? ARE YOU NOT ENTERTAINED!?! For ten points each, answer these questions about the movie Gladiator. A-Name the movie’s director, also famous for directing films such as Black Hawk Down and Blade Runner. Ridley Scott B-The role of Marcus Aurelius was played by this deceased, Irish actor, also known for his role as Dumbledore in the first two Harry Potter films. Richard Harris C-Name the film’s chief villain who is also Marcus Aurelius’s son played by Joaquin Phoenix. Commodus 2-For ten points each, answer these questions about critically panned songs on the Billboard Hot 100: A-Within three years, “Poor Little Fool” by Ricky Nelson became the first #1 on the Billboard Hot 100 in what year? 1958 (accept 1955-1961) B-On March 12 of 1988 Rick Astley reached #1 by making what promise, the title of the song. Never Gonna Give You Up C-This Black Eyed Peas song reached #3. Alanis Morisette has done a parody version as a ballad. My Humps 3-For ten points each, given a sports arena, name which NBA team plays their home games there. A-Madison Square Garden New York Knicks (accept either) B-Pepsi Center Denver Nuggets (accept either) C-EnergySolutions Arena Utah Jazz (accept either) 4-For 10 points each answer these questions about the ABC television series Lost. A-The survivors of Oceanic flight 815 were bound for this largest California city. Los Angeles B-The ambiguously villainous character Benjamin Linus is played by this actor. -
Mad TV: a History of Mental Illness on Narrative American Television By
Mad TV: A History of Mental Illness on Narrative American Television by Allison Kelly B.A. in Media Studies, May 2008, Vassar College A Thesis submitted to The Faculty of The Columbian College of Arts and Sciences of The George Washington University in partial fulfillment of the requirements for the degree of Master of Arts May 21, 2017 Thesis directed by Patricia Phalen Associate Professor of Media and Public Affairs © Copyright 2017 by Allison Kelly All rights reserved ii Acknowledgments The author wishes to acknowledge Hannah Hankins, Jessica Allen, Stephanie Beechem, and Katherine Murtha for being great cheerleaders and friends; Bart Jackson and Andres Perez for helping spark the idea for this thesis; Clarissa Kornell for her cool-headed and thoughtful advice; the team at Uprising Muffin Co. for providing my favorite workspace and for keeping me fueled by muffins and coffee; Rosemary Hanes and the Library of Congress for the enormously helpful research suggestion; Michael Henry at the University of Maryland for resource recommendations; TV critics Alan Sepinwall and Matt Zoller Seitz for answering my hurried questions during a book signing; my thesis readers Professor Lee Huebner and Crista Scaturro for their helpful questions and feedback; my thesis advisor Patricia Phalen for her guidance and enthusiasm; and my parents, Jane Kivlin and Thomas Kelly, for their encouragement and support over the course of this project and all my projects. iii Abstract of Thesis Mad TV: A History of Mental Illness on Narrative American Television In general, previous research into representation of mental illness in the media have either been very broad in scope, looking at multiple types of mass media (film, TV, news media, art, written fiction, etc.), or very narrow, examining specific stories, films, or brief periods of time. -
Downloading Doppelgängers: New Media Anxieties and Transnational Ironies in Battlestar Galactica.” Science Fiction Film and Television 2.1 (2009): 432-51
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Athabasca University Library Institutional Repository McCutcheon, Mark A. “Downloading Doppelgängers: New Media Anxieties and Transnational Ironies in Battlestar Galactica.” Science Fiction Film and Television 2.1 (2009): 432-51. Publisher’s notice: Reprinted from Science Fiction Film and Television, with permission of Liverpool University Press. © 2009 Liverpool University Press. Author’s notice: AU students and personnel can access the article directly at the above link; readers at other institutions can find the article via the Project MUSE or Academic Onefile databases. Other readers are referred to the publisher’s version. Downloading Doppelgängers: New Media Anxieties and Transnational Ironies in Battlestar Galactica Battlestar Galactica (US 2004-09) has become a phenomenally popular fictional show in an age of ‘reality’ programmes. A pointedly post 9/11 updating of Glen A. Larson’s 1970s broadcast series of the same name, the new Battlestar has produced ardent fan communities across the USA. Thanks to its international circulation, it has also generated a strong global audience. Much of its popularity derives from the creative liberties that executive producers Ronald D. Moore and David Eick have taken with Larson’s series. Far from being a niche sf programme, it reworks the original with more and stronger female characters, and has season-spanning serial drama storylines as soap operatic as they are space operatic. It consistently and creatively elaborates on its premise as an allegory of the USA’s twenty-first century ‘war on terror’. There is, however, another war being fought in the remade Battlestar, a guerrilla-style culture war that is, in its articulation of cultural economic problems in intellectual property (IP) and transnational productions, as timely as the show’s post-9/11 theme.