The Functionality of Reboots
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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. -
Entertainment Business Supplemental Information Three Months Ended September 30, 2015
Entertainment Business Supplemental Information Three months ended September 30, 2015 October 29, 2015 Sony Corporation Pictures Segment 1 ■ Pictures Segment Aggregated U.S. Dollar Information 1 ■ Motion Pictures 1 - Motion Pictures Box Office for films released in North America - Select films to be released in the U.S. - Top 10 DVD and Blu-rayTM titles released - Select DVD and Blu-rayTM titles to be released ■ Television Productions 3 - Television Series with an original broadcast on a U.S. network - Television Series with a new season to premiere on a U.S. network - Select Television Series in U.S. off-network syndication - Television Series with an original broadcast on a non-U.S. network ■ Media Networks 5 - Television and Digital Channels Music Segment 7 ■ Recorded Music 7 - Top 10 best-selling recorded music releases - Upcoming releases ■ Music Publishing 7 - Number of songs in the music publishing catalog owned and administered as of March 31, 2015 Cautionary Statement Statements made in this supplemental information with respect to Sony’s current plans, estimates, strategies and beliefs and other statements that are not historical facts are forward-looking statements. Forward-looking statements include, but are not limited to, those statements using such words as “may,” “will,” “should,” “plan,” “expect,” “anticipate,” “estimate” and similar words, although some forward- looking statements are expressed differently. Sony cautions investors that a number of important risks and uncertainties could cause actual results to differ materially from those discussed in the forward-looking statements, and therefore investors should not place undue reliance on them. Investors also should not rely on any obligation of Sony to update or revise any forward-looking statements, whether as a result of new information, future events or otherwise. -
Blockbusters: Films and the Books About Them Display Maggie Mason Smith Clemson University, [email protected]
Clemson University TigerPrints Presentations University Libraries 5-2017 Blockbusters: Films and the Books About Them Display Maggie Mason Smith Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/lib_pres Part of the Library and Information Science Commons Recommended Citation Mason Smith, Maggie, "Blockbusters: Films and the Books About Them Display" (2017). Presentations. 105. https://tigerprints.clemson.edu/lib_pres/105 This Display is brought to you for free and open access by the University Libraries at TigerPrints. It has been accepted for inclusion in Presentations by an authorized administrator of TigerPrints. For more information, please contact [email protected]. Blockbusters: Films and the Books About Them Display May 2017 Blockbusters: Films and the Books About Them Display Photograph taken by Micki Reid, Cooper Library Public Information Coordinator Display Description The Summer Blockbuster Season has started! Along with some great films, our new display features books about the making of blockbusters and their cultural impact as well as books on famous blockbuster directors Spielberg, Lucas, and Cameron. Come by Cooper throughout the month of May to check out the Star Wars series and Star Wars Propaganda; Jaws and Just When you thought it was Safe: A Jaws Companion; The Dark Knight trilogy and Hunting the Dark Knight; plus much more! *Blockbusters on display were chosen based on AMC’s list of Top 100 Blockbusters and Box Office Mojo’s list of All Time Domestic Grosses. - Posted on Clemson University Libraries’ Blog, May 2nd 2017 Films on Display • The Amazing Spider-Man. Dir. Marc Webb. Perf. Andrew Garfield, Emma Stone, Rhys Ifans. -
Copyright by Jason Todd Craft 2004 the Dissertation Committee for Jason Todd Craft Certifies That This Is the Approved Version of the Following Dissertation
Copyright by Jason Todd Craft 2004 The Dissertation Committee for Jason Todd Craft Certifies that this is the approved version of the following dissertation: Fiction Networks: The Emergence of Proprietary, Persistent, Large- Scale Popular Fictions Committee: Adam Z. Newton, Co-Supervisor John M. Slatin, Co-Supervisor Brian A. Bremen David J. Phillips Clay Spinuzzi Margaret A. Syverson Fiction Networks: The Emergence of Proprietary, Persistent, Large- Scale Popular Fictions by Jason Todd Craft, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December, 2004 Dedication For my family Acknowledgements Many thanks to my dissertation supervisors, Dr. Adam Zachary Newton and Dr. John Slatin; to Dr. Margaret Syverson, who has supported this work from its earliest stages; and, to Dr. Brian Bremen, Dr. David Phillips, and Dr. Clay Spinuzzi, all of whom have actively engaged with this dissertation in progress, and have given me immensely helpful feedback. This dissertation has benefited from the attention and feedback of many generous readers, including David Barndollar, Victoria Davis, Aimee Kendall, Eric Lupfer, and Doug Norman. Thanks also to Ben Armintor, Kari Banta, Sarah Paetsch, Michael Smith, Kevin Thomas, Matthew Tucker and many others for productive conversations about branding and marketing, comics universes, popular entertainment, and persistent world gaming. Some of my most useful, and most entertaining, discussions about the subject matter in this dissertation have been with my brother, Adam Craft. I also want to thank my parents, Donna Cox and John Craft, and my partner, Michael Craigue, for their help and support. -
The New Hollywood Films
The New Hollywood Films The following is a chronological list of those films that are generally considered to be "New Hollywood" productions. Shadows (1959) d John Cassavetes First independent American Film. Who's Afraid of Virginia Woolf? (1966) d. Mike Nichols Bonnie and Clyde (1967) d. Arthur Penn The Graduate (1967) d. Mike Nichols In Cold Blood (1967) d. Richard Brooks The Dirty Dozen (1967) d. Robert Aldrich Dont Look Back (1967) d. D.A. Pennebaker Point Blank (1967) d. John Boorman Coogan's Bluff (1968) – d. Don Siegel Greetings (1968) d. Brian De Palma 2001: A Space Odyssey (1968) d. Stanley Kubrick Planet of the Apes (1968) d. Franklin J. Schaffner Petulia (1968) d. Richard Lester Rosemary's Baby (1968) – d. Roman Polanski The Producers (1968) d. Mel Brooks Bullitt (1968) d. Peter Yates Night of the Living Dead (1968) – d. George Romero Head (1968) d. Bob Rafelson Alice's Restaurant (1969) d. Arthur Penn Easy Rider (1969) d. Dennis Hopper Medium Cool (1969) d. Haskell Wexler Midnight Cowboy (1969) d. John Schlesinger The Rain People (1969) – d. Francis Ford Coppola Take the Money and Run (1969) d. Woody Allen The Wild Bunch (1969) d. Sam Peckinpah Bob & Carol & Ted & Alice (1969) d. Paul Mazursky Butch Cassidy & the Sundance Kid (1969) d. George Roy Hill They Shoot Horses, Don't They? (1969) – d. Sydney Pollack Alex in Wonderland (1970) d. Paul Mazursky Catch-22 (1970) d. Mike Nichols MASH (1970) d. Robert Altman Love Story (1970) d. Arthur Hiller Airport (1970) d. George Seaton The Strawberry Statement (1970) d. -
Any Gods out There? Perceptions of Religion from Star Wars and Star Trek
Journal of Religion & Film Volume 7 Issue 2 October 2003 Article 3 October 2003 Any Gods Out There? Perceptions of Religion from Star Wars and Star Trek John S. Schultes Vanderbilt University, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Schultes, John S. (2003) "Any Gods Out There? Perceptions of Religion from Star Wars and Star Trek," Journal of Religion & Film: Vol. 7 : Iss. 2 , Article 3. Available at: https://digitalcommons.unomaha.edu/jrf/vol7/iss2/3 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Any Gods Out There? Perceptions of Religion from Star Wars and Star Trek Abstract Hollywood films and eligionr have an ongoing rocky relationship, especially in the realm of science fiction. A brief comparison study of the two giants of mainstream sci-fi, Star Wars and Star Trek reveals the differing attitudes toward religion expressed in the genre. Star Trek presents an evolving perspective, from critical secular humanism to begrudging personalized faith, while Star Wars presents an ambiguous mythological foundation for mystical experience that is in more ways universal. This article is available in Journal of Religion & Film: https://digitalcommons.unomaha.edu/jrf/vol7/iss2/3 Schultes: Any Gods Out There? Science Fiction has come of age in the 21st century. From its humble beginnings, "Sci- Fi" has been used to express the desires and dreams of those generations who looked up at the stars and imagined life on other planets and space travel, those who actually saw the beginning of the space age, and those who still dare to imagine a universe with wonders beyond what we have today. -
PARASITIC MIRATIVITY of ENGLISH USE in COLIN TREVORROWS MOVIE “JURASSIC WORLD” Thesis Submitted in Partial Fulfillment of Th
PARASITIC MIRATIVITY OF ENGLISH USE IN COLIN TREVORROWS MOVIE “JURASSIC WORLD” Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Sarjana Humaniora in English and Literature Department of Faculty of Adab and Humanities of UIN Alauddin Makassar By MUJI RETNO Reg. No. 40300111080 ENGLISH AND LITERATURE DEPARTMENT ADAB AND HUMANITIES FACULTY ALAUDDIN STATE ISLAMIC UNIVERSITY MAKASSAR 2016 PARASITIC MIRATIVITY OF ENGLISH USE IN COLIN TREVORROW’S MOVIE “JURASSIC WORLD” Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Sarjana Humaniora in English and Literature Department of Faculty of Adab and Humanities of UIN Alauddin Makassar By MUJI RETNO Reg. No. 40300111080 ENGLISH AND LITERATURE DEPARTMENT ADAB AND HUMANITIES FACULTY ALAUDDIN STATE ISLAMIC UNIVERSITY MAKASSAR 2016 i MOTTO “EDUCATION IS WHAT REMAINS AFTER ONE HAS FORGOTTEN WHAT ONE HAS LEARNED IN SCHOOL.” (Albert Eistein) “EDUCATION IS A PROGRESSIVE DISCOVERY OF OUR OWN IGNORENCE.” (Charlie Chaplin) “EVERY THE LAST STEP INEVITABLY HAS THE FIRST STEP” (Muji Retno) ii ACKNOWLEDGE All praises to Allah who has blessed, guided and given the health to the researcherduring writing this thesis. Then, the researcherr would like to send invocation and peace to Prophet Muhammad SAW peace be upon him, who has guided the people from the bad condition to the better life. The researcher realizes that in writing and finishing this thesis, there are many people that have provided their suggestion, advice, help and motivation. Therefore, the researcher would like to express thanks and highest appreciation to all of them. For the first, the researcher gives special gratitude to her parents, Masir Hadis and Jumariah Yaha who have given their loves, cares, supports and prayers in every single time. -
Alternate Universe Fan Videos and the Reinterpretation of the Media
Alternate Universe Fan Videos and the Reinterpretation of the Media Source Introduction According to the Francesca Coppa, American scholar and co-founder of the Organization for Transformative Works1, fan videos are “a form of grassroots filmmaking in which clips from television shows and movies are set to music.”2 Fan videos are commonly referred to as: fanvid, songvid, vid, AMV (for Anime Music Video); their process of creation is called vidding and their editors (fan)vidders. While the “media tradition” described above in Francesca Coppa‟s definition is a crucial part of the fan video production, many other fan videos are created for anime, especially Asian ones (AMV), for video games (some of them called Machinima), or even for other subjects, from band tributes to other types of remix. The vidding tradition – in its current “shape” – goes back to the era of the first VCR; but the very first fan videos may be traced back to the seventies in a slideshow format. When channel mixers and numerous machines available to a large group of consumers emerged, this fan activity easily became an expanding one amongst the fan communities, who were often interested in new technology, whatever era it is. Vidding has now become a digital process, thanks to the expansion of computer and related technical means, including at least semiprofessional editing software. It seems relevant to point out how rare it is that a vidder goes through editing training when they begin to create fan videos, or even become a professional editor later on. Of course, exceptions exist, but vidding generally remains a hobby. -
TODD TUCKER Special Make-Up Effects Illusion Industries
TODD TUCKER Special Make-Up Effects Illusion Industries FEATURE FILMS DIRECTORS PRODUCERS/STUDIOS COOTIES Honest Glacier Films / Universal 2nd Unit Director / 2nd Unit Makeup Artist SMURFS 2 Raja Gosnell Columbia Pictures Special Make-Up Effects Department Head Hank Azaria Personal GI JOE 2: RETALLIATION Jon Chu Paramount Pictures Special Make-Up Effects Department Head THE SMURFS Raja Gosnell Columbia Pictures Special Make-Up Effects / Creative Director TRANSFORMERS 3: DARK OF THE MOON Michael Bay Paramount Pictures Special Make-Up Effects Supervisor NIGHT OF THE DEMONS Adam Gierasch 7 Arts Pictures Special Make-Up Effects Supervisor DYLAN DOG: DEAD OF NIGHT Kevin Munroe Hyde Park Films Special Make-Up Effects Supervisor WATCHMEN Zack Snyder Warner Brothers Special Make-Up Effects / Creative Director THE CURIOUS CASE OF BENJAMIN BUTTON David Fincher Paramount Pictures Special Make-Up Effects / Prosthetics Shop Supervisor LEONIE Hisako Matsui Overture Films / Hyde Park Films Special Make-Up Effects / Creative Director SAAT KHOON MAAF Vishal Bhardwaj Vishal Bhardwaj Pictures Special Make-Up Effects / Creative Director MOSTLY GHOSTLY Richard Correll Universal Pictures Special Make-Up Effects Supervisor / Creative Director SOCCER MOM Gregory McClatchy Anchorbay Entertainment Special Make-Up Effects Supervisor Producer / 2nd Unit Dir. TRAILER PARK OF TERROR Steven Goldmann Summit Entertainment Special Make-Up Effects Supervisor / 2nd Unit Dir. Producer / Creative Director CREATURE PEOPLE Scott Essman Visionary Cinema APOCALYPTO Mel Gibson Icon / Buena Vista Pictures Special Make-Up Effects Supervisor BIG BAD WOLF Lance W. Dreesen Screen Media Ventures Stunt Performer LITTLE MAN Keenan Ivory Wayans Revolution Studios Special Make-Up Effects Supervisor SCARY MOVIE 4 David Zucker The Weinstein Company THE EXORCISM OF EMILY ROSE Scott Derrickson Screen Gems FARM HOUSE George Bessudo Alliance Group Ent. -
Be Mindful of the Future: Information and Knowledge Management in Star Wars Tie-In Fiction
Volume 13 Spring 2017 djim.management.dal.ca | Be mindful of the future: information and knowledge management in Star Wars tie-in fiction Diana Castillo School of Information Management, Dalhousie University Abstract In the last fifty years, media franchises have been using tie-in fiction to expand their universes and tell stories outside the main source material. This paper examines how information management is used specifically in Star Wars tie-in fiction and its recent transition to using knowledge management. To start, this paper looks at the history of tie-in fiction from its roots in the 1960s to the modern day, before transitioning to the role of brand managers and editors as information managers. Then, this paper documents the history of Star Wars tie-in fiction and how information management strategies were implemented through 2014 and how it impacted the franchise’s internal continuity. Finally, this paper examines the recent move towards a unified canon and how this shift towards knowledge management has impacted storytelling. This paper concludes that while it is too early to evaluate its results, Star Wars was uniquely situated among franchises to move towards knowledge management through its prior information management efforts. Introduction universes and tell stories they may not be able to tell otherwise. Creating a well-run line In today’s entertainment environment, of tie-in fiction requires coordination between popular franchises are rarely limited to one authors, publishing houses, and the licensing type of media. They license their products company through information management. across various different formats to engage In the context of this paper, information fans and expand their footprint in popular management is defined as working with culture as much as possible. -
Larry D. Horricks Society of Motion Picture Stills Photographers
Larry D. Horricks Society of Motion Picture Stills Photographers www.larryhorricks.com Feature Films: Spaceman of Bohemia – Netflix – Johan Renck Director Cast – Adam Sandler, Carey Mulligan Producers: Michael Parets, Max Silva, Ben Ormand, Barry Bernardi White Bird – Lionsgate – Marc Forster Director (Unit + Specials_ Cast: Gillian Anderson ,Helen Mirren, Ariella Glaser, Orlando Schwerdt Producers: Marc Forster, Tod Leiberman, David Hoberman, Raquel J. Palacio Oslo – Dreamworks Pictures / Amblin / HBO / Marc Platt Prods.– Bart Sher Director (Unit + Specials) Cast: Ruth Wilson, Andrew Scott, Jeff Wilbusch,Salim Dau, Producers: Steven Spielberg, Kristie Macosko Krieger, Marc Platt, Cambra Overend, Mark Taylor Atlantic 437 – Netflix. Ratpack Entertainment – Director Peter Thorwath Producers: Chritian Becker,Benjamin Munz The Dig – Netflix, Magnolia Mae Films – Simon Stone Director Cast: Ralph Fiennes, Carey Mulligan, Lily James, Ken Stott, Johnny Flynn Producers: Gabrielle Tana, Carolyn Marks Blackwood, Redmond Morris A Boy Called Christmas – Netflix – Gil Kenan Director (Unit + Specials) Cast: Sally Hawkins, Kristen Wiig,Maggie Smith, Jim Broadbent, Toby Jones, Michiel Huisman, Harry Lawful Producers: Graham Broadbent, Pete Czernin, Kevan Van Thompson Minamata - Metalwork Pictures /HanWay Films / MGM - Andrew Levitas Director (Unit + Specials) Cast: Johnny Depp, Bill Nighy, Minami, Hiro Sanada, Ryo Kase, Sato Tadenobu, Jun Kunimura Producers: Andrew Levitas,Gabrielle Tana, Jason Foreman, Johnny Depp, Sam Sarkar, Stephen Deuters, Kevan -
Press Release
News Release Wednesday 26 July 2017 NATIONAL PORTRAIT GALLERY COMMISSIONS NEW PHOTOGRAPH OF THIS IS ENGLAND AND SKINS ACTOR JACK O’CONNELL AS PART OF THE JOHN KOBAL NEW WORK AWARD Jack O’Connell by Tereza Červeňová, 2017 © National Portrait Gallery, London A striking newly-commissioned photograph of actor Jack O’Connell has been commissioned by the National Portrait Gallery, it was announced today, Wednesday 26 July 2017, coinciding with his West End starring role in Cat on a Hot Tin Roof with Sienna Miller opening this week. The portrait, taken by photographer Tereza Červeňová, was commissioned through the John Kobal New Work Award, a prize awarded annually to a photographer under thirty-five whose work is selected for display in the Taylor Wessing Photographic Portrait Prize exhibition at the National Portrait Gallery. The London-based Slovakian photographer Tereza Červeňová won the John Kobal New Work Award commission following her selection as part of the Taylor Wessing Photographic Portrait Prize 2015 exhibition, and was invited to photograph the actor Jack O’Connell in March 2017. Červeňova’s photograph of Jack O’Connell was taken at his family home in Derby, and challenges the ‘angry youth’ image associated with acting roles such as his film debut as the blue-collar teenager Pukey Nicholls in the 2006 coming-of-age drama This is England, a young murderer in the British horror Eden Lake, a drug addict in Harry Brown and James Cook in the teen drama Skins. Shown with a hint of vulnerability and wearing a tee-shirt in a garden, O’Connell is reflected through a window as Červeňova creates a semi-abstracted composition playing with light and lines as the actor’s torso apparently emerges intertwined with panels of a wooden fence.