Vigil for Those of Valor
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2018 ANNUAL REPORT M ISSION to Create Innovative Learning Experiences That Equip and Inspire the Next Generation of Creative Problem Solvers
2018 ANNUAL REPORT M ISSION To create innovative learning experiences that equip and inspire the next generation of creative problem solvers. VISION A creative community with a passion for lifelong learning and discovery. V ALUES Playfulness, cooperation, inclusiveness, excellence, respect, innovation, creativity. DEAR FRIENDS, It has been another incredible year for Thinkery. Among almost 455,000 visits to the museum in the 2017-2018 Fiscal Year, Thinkery welcomed visitors from around the world, including more than 7,000 families from other Texas communities, 4,000 families from across the U.S. and 100 families from different countries. We’re thrilled to be Austin’s most-visited cultural institution and a global destination for family fun, learning and discovery. This year we witnessed the growth and expansion of several of our exceptional programs including Community Night Spotlights, EdExchange professional development for teachers, and Thinkery21 program for adults. Our Open Door initiative has grown substantially over the last two years to become a prominent part of ensuring access to our museum and programming. This initiative helps fund free general admission, Community Nights, school field trip discounts, and summer camp scholarships. Please join us in reviewing and celebrating our 2017-18 fiscal year highlights—and affirming our shared mission to create lifelong learners and problem-solvers through innovative, STEAM-based play. Thank you for your continued support and dedication to our mission. Sincerely, Patricia A. Young Brown, CPA Chief Executive Officer The Open Door Initiative provides free admission through OPEN Museums for All and Community Nights, discounted field DOOR trips for Title I schools, and scholarships for camps. -
Negotiating the Non-Narrative, Aesthetic and Erotic in New Extreme Gore
NEGOTIATING THE NON-NARRATIVE, AESTHETIC AND EROTIC IN NEW EXTREME GORE. A Thesis submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Master of Arts in Communication, Culture, and Technology By Colva Weissenstein, B.A. Washington, DC April 18, 2011 Copyright 2011 by Colva Weissenstein All Rights Reserved ii NEGOTIATING THE NON-NARRATIVE, AESTHETIC AND EROTIC IN NEW EXTREME GORE. Colva O. Weissenstein, B.A. Thesis Advisor: Garrison LeMasters, Ph.D. ABSTRACT This thesis is about the economic and aesthetic elements of New Extreme Gore films produced in the 2000s. The thesis seeks to evaluate film in terms of its aesthetic project rather than a traditional reading of horror as a cathartic genre. The aesthetic project of these films manifests in terms of an erotic and visually constructed affective experience. It examines the films from a thick descriptive and scene analysis methodology in order to express the aesthetic over narrative elements of the films. The thesis is organized in terms of the economic location of the New Extreme Gore films in terms of the film industry at large. It then negotiates a move to define and analyze the aesthetic and stylistic elements of the images of bodily destruction and gore present in these productions. Finally, to consider the erotic manifestations of New Extreme Gore it explores the relationship between the real and the artificial in horror and hardcore pornography. New Extreme Gore operates in terms of a kind of aesthetic, gore-driven pornography. Further, the films in question are inherently tied to their economic circumstances as a result of the significant visual effects technology and the unstable financial success of hyper- violent films. -
The George-Anne Student Media
Georgia Southern University Digital Commons@Georgia Southern The George-Anne Student Media 1-25-2011 The George-Anne Georgia Southern University Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/george-anne Part of the Higher Education Commons Recommended Citation Georgia Southern University, "The George-Anne" (2011). The George-Anne. 29. https://digitalcommons.georgiasouthern.edu/george-anne/29 This newspaper is brought to you for free and open access by the Student Media at Digital Commons@Georgia Southern. It has been accepted for inclusion in The George-Anne by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. ANGELA DAVIS GILBERT TO. SPEAK PERFORMS THURSDAY SATURDAY PAGE 2 PAGE 9 Tuesday, January 25, 2011 Georgia Southern University www.thegeorgeanne.com Volume 86* issue 48 ™G EOI RGI Georgia Southern earns two top ten national rankings By PATRICK STOKER from the fall 2009 class, where 68.7 percent of students accepted by Another list by Forbes Magazine ranked GSU 10th in a ranking Staff reporter GSU decided to attend. of the best schools in the United States for minorities in the fields "This is the latest example of Georgia Southern University's of science, technology, engineering and math (STEM). The list Georgia Southern University has gained national recognition continued climb in enrollment, academic quality and national ranked schools based on their quality of education and graduation recently as a result of being named in the top ten of two different reputation and proves what thousands of Georgia Southern rates for minorities in those fields. -
Supernatural Dallas Schedule of Events
SUPERNATURAL DALLAS SCHEDULE OF EVENTS THURSDAY, JUNE 20, 2019 NOTE: Pre-registration is not a necessity, just a convenience! Get your credentials, wristband and schedule so you don't have to wait again during convention days. VENDORS will be open too! PRE-REGISTRATION IS ONLY FOR FULL CONVENTION ATTENDEES WITH EITHER GOLD, SILVER, COPPER OR GA WEEKEND. NOTE: If you have solo, duo or group photo ops with Jared, Jensen, and/or Misha, please VALIDATE at the Photo Op Validation table BEFORE your photo op begins! START END EVENT LOCATION 3:30 PM 7:45 PM Vendors set-up Main Hallway 7:00 PM 9:30 PM BRI & DICK 'S PJ PARTY!!! If you’d like to register tonight, you may join the line after the party ends. SOLD OUT! Spring Glade 7:45 PM 8:30 PM GOLD Pre-registration Main Hallway 7:45 PM 10:00 PM VENDORS ROOM OPEN Main Hallway 8:30 PM 9:00 PM SILVER Pre-registration Main Hallway 9:00 PM 9:30 PM COPPER Pre-registration Main Hallway 9:30 PM 10:00 PM GA WEEKEND Pre-registration plus GOLD, SILVER and COPPER Main Hallway FRIDAY, JUNE 21, 2019 *END TIMES ARE APPROXIMATE. PLEASE SHOW UP AT THE START TIME TO MAKE SURE YOU DON’T MISS ANYTHING! WE CANNOT GUARANTEE MISSED AUTOGRAPHS OR PHOTO OPS. Light Blue: Private meet & greets, Green: Autographs, Red: Theatre programming, Orange: VIP schedule, Purple: Photo ops, Dark Blue: Special Events Photo ops are on a first come, first served basis (unless you're a VIP or unless otherwise noted in the Photo op listing) Autographs for Gold/Silver are called row by row, then by those with their separate autographs, pre-purchased autographs are called first. -
1 Forever Alone in a Crowd, Arthur Fleck Seeks Connection. Yet, As He
Forever alone in a crowd, Arthur Fleck seeks connection. Yet, as he trods the sooted Gotham City streets and rides the graffitied mass transit rails of a hostile town teeming with division and dissatisfaction, Arthur wears two masks. One, he paints on for his day job as a clown. The other he can never remove; it’s the guise he projects in a futile attempt to feel he’s a part of the world around him, and not the misunderstood man whom life is repeatedly beating down. Fatherless, Arthur has a fragile mother, arguably his best friend, who nicknamed him Happy, a moniker that’s fostered in Arthur a smile that hides the heartache beneath. But, when bullied by teens on the streets, taunted by suits on the subway, or simply teased by his fellow clowns at work, this social outlier only becomes even more out of sync with everyone around him. Directed, co-written and produced by Todd Phillips, “Joker” is the filmmaker’s original vision of the infamous DC villain, an origin story infused with, but distinctly outside, the character’s more traditional mythologies. Phillips’ exploration of Arthur Fleck, who is indelibly portrayed by Joaquin Phoenix, is of a man struggling to find his way in Gotham’s fractured society. Longing for any light to shine on him, he tries his hand as a stand-up comic, but finds the joke always seems to be on him. Caught in a cyclical existence between apathy and cruelty and, ultimately, betrayal, Arthur makes one bad decision after another that brings about a chain reaction of escalating events in this gritty, allegorical character study. -
Jigsaw: Torture Porn Rebooted? Steve Jones After a Seven-Year Hiatus
Originally published in: Bacon, S. (ed.) Horror: A Companion. Oxford: Peter Lang, 2019. This version © Steve Jones 2018 Jigsaw: Torture Porn Rebooted? Steve Jones After a seven-year hiatus, ‘just when you thought it was safe to go back to the cinema for Halloween’ (Croot 2017), the Saw franchise returned. Critics overwhelming disapproved of franchise’s reinvigoration, and much of that dissention centred around a label that is synonymous with Saw: ‘torture porn’. Numerous critics pegged the original Saw (2004) as torture porn’s prototype (see Lidz 2009, Canberra Times 2008). Accordingly, critics such as Lee (2017) characterised Jigsaw’s release as heralding an unwelcome ‘torture porn comeback’. This chapter will investigate the legitimacy of this concern in order to determine what ‘torture porn’ is and means in the Jigsaw era. ‘Torture porn’ originates in press discourse. The term was coined by David Edelstein (2006), but its implied meanings were entrenched by its proliferation within journalistic film criticism (for a detailed discussion of the label’s development and its implied meanings, see Jones 2013). On examining the films brought together within the press discourse, it becomes apparent that ‘torture porn’ is applied to narratives made after 2003 that centralise abduction, imprisonment, and torture. These films focus on protagonists’ fear and/or pain, encoding the latter in a manner that seeks to ‘inspire trepidation, tension, or revulsion for the audience’ (Jones 2013, 8). The press discourse was not principally designed to delineate a subgenre however. Rather, it allowed critics to disparage popular horror movies. Torture porn films – according to their detractors – are comprised of violence without sufficient narrative or character development (see McCartney 2007, Slotek 2009). -
The Impact of Social Media on a Movie's Financial Performance
Undergraduate Economic Review Volume 9 Issue 1 Article 10 2012 Turning Followers into Dollars: The Impact of Social Media on a Movie’s Financial Performance Joshua J. Kaplan State University of New York at Geneseo, [email protected] Follow this and additional works at: https://digitalcommons.iwu.edu/uer Part of the Economics Commons, and the Film and Media Studies Commons Recommended Citation Kaplan, Joshua J. (2012) "Turning Followers into Dollars: The Impact of Social Media on a Movie’s Financial Performance," Undergraduate Economic Review: Vol. 9 : Iss. 1 , Article 10. Available at: https://digitalcommons.iwu.edu/uer/vol9/iss1/10 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Commons @ IWU with permission from the rights-holder(s). You are free to use this material 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 material has been accepted for inclusion by faculty at Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the author of this document. Turning Followers into Dollars: The Impact of Social Media on a Movie’s Financial Performance Abstract This paper examines the impact of social media, specifically witterT , on the domestic gross box office revenue of 207 films released in the United States between 2009 and 2011. -
Supernatural' Fandom As a Religion
Claremont Colleges Scholarship @ Claremont CMC Senior Theses CMC Student Scholarship 2019 The Winchester Gospel: The 'Supernatural' Fandom as a Religion Hannah Grobisen Claremont McKenna College Follow this and additional works at: https://scholarship.claremont.edu/cmc_theses Part of the Film and Media Studies Commons Recommended Citation Grobisen, Hannah, "The Winchester Gospel: The 'Supernatural' Fandom as a Religion" (2019). CMC Senior Theses. 2010. https://scholarship.claremont.edu/cmc_theses/2010 This Open Access Senior Thesis is brought to you by Scholarship@Claremont. It has been accepted for inclusion in this collection by an authorized administrator. For more information, please contact [email protected]. Claremont McKenna College The Winchester Gospel The Supernatural Fandom as a Religion submitted to Professor Elizabeth Affuso and Professor Thomas Connelly by Hannah Grobisen for Senior Thesis Fall 2018 December 10, 2018 Table of Contents Dad’s on a Hunting Trip and He Hasn’t Been Home in a Few Days: My Introduction to Supernatural and the SPN Family………………………………………………………1 Saving People, Hunting Things. The Family Business: Messages, Values and Character Relationships that Foster a Community……………………………………………........9 There is No Singing in Supernatural: Fanfic, Fan Art and Fan Interpretation….......... 20 Gay Love Can Pierce Through the Veil of Death: The Importance of Slash Fiction….25 There’s Nothing More Dangerous than Some A-hole Who Thinks He’s on a Holy Mission: Toxic Misrepresentations of Fandom……………………………………......34 This is the End of All Things: Final Thoughts………………………………………...38 Works Cited……………………………………………………………………………39 Important Characters List……………………………………………………………...41 Popular Ships…………………………………………………………………………..44 1 Dad’s on a Hunting Trip and He Hasn’t Been Home in a Few Days: My Introduction to Supernatural and the SPN Family Supernatural (WB/CW Network, 2005-) is the longest running continuous science fiction television show in America. -
Race in Hollywood: Quantifying the Effect of Race on Movie Performance
Race in Hollywood: Quantifying the Effect of Race on Movie Performance Kaden Lee Brown University 20 December 2014 Abstract I. Introduction This study investigates the effect of a movie’s racial The underrepresentation of minorities in Hollywood composition on three aspects of its performance: ticket films has long been an issue of social discussion and sales, critical reception, and audience satisfaction. Movies discontent. According to the Census Bureau, minorities featuring minority actors are classified as either composed 37.4% of the U.S. population in 2013, up ‘nonwhite films’ or ‘black films,’ with black films defined from 32.6% in 2004.3 Despite this, a study from USC’s as movies featuring predominantly black actors with Media, Diversity, & Social Change Initiative found that white actors playing peripheral roles. After controlling among 600 popular films, only 25.9% of speaking for various production, distribution, and industry factors, characters were from minority groups (Smith, Choueiti the study finds no statistically significant differences & Pieper 2013). Minorities are even more between films starring white and nonwhite leading actors underrepresented in top roles. Only 15.5% of 1,070 in all three aspects of movie performance. In contrast, movies released from 2004-2013 featured a minority black films outperform in estimated ticket sales by actor in the leading role. almost 40% and earn 5-6 more points on Metacritic’s Directors and production studios have often been 100-point Metascore, a composite score of various movie criticized for ‘whitewashing’ major films. In December critics’ reviews. 1 However, the black film factor reduces 2014, director Ridley Scott faced scrutiny for his movie the film’s Internet Movie Database (IMDb) user rating 2 by 0.6 points out of a scale of 10. -
Analyse Ludique De La Franchise Saw
Université de Montréal Analyse ludique de la franchise Saw Par Janie Brien Département d’études cinématographiques Faculté des arts et des sciences Mémoire présenté à la Faculté des études supérieures en vue de l’obtention du grade M.A. en études cinématographiques Décembre 2012 © Janie Brien, 2012 Université de Montréal Faculté des études supérieures Ce mémoire intitulé : Analyse ludique de la franchise Saw présenté par : Janie Brien a été évalué(e) par un jury composé des personnes suivantes : Carl Therrien président-rapporteur Bernard Perron directeur de recherche Richard Bégin membre du jury i Résumé La saga Saw est une franchise qui a marqué le cinéma d’horreur des années 2000. Le présent mémoire tâchera d’en faire une étude détaillée et rigoureuse en utilisant la notion de jeu. En élaborant tout d’abord un survol du cinéma d’horreur contemporain et en observant la réception critique de la saga à travers l’étude de différents articles, ce travail tentera en majeure partie d’analyser la franchise Saw en rapport avec l’approche ludique du cinéma en général et celle adoptée par Bernard Perron. Cette étude, qui s’élaborera tant au niveau diégétique que spectatoriel, aura pour but de montrer l’importance de la place qu’occupe la notion de jeu dans cette série de films. Mots-clés Cinéma d’horreur, jeu, puzzle, torture. ii Abstract The Saw saga is a franchise that marked the horror film industry in the 2000’s. This report will try and give a thorough and detailled study while using the idea of a game. At the same time taking a cursory glance at contemporary horror films and observing how the critics were received by studying different articles. -
3D FILMS Report September 2011
3D FILMS Report September 2011 Philip Newman: [email protected] | Tel: (+44) 07779788553 © 2011 Brandwatch | www.brandwatch.com 1 CONTENTS SECTION 1: 3D: weight of discussion, identification & measure of public criticism and approval SECTION 2: Key Film Focus: analysis of pre-film and post-film discussion Harry Potter and the deathly Hallows part 2 3D Green Lantern 3D Pirates of the Caribbean: on Stranger Tides 3D SECTION 3: Blogs: key posts from the most influential blogs SECTION 4: Review of key findings Methodology: Identifying and Analyzing the Data © 2011 Brandwatch | www.brandwatch.com 2 EXECUTIVE SUMMARY • It is 2 years since the latest attempt to launch 3D films and it still remains a a pivotal talking point. • Sentiment is generally positive – at least for those anticipating the latest film in 3D. • However, there is a worrying amount of discontent about 3D: • In comment made after the film has been seen, negative reaction increases dramatically • The more influential the person, the more likely they are to be anti-3D, or at least air reservations • The 3 biggest 3D films of the Summer (Harry Potter, Pirates of the Caribbean, Green lantern) show a clear swing from positive anticipation to negative post-viewing reflection • Specific complaints include: high prices, uncomfortable glasses, inappropriate use of 3D, underwhelming 3D effects, heavy-handed 3D use, headaches and a growing understanding that some 3D films are not filmed in 3D at all, but added as part of post-production • Overall, dedicated film bloggers feel that 3D -
I Love You, Man: Gendered Narratives of Friendship in Contemporary Hollywood Comedies
I Love You, Man: Gendered narratives of friendship in contemporary Hollywood comedies Article submitted to Feminist Media Studies Abstract: This article begins with a simple observation: there are very few contemporary Hollywood films in which women are shown becoming friends. This is in contrast to the “bromance”, in which new connections between men are privileged, yet this pattern has gone largely unremarked in the literature. This article has two aims: to sketch this pattern and explore reasons for it through comparing the “girlfriend flick” and “bromance”. To do this, we first discuss those rare occasions when women do become friends on screen, using Jackie Stacey’s (1988) work to understand the difficulties this narrative trajectory poses for Hollywood. This raises questions about the relationship between the homosocial and homosexual which set up our comparison of female and male friendship films and provides the rationale for our focus on the beginnings of friendships as moments where tensions around gendered fascinations are most obvious. The films discussed are Baby Mama (McCullers, 2008), Step Brothers (McKay, 2008), I Love You, Man (Hamburg, 2009), Funny People (Apatow, 2009), Due Date (Phillips, 2010), and Crazy, Stupid, Love (Ficarra & Requa, 2011). The differences we identify hinge on issues of gendered representability and identification which have long been at the heart of feminist film scholarship. Keywords: film, female friendship, bromance, homosociality, comedy. 1 Authors: Susan Berridge & Karen Boyle Biographies: Susan Berridge completed her PhD at the University of Glasgow in 2010. Her thesis, entitled Serialised Sexual Violence in Teen Drama Series, is concerned with the relationship between representations of sexual violence, narrative, series and generic structures and she has published on these themes in Feminist Media Studies, The Journal of British Cinema and Television, and New Review of Film and Television Studies.