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Trauma, Fear, and Paranoia Lost and the Culture of 9/11
Trauma, fear, and Paranoia Lost and the Culture of 9/11 rachEl aldrich onE of thE Most popular tElEvision shoWs of thE last dEcadE, Lost (2004-2010) con- foundEd Many of its viewers With its tWisting, convolutEd plotlinEs. this articlE is an EXploration of thE Many ElEMEnts of thE shoW ovEr its first few, dynaMic yEars that ultiMatEly weavE togEthEr to forM a suBtlE, suBvErsivE iMagE of post-9/11 aMEri- can sociEty. through an EXaMination of spEcific charactErs, and thE cast as a WholE, as well as various distinctly tErroristic and apocalyptic coMponEnts of thE shoW’s plot, Lost is rEvEalEd as Both a rEproduction and a critical rE-iMagination of thE aMErican rEsponsE to thE EvEnts of sEptEMBEr 11th, 2001. Lost BEcoMEs not MErEly an artifact of post-9/11 aMErican sociEty But a MEans through Which viewers arE invitEd to sEE Ways in Which our World can groW and changE. The events of September 11, 2001, not only permanently subtle. The first scene of the pilot episode depicts Jack disfigured the face of New York City and greatly changed Shephard (Matthew Fox), a surgeon and the main charac- the lives of thousands of Americans, but also created a cul- ter of the series, sprawled on the ground in the middle of tural shockwave in America that is still felt today. Ameri- the jungle. He is wearing a tattered business suit and looks can society was transformed almost immediately after the remarkably like a corpse. The positioning of his body and attacks; this response to terror can be seen in much of the his costuming is meant to align him with those many vic- visual culture that followed. -
Learning from Ambiguously Labeled Images
University of Pennsylvania ScholarlyCommons Technical Reports (CIS) Department of Computer & Information Science January 2009 Learning From Ambiguously Labeled Images Timothee Cour University of Pennsylvania Benjamin Sapp University of Pennsylvania Chris Jordan University of Pennsylvania Ben Taskar University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/cis_reports Recommended Citation Timothee Cour, Benjamin Sapp, Chris Jordan, and Ben Taskar, "Learning From Ambiguously Labeled Images", . January 2009. University of Pennsylvania Department of Computer and Information Science Technical Report No. MS-CIS-09-07 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/cis_reports/902 For more information, please contact [email protected]. Learning From Ambiguously Labeled Images Abstract In many image and video collections, we have access only to partially labeled data. For example, personal photo collections often contain several faces per image and a caption that only specifies who is in the picture, but not which name matches which face. Similarly, movie screenplays can tell us who is in the scene, but not when and where they are on the screen. We formulate the learning problem in this setting as partially-supervised multiclass classification where each instance is labeled ambiguously with more than one label. We show theoretically that effective learning is possible under reasonable assumptions even when all the data is weakly labeled. Motivated by the analysis, we propose a general convex learning formulation based on minimization of a surrogate loss appropriate for the ambiguous label setting. We apply our framework to identifying faces culled from web news sources and to naming characters in TV series and movies. -
10 Lost Wanted
Wanted updated 03-12-13 LOST Season 1 Missing: Oceanic 815 Puzzle Cards (1:11 packs) M1 Charlie: Get it? Hurley: Dude, quit asking me Walkabout M3 Claire: I'm having contractions. Jack: How man Pilot Pt. 1 M4 Jack: Come on. Come on! Come on! Come on! Big Pilot Pt. 1 M5 Jack: We must have been at about forth thousan Pilot Pt. 1 M6 Michael: Hey, hey, where you going, man? Walt: Walkabout M7 Charlie: How does something like that happen? Pilot Pt. 1 M8 Pilot: Six hours in, our radio went out. No on Pilot Pt. 1 M9 Kate: Jack! Jack: There's someone else still o White Rabbit Numbers Die-Cut Cards (1:17 packs) 15 Sawyer: That what I think it is? Michael: Some Exodus, Pt. 2 23 Kate: I wanted you to make sure that Ray Mulle Tabula Rasa 42 Hurley: ...Stop! What are you doing?! Why'd yo Exodus, Pt. 2 Autograph Cards (1:36 packs) A-1 Evangeline Lilly as Kate Austen A-2 Josh Holloway as James "Sawyer" Ford A-3 Maggie Grace as Shannon Rutherford A-5 Mira Furlan as Danielle Rousseau A-6 William Mapother as Ethan Rom A-7 John Terry as Dr. Christian Shephard A-9 Daniel Roebuck as Dr. Leslie Arzt A-11 Kevin Tighe as Anthony Cooper A-12 Swoosie Kurtz as Emily Annabeth Locke AR1 (Redemption Card) Pieceworks Cards (1:36 packs) PW-1 Shirt worn by Evangeline Lilly as Kate Austen The Greater Good PW-2 T-shirt worn by Josh Holloway as Sawyer Ford Pilot PW-3 Top worn by Maggie Grace as Shannon Rutherford Hearts and Minds PW-4 T-shirt worn by Matthew Fox as Jack Shepherd All the Best Cowboys Have Daddy Issues PW-5 T-shirt worn by Dominic Monaghan as Charlie Pace Pilot PW-6 T-shirt worn by Terry O'Quinn as John Locke Numbers PW-8 T-shirt worn by Jorge Garcia as Hugo "Hurley" Reyes Hearts and Mind PW-10 Top worn by Yunjin Kim as Sun Kwon Exodus Pt. -
The Etiology of Character Realization, Within Rhetorical Analysis of the Series
i Found: The Etiology of Character Realization, within Rhetorical Analysis of the Series LOST, through the Application of Underhill’s and Turner’s Classic Concepts of the Mystic Journey ____________________________________________ Presented to the Faculty Liberty University School of Communication Studies ______________________________________________ In Partial Fulfillment of the Requirements for the Master of Arts in Communication By Lacey L. Mitchell 2 December 2010 ii Liberty University School of Communication Master of Arts in Communication Studies Michael P. Graves Ph.D., Chair Carey Martin Ph.D., Reader Todd Smith M.F.A, Reader iii Dedication For James and Mildred Renfroe, and Donald, Kim and Chase Mitchell, without whom this work would have been remiss. I am forever grateful for your constant, unwavering support, exemplary resolve, and undiscouraged love. iv Acknowledgements This work represents the culmination of a remarkable journey in my life. Therefore, it is paramount that I recognize several individuals I found to be indispensible. First, I would like to thank my thesis chair, Dr. Michael Graves, for taking this process and allowing it to be a learning and growing experience in my own journey, providing me with unconventional insight, and patiently answering my never ending list of inquiries. His support through this process pushed me towards a completed work – Thank you. I also owe a great debt to the readers on my committee, Dr. Cary Martin and Todd Smith, who took time to ensure the completion of the final product. I will always have immense gratitude for my family. Each of them has an incredible work ethic and drive for life that constantly pushes me one step further. -
The Vilcek Foundation Celebrates a Showcase Of
THE VILCEK FOUNDATION CELEBRATES A SHOWCASE OF THE INTERNATIONAL ARTISTS AND FILMMAKERS OF ABC’S HIT SHOW EXHIBITION CATALOGUE BY EDITH JOHNSON Exhibition Catalogue is available for reference inside the gallery only. A PDF version is available by email upon request. Props are listed in the Exhibition Catalogue in the order of their appearance on the television series. CONTENTS 1 Sun’s Twinset 2 34 Two of Sun’s “Paik Industries” Business Cards 22 2 Charlie’s “DS” Drive Shaft Ring 2 35 Juliet’s DHARMA Rum Bottle 23 3 Walt’s Spanish-Version Flash Comic Book 3 36 Frozen Half Wheel 23 4 Sawyer’s Letter 4 37 Dr. Marvin Candle’s Hard Hat 24 5 Hurley’s Portable CD/MP3 Player 4 38 “Jughead” Bomb (Dismantled) 24 6 Boarding Passes for Oceanic Airlines Flight 815 5 39 Two Hieroglyphic Wall Panels from the Temple 25 7 Sayid’s Photo of Nadia 5 40 Locke’s Suicide Note 25 8 Sawyer’s Copy of Watership Down 6 41 Boarding Passes for Ajira Airways Flight 316 26 9 Rousseau’s Music Box 6 42 DHARMA Security Shirt 26 10 Hatch Door 7 43 DHARMA Initiative 1977 New Recruits Photograph 27 11 Kate’s Prized Toy Airplane 7 44 DHARMA Sub Ops Jumpsuit 28 12 Hurley’s Winning Lottery Ticket 8 45 Plutonium Core of “Jughead” (and sling) 28 13 Hurley’s Game of “Connect Four” 9 46 Dogen’s Costume 29 14 Sawyer’s Reading Glasses 10 47 John Bartley, Cinematographer 30 15 Four Virgin Mary Statuettes Containing Heroin 48 Roland Sanchez, Costume Designer 30 (Three intact, one broken) 10 49 Ken Leung, “Miles Straume” 30 16 Ship Mast of the Black Rock 11 50 Torry Tukuafu, Steady Cam Operator 30 17 Wine Bottle with Messages from the Survivor 12 51 Jack Bender, Director 31 18 Locke’s Hunting Knife and Sheath 12 52 Claudia Cox, Stand-In, “Kate 31 19 Hatch Painting 13 53 Jorge Garcia, “Hugo ‘Hurley’ Reyes” 31 20 DHARMA Initiative Food & Beverages 13 54 Nestor Carbonell, “Richard Alpert” 31 21 Apollo Candy Bars 14 55 Miki Yasufuku, Key Assistant Locations Manager 32 22 Dr. -
From William Golding's Lord of the Flies to ABC's LOST. By
Humanity Square One: From William Golding’s Lord of the Flies to ABC’s LOST. by Antonia Iliadou A dissertation to the Department of American Literature and Culture, School of English, Faculty of Philosophy of Aristotle University of Thessaloniki, in partial fulfillment of the requirements for the degree of Master of Arts. Aristotle University of Thessaloniki September 2013 Humanity Square One: From William Golding’s Lord of the Flies to ABC’s LOST. by Antonia Iliadou Has been approved September 2013 APPROVED: _________________________ _________________________ _________________________ Supervisory Committee ACCEPTED: _______________ Department Chairperson Iliadou 1 CONTENTS ACKNOWLEDGEMENTS .......................................................................................................1 ABSTRACT...............................................................................................................................3 INTRODUCTION......................................................................................................................5 CHAPTER 1: William Golding’s Lord of the Flies: Analysis and Contextualization ..............1 1.1. a. Lord of the Flies in an age of ambiguity: The position of Golding’s novel in the Post War United States...........................................................................................................2 1.1. b. The Impact of Golding’s Lord of the Flies on its Readers........................................14 1.2. “… The picture of man, at once heroic and sick”: The Depiction -
LOST Archives Checklist
LOST Archives Checklist Base Cards # Card Title [ ] 01 Jack Shephard played by Matthew Fox [ ] 02 Christian Shephard played by John Terry [ ] 03 Marshal Edward Mars played by Fredric Lehne [ ] 04 Kate Austin played by Evangeline Lilly [ ] 05 Diane Janssen played by Beth Broderick [ ] 06 Bernard Nadler played by Sam Anderson [ ] 07 Rose Nadler played by L. Scott Caldwell [ ] 08 Jin Kwon played by Daniel Dae Kim [ ] 09 Sun Kwon played by Yunjin Kim [ ] 10 Ben Linus played by Michael Emerson [ ] 11 Young Ben Linus played by Sterling Beaumon [ ] 12 Roger Linus played by Jon Gries [ ] 13 Martin Keamy played by Kevin Durand [ ] 14 Alex Rousseau played by Tania Raymonde [ ] 15 Danielle Rousseau played by Mira Furlan [ ] 16 Karl Martin played by Blake Bashoff [ ] 17 Leslie Arzt played by Daniel Roebuck [ ] 18 Ana Lucia Cortez played by Michelle Rodriguez [ ] 19 Charlie Pace played by Dominic Monaghan [ ] 20 Claire Littleton played by Emilie de Ravin [ ] 21 Aaron played by William Blanchette [ ] 22 Ethan Rom played by William Mapother [ ] 23 Zoe played by Sheila Kelley [ ] 24 Charles Widmore played by Alan Dale [ ] 25 Desmond Hume played by Henry Ian Cusick [ ] 26 Penelope Widmore played by Sonya Walger [ ] 27 Kelvin Inman played by Clancy Brown [ ] 28 Hugo Hurley Reyes played by Jorge Garcia [ ] 29 Carmen Reyes played by Lillian Hurst [ ] 30 David Reyes played by Cheech Marin [ ] 31 Libby Smith played by Cynthia Watros [ ] 32 Dave played by Evan Handler [ ] 33 Dr. Douglas Brooks played by Bruce Davison [ ] 34 Ilana Verdansky played by Zuleika -
The Lost Pdf Free Download
THE LOST PDF, EPUB, EBOOK J. D. Robb | 373 pages | 10 Oct 2014 | Penguin Putnam Inc | 9780515147186 | English | New York, United States The Lost PDF Book Mar 11, Carrie brightbeautifulthings rated it liked it Shelves: netgalley , ya-realism , horrorshow. And to make matters worse Piper starts falling for the random dude who shows up weeks later claiming his been kept away in a separate room for the last six months? I also did not establish a connection to any of the characters. I would have gotten 5 stars but the ending is way to open. Here are the 10 Best Books of , along with Notable Books of the year. Like some mythical hero who pays a visit to that realm of shadows the Greeks called the underworld, Mendelsohn has brought back stories of the dead that we are not likely to forget long after we close his book. She's known this guy for years and he's never given her the time of day. External Reviews. This being said I hated the end. It ends in a cliffhanger and I wish she would have kept the story going or ended the book where Piper gets home to her parents instead of Evan taking her. But Mendelsohn has tried to do other things here as well, such as show how memory and truth can converge and diverge at the flick of an eyelid, and that, despite what seems to be long runs of coincidences in his journeying towards finding the story…This is a great achievement, and an intensely moving one. -
"Man of Science, Man of Faith:" Lost, Consumer Agency and the Fate
"Man of Science, Man of Faith:" Lost, Consumer Agency and the Fate/Free Will Binary in the Post-9/tt Context Susan Tkachuk Submitted in partial fulfilment of the requirements for Intersdisciplinary Master of Arts in Popular Culture Brock University © Susan Tkachuk, June 2009 Abstract In 2004, Lost debuted on ABC and quickly became a cultural phenomenon. Its postmodem take on the classic Robinson Crusoe desert island scenario gestures to a variety of different issues circulating within the post-9II1 cultural consciousness, such as terrorism, leadership, anxieties involving air travel, torture, and globalization. Lost's complex interwoven flashback and flash-forward narrative structure encourages spectators to creatively hypothesize solutions to the central mysteries of the narrative, while also thematically addressing archetypal questions of freedom of choice versus fate. Through an examination of the narrative structure, the significance of technological shifts in television, and fan cultures in Lost, this thesis discusses the tenuous notion of consumer agency within the current cultural context. Furthermore, I also explore these issues in relation to the wider historical post-9III context. Acknowledgements First and foremost, I offer my thanks to my supervisor, Scott Henderson, whose guidance and sense of humour were invaluable throughout work on this project. When I began work on this thesis, I found its scope intimidating and difficult to distill into a cohesive, properly structured thesis, and Scott was irreplaceable in helping me achieve this. He was an endless source of ideas, and our meetings were so light-hearted and entertaining, I never felt like we were even doing work. I also thank my parents, Bruce and Kathy, for their enthusiastic support of my education. -
Uma Ilha De Estereótipos Em Lost
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Cadernos Espinosanos (E-Journal) // Rose: uma ilha de estereótipos em Lost /////////////////// Rogério de Almeida1 Christian H. Pelegrini2 1. Doutor em educação pela Universidade de São Paulo. Professor da Faculdade de Educação da USP e pesquisador do Geifec (Grupo de Estudos sobre Itinerários de Formação em Educação e Cultura). E-mail: [email protected] 2. Doutorando na Escola de Comunicações e Artes da Universidade de São Paulo, professor dos cursos de comunicação social da Pontifícia Universidade Católica de São Paulo e da Universidade São Judas Tadeu e pesquisador do Geifec. E-mail: [email protected] 2013 | ano 40 | nº39 | significação | 243 /////////////////////////////////////////////////////////////////////////////////////////// Resumo Este artigo é resultado de pesquisas realizadas pelo Geifec (Grupo de Estudos sobre Itinerários de Formação em Educação e Cultura) e tem por objetivo a análise das formas de representação da personagem Rose Nadler, da série americana Lost. Mulher, negra, próxima dos 60 anos, acima do peso, Rose está na intersecção de uma série de grupos minoritários, e sua presença na tela incorre na sobreposição de estereótipos pouco comuns na série. O referencial teórico toma por base as contribuições de Mazzara (1998) e Mittell (2010), e a metodologia parte do levantamento das aparições da personagem Rose ao longo das três primeiras temporadas da série, com captura de imagens e transcrição de diálogos. Palavras-chave Estereótipos, personagens secundários, séries televisivas. Abstract This paper is the result of research made on Geifec and has as a goal to analyze the modes of representation of the character Rose Nadler, from the American series Lost. -
Sawyer, Self-Proclaimed Outlaw and Former Conman, Is Being Suspected
1 Albert-Ludwigs-Universität Freiburg EPG II: 9/11 and the War on Terror Sommersemester 2008 9. Fachsemester EPG II essay by Philipp Fidler Challenging Utilitarianism The Depiction of Torture in LOST Torture is a recurring motif in LOST and is introduced very early on in the series: Episode 8 (“Confidence Man”) of the first season contains the first scene of physical torture. This is the scene I will base this essay on because as the first instance of torture it serves as a cornerstone for the handling of any such scenes following it. Secondly, the “formula” and means of legitimization used in this scene are almost identical to later portrayals of torture. As I will outline in this essay, torture in LOST is largely based on utilitarian thoughts, specifically the Greatest Happiness Principle with emphasis on a particular limitation of this principle made by John Stuart Mill. Furthermore, it is my belief that torture as portrayed in the series reflects certain practices used by the Bush administration in the War on Terror and their repercussions on a global scale. To support this interpretation, I will compare the sociological situation presented in LOST to the state of real life, post-9/11. The pilot episode of LOST was aired on September 22, 2004, on the US network ABC. Incidentally, this is the very day the events of this first episode are set. Immaterial as this may seem, this is of more than minor importance to this essay: It is safe to assume that each of the characters in the series have, in their fictional biographies, experienced of 9/11 and its aftermath. -
Lostedlayout Copy1
YOUʼVE ONLY GOT THREE CHOICES: RUN, HIDE, OR DIE. pregnant woman onthe verge an appetite for blood, a groupe Spelling television based on his constrained by tight because he had greenlighted While there is a continuous story The nightmare was only the of giving birth, an unlucky of hostile Islanddwellers out to concept of a cross between deadlines, as it had been such an expensive and risky arc, each episode relates events beginning. A plane crash on a millionaire, a washed-up kidnap and murderthem, a the novel Lord of the Flies, the commissioned late in the project. The world premiere of concurrently with off-island deserted Island. Forty-eight rockstar witha drug addiction dark jungle with dnger around movie Cast Away, the televi- 2004 season's development the pilot episode was on July flashbacks and later, flashfor- survivors. No hope of rescue. and adwindling supply, an Iraqi every corner. Not everyone sion series Gilligan’s Island, cycle. Despite the short 24, 2004 at Comic-Con wards, centered on a particular For teh next forty days, the soldier fleeing a haunting past, survived. The first forty days and televiesion popular reality schedule, the creative team International in San Diego. character. The majority of survivors of Oceanic flight #815 and a sister and brother with a taxed every resource of the show Survivor. Gadi Pollac remained flexible enough to Episodes have a episodes end with a suspenseful were tested to their limits. For disturbing shared history. Each rag-tag community, alliances notes that some of the modify or create characters distinct structure: following a twist or cliffhanger, revealed just Jack Shephard, a surgeon from boarded the plane with opes of were forged, rivalries “infulences of Lost came from to fit actors they wished to cast.