The Chieftain Staff the Chieftain Is Looking for a New Editor Next Year, and the Opportunity Is Being Opened up to the Whole Student Body
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The Popular Culture Studies Journal
THE POPULAR CULTURE STUDIES JOURNAL VOLUME 6 NUMBER 1 2018 Editor NORMA JONES Liquid Flicks Media, Inc./IXMachine Managing Editor JULIA LARGENT McPherson College Assistant Editor GARRET L. CASTLEBERRY Mid-America Christian University Copy Editor Kevin Calcamp Queens University of Charlotte Reviews Editor MALYNNDA JOHNSON Indiana State University Assistant Reviews Editor JESSICA BENHAM University of Pittsburgh Please visit the PCSJ at: http://mpcaaca.org/the-popular-culture- studies-journal/ The Popular Culture Studies Journal is the official journal of the Midwest Popular and American Culture Association. Copyright © 2018 Midwest Popular and American Culture Association. All rights reserved. MPCA/ACA, 421 W. Huron St Unit 1304, Chicago, IL 60654 Cover credit: Cover Artwork: “Wrestling” by Brent Jones © 2018 Courtesy of https://openclipart.org EDITORIAL ADVISORY BOARD ANTHONY ADAH FALON DEIMLER Minnesota State University, Moorhead University of Wisconsin-Madison JESSICA AUSTIN HANNAH DODD Anglia Ruskin University The Ohio State University AARON BARLOW ASHLEY M. DONNELLY New York City College of Technology (CUNY) Ball State University Faculty Editor, Academe, the magazine of the AAUP JOSEF BENSON LEIGH H. EDWARDS University of Wisconsin Parkside Florida State University PAUL BOOTH VICTOR EVANS DePaul University Seattle University GARY BURNS JUSTIN GARCIA Northern Illinois University Millersville University KELLI S. BURNS ALEXANDRA GARNER University of South Florida Bowling Green State University ANNE M. CANAVAN MATTHEW HALE Salt Lake Community College Indiana University, Bloomington ERIN MAE CLARK NICOLE HAMMOND Saint Mary’s University of Minnesota University of California, Santa Cruz BRIAN COGAN ART HERBIG Molloy College Indiana University - Purdue University, Fort Wayne JARED JOHNSON ANDREW F. HERRMANN Thiel College East Tennessee State University JESSE KAVADLO MATTHEW NICOSIA Maryville University of St. -
Wxw Holds Keynote on Wxw NOW Streaming
wXw holds keynote on wXw NOW streaming service, announces details on Germany's first wrestling network wXw just announced the first in-depth details on our new "wXw NOW" streaming network, which will launch one month from now on 8/13 at www.wxwnow.de. It will not just be a collection of shows like a lot of companies offer for a monthly fee via Pivotshare but also offer original content and a lot of archived shows, some dating back as far as 2006. We will also have our uniquely designed interface/UI, while hosting and infrastructure will be managed by Vimeo, our long-time streaming partner, dating back to 2013. Wrestling journalist Markus Gronemann (DarkMat.eu, Wrestling Observer) considers this to be the biggest launch of an over-the-top pro wrestling channel by a single promotion since New Japan World. wXw Managing Director Christian Jakobi held a keynote presentation tonight at 8 pm CEST at the wXw Wrestling Academy training school, which was streamed live on Facebook (the video is available, albeit only in German, here) and talked about what future and past events and what kind of original content would be available. We had up to 750 viewers simultaneously on Facebook and also had some students and a trainer (Toby Blunt) in attendance to provide some crowd noise and cheering at key points during the announcement. Marquee Events are wXw's version of pay-per-view caliber shows, where feuds start and end and international talent often appears. There currently are 10 marquee events on the calendar, with some of them being multi-day shows: -
Karlee Leilani Perez Los Angeles, CA 90038 • [email protected] • 813.433.6439
Karlee Leilani Perez Los Angeles, CA 90038 • [email protected] • 813.433.6439 CONTACT KPA Management: Karen Riposo - 212.243.5192 / 917.405.7598 Mavrick Artist Agency: Mike Wilson - 323.931.5555 Green Room Management – Patrick Havern – 323.371.9400 Eyes: Hazel Hair: Dark Brown Height / Weight: 5’4”; 120 lb. SAG Eligible PERFORMANCE EXPERIENCE STAGE (2010 – Present) WWE Raw (Stage / USA Network / Syfy) June 25, 2012 Maxine WWE Entertainment May 7, 2012 Maxine WWE Entertainment April 23, 2012 Maxine WWE Entertainment October 3, 2012 Maxine WWE Entertainment WWE NEXT Redemption Series Episode #5, 58 (2012) Maxine WWE Entertainment Episode #5, 57 (2012) Maxine WWE Entertainment Episode #5, 56 (2012) Maxine WWE Entertainment Episode #5, 55 (2012) Maxine WWE Entertainment Episode #5, 54 (2012) Maxine WWE Entertainment WWE Superstars Pay-per-View February 16, 2012 Maxine WWE Entertainment October 14, 2010 Maxine WWE Entertainment September 30, 2010 Maxine WWE Entertainment FILM / TELEVISION Lucha Underground (TV Series – 39 episodes -) Lead Netflix/One Three Media (Seasons 1, 2, 3) ***Emmy Nominee (Robert Rodriguez) Changeling Series Supporting Camella Xavmax Multimedia, Vincent Veloso Hallies Comment Principal Garcia Imani Films – Web Series Lullaby Principal Garcia Imani Films – Web Series *** - Los Angeles Film Festival – Best Web Series - 2x Winner COMMERCIALS MLB Boston Red Sox Television Commercial Dunn & Company Korbel Champagne Television Commercial Korbel TRAINING Master Class, Margie Haber (current) Scene Study, Anthony Meindl’s Actor Workshop (AMAW), Los Angeles, CA ● Emphasize on “acting in the moment” working in “imaginary circumstances” while deemphasizing “sense memory”, “mask work” in order to build the “muscle of the moment”. Intensive, Playhouse West Acting School and Repertory Theatre, Philadelphia, PA ● Specialized acting school that specializes in Meisner Technique, as taught by Tony Savant. -
Cubed Circle Newsletter 241 – Consistency Is Hard
Cubed Circle Newsletter 241 – Consistency is Hard As many of probably noticed, we have been posting late and sporadically for the last month. This was, obviously, not our intention, but with the second semester eating into my free time, staying up to date is a tall order. Even without the newsletter itself seeing weekly publication the site has still remained up to date on a weekly basis, thanks primarily to co-author Ben Carass, as well as guest writers Paul Cooke and Leslie Lee III. But, the newsletter has survived for well over 241 weeks, and will hopefully thrive in the years to come. I have attempted to make provisions for publishing related tasks which should minimize the risk of major delays (obviously there will be some regular delays, as this late issue can attest), but we have some fail safes in place in order to keep this to a minimum. With all of this said, we have a great issue for everyone this week with Paul Cooke discussing the Pro-Wrestling Only Greatest Wrestler Ever project and his personal experience with the poll, Ben covers the news including tons of results from Japan and the Lesnar USADA violation, the Mixed Bag returns with a look at comedy wrestling, Ricochet/Ospreay, and a potential WWE match of the year -- plus Ben also looks at last Sunday's Battleground show and the first RAW of the brand split (a very good show). Also, for those unaware, we now have an official Twitter account @CubedCircleWres allowing the banger to unprecedented highs at @BenCarass and @RyanClingman. -
The Phenomenological Aesthetics of the French Action Film
Les Sensations fortes: The phenomenological aesthetics of the French action film DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Matthew Alexander Roesch Graduate Program in French and Italian The Ohio State University 2017 Dissertation Committee: Margaret Flinn, Advisor Patrick Bray Dana Renga Copyrighted by Matthew Alexander Roesch 2017 Abstract This dissertation treats les sensations fortes, or “thrills”, that can be accessed through the experience of viewing a French action film. Throughout the last few decades, French cinema has produced an increasing number of “genre” films, a trend that is remarked by the appearance of more generic variety and the increased labeling of these films – as generic variety – in France. Regardless of the critical or even public support for these projects, these films engage in a spectatorial experience that is unique to the action genre. But how do these films accomplish their experiential phenomenology? Starting with the appearance of Luc Besson in the 1980s, and following with the increased hybrid mixing of the genre with other popular genres, as well as the recurrence of sequels in the 2000s and 2010s, action films portray a growing emphasis on the importance of the film experience and its relation to everyday life. Rather than being direct copies of Hollywood or Hong Kong action cinema, French films are uniquely sensational based on their spectacular visuals, their narrative tendencies, and their presentation of the corporeal form. Relying on a phenomenological examination of the action film filtered through the philosophical texts of Maurice Merleau-Ponty, Paul Ricoeur, Mikel Dufrenne, and Jean- Luc Marion, in this dissertation I show that French action cinema is pre-eminently concerned with the thrill that comes from the experience, and less concerned with a ii political or ideological commentary on the state of French culture or cinema. -
8. Body-Space-Relation in Parkour: Street Practices and Visual Representations
8. Body-Space-Relation in Parkour : Street Practices and Visual Representations Ines Braune Abstract Parkour today is a global subcultural scene that combines street with media practices. Parkour consists of a local moment, fundamentally concerned with the materiality of the street, and simultaneously of a global digital discourse, which involves millions of parkour actors. While the spatial knowledge requires a very close knowledge and tactile contact of the surface’s nature of space, the media representations seem to reflect an opposite image, namely the detachedness of space. In this chapter, I will address the question of space-making and spatial practices in Morocco and the relation to parkour’s visual representations. Keywords: Morocco, parkour, body, street Today, parkour is a global cultural scene that combines the street with media practices. In that sense, parkour consists of a local moment, fundamentally concerned with the materiality of the street, and simultaneously of a global digital discourse involving millions of parkour actors, called traceurs, negotiat- ing and re-evaluating their navigation through both physical and digital space. The first and often only contact with parkour, from the point of view of non-practitioners, frequently comes through its visual representations. Spectacular images and videos depict the weightlessness of the body and its detachment from space. Scholars have also weighed in here, analysing the relationship between the body and public space – that is, the interaction and engagement between body and space – while also evaluating parkour as an online culture, assessing the relevance of (digital) media practices within parkour and other youth and sport cultures such as skateboarding (Borden 2001; Buckingham 2009) and surfing (Booth 1996; 2001). -
Parkour/Freerunning As a Pathway to Prosocial Change
CORE Metadata, citation and similar papers at core.ac.uk Provided by ResearchArchive at Victoria University of Wellington Parkour/Freerunning as a Pathway to Prosocial Change: A Theoretical Analysis By Johanna Herrmann Supervised by Prof Tony Ward A thesis submitted to the Victoria University of Wellington in partial fulfilment of the requirements for the degree of Master of Science in Forensic Psychology Victoria University of Wellington 2016 ii iii Acknowledgements Special thanks to my supervisor Prof Tony Ward for his constant support and constructive feedback throughout the pleasures and struggles of this project. His readiness to offer an alternative perspective has provided me with many opportunities to grow as a critical thinker, researcher, and as a person. I am grateful to Prof Devon Polaschek, Dr Clare-Ann Fortune, and all members of their lab for encouraging me to pursue an innovative research project, as well as for providing inspiration, insights and connections to other specialist research areas in offender rehabilitation. The German Academic Exchange Service deserves special mention for the financial support that allowed me to take up my dream course of study in the country that is farthest away from my home. Finally, I would like to thank Damien Puddle and Martini Miller for lively discussions, valuable feedback, and sharing the passion regarding research, parkour/freerunning, as well as youth development. iv v Abstract Parkour/freerunning is a training method for overcoming physical and mental obstacles, and has been proposed as a unique tool to engage youth in healthy leisure activities (e.g., Gilchrist & Wheaton, 2011). Although practitioners have started to utilise parkour/freerunning in programmes for youth at risk of antisocial behaviour, this claim is insufficiently grounded in theory and research to date. -
How Women Fans of World Wrestling Entertainment Perceive Women Wrestlers Melissa Jacobs Clemson University, [email protected]
Clemson University TigerPrints All Theses Theses 5-2017 "They've Come to Draw Blood" - How Women Fans of World Wrestling Entertainment Perceive Women Wrestlers Melissa Jacobs Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Recommended Citation Jacobs, Melissa, ""They've Come to Draw Blood" - How Women Fans of World Wrestling Entertainment Perceive Women Wrestlers" (2017). All Theses. 2638. https://tigerprints.clemson.edu/all_theses/2638 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. “THEY’VE COME TO DRAW BLOOD” – HOW WOMEN FANS OF WORLD WRESTLING ENTERTAINMENT PERCEIVE WOMEN WRESTLERS A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Arts Communication, Technology, and Society by Melissa Jacobs May 2017 Accepted by: Dr. D. Travers Scott, Committee Chair Dr. Erin Ash Dr. Darren Linvill ABSTRACT For a long time, professional wrestling has existed on the outskirts of society, with the idea that it was just for college-aged men. With the rise of the popularity of the World Wrestling Entertainment promotion, professional wrestling entered the mainstream. Celebrities often appear at wrestling shows, and the WWE often hires mainstream musical artists to perform at their biggest shows, WrestleMania and Summer Slam. Despite this still-growing popularity, there still exists a gap between men’s wrestling and women’s wrestling. Often the women aren’t allowed long match times, and for the longest time sometimes weren’t even on the main shows. -
Playing with Fear: Parkour and the Mobility of Emotion
Social & Cultural Geography, Vol. 9, No. 8, December 2008 Playing with fear: parkour and the mobility of emotion Stephen John Saville Institute of Geography and Earth Sciences, Aberystwyth University, Ceredigion SY23 3DB, UK, [email protected] This article engages debates on emotional geography and non-representational theory by considering fear as a distinctly mobile engagement with our environment. Parkour, or freerunning, has exploded into public consciousness through commercial media representations and films. It is depicted as a spectacular urban sport that either can or cannot be done. Through ethnographic research with groups of parkour practitioners I consider what has been excluded from these representations: the emotions involved in trying, experimenting, and gradually learning to be in places differently. In parkour places are ‘done’ or mobilised in tentative, unsure, ungainly and unfinished ways which can be characterised by a kind of play with architecture. I argue that this play is contingent upon an array of fears, which, rather than being entirely negative, are an important way in which practitioners engage with place. Here fears can manifest differently, not only restricting mobility, but in some cases encouraging imaginative and playful forms of movement. Key words: fear, parkour, freerunning, emotional geography, mobility, place, play. On Wednesday 17 May 2006, David Belle, a He was pleased and excited. After the man heralded as a founder of parkour, and ‘fakeness’ of Californian media-appeasing now international celebrity, runs towards a performances, the Frenchman said he felt solid wall that cordons off an underpass. His more ‘real’. movement is purposeful and practised. All This scene, watched and discussed world- eyes are turned towards him. -
Parkour, Architecture, and the Interstices of the 'Knowable'
Liminalities: A Journal of Performance Studies Vol. 10, No. 2 (2014) Self and the City: Parkour, Architecture, and the Interstices of the ‘Knowable’ City Matthew D. Lamb Architecture’s presence in the city acts as a mediator through which the always already historical and social contexts are articulated. Architecture can influence our ability to give a comprehensive account of ourselves in the city. Our knowledge of self, our subjectification, is intertwined in the social conditions of our emergence. In effect, we make choices about which practices, or social actions, to enact based on their commensurability with regulatory norms. In many ways our everyday performances are explicitly tied to the presence of architecture. The purpose of this paper is to explore architecture’s participation in the maintenance of hegemonic discourses circumscribing appropriate uses of city space. To understand the effects of architecture on lived experiences I utilize the art of parkour as both a unit of analysis and as a method of investigation. Parkour’s engagement with architecture opens up a new understanding of the city. The data for this study came from several months of my regular participation in the parkour community in the downtown area of Indianapolis, Indiana. Therefore, I was embedded as much as possible in my field site interacting with other traceurs, conducting interviews, and being an active observing participant. To interpret and analyze the potential of parkour I take the position of the critical ethnographer. The purpose is to investigate how traceurs uncover new ways of understanding themselves, not only in relation to, but also in conjunction with, the architecture of the city. -
A Mother's Journey Into Parkour
Être et Durer A Mother’s Journey into Parkour by Serena Mignani Italy, 2017 – 73' and 52' min. Passion makes you thrill, prudence keeps you alive. Ten years of mother and hyperkinetic-son relationship, in their growth through physical turmoil of youth and adolescence, with Parkour as catalyst. web site - instagram - facebook SYNOPSIS A Mother and her hyperkinetic-son bump into Parkour- a new extreme urban discipline - and get trapped in its joyous physical routine till the day death occurs on school rooftop. Sudden mourning tears them apart: mother departs to research the discipline’s roots and its impact on different cultures, asking traceurs, scientists and women to guide her journey from Italy to UK, HK, Palestine, Shanghai in search of answers to risk and survival. While she travels the world to unveil a philosophical side of Parkour, her son continues to challenge the extreme, in search of consolation and challenge. Everyone pursues his obsessions up to the common goal, where each one gets what's seeking for: she'll learn how to let him go and accept destiny and he, surviving himself, achieves autonomy. Watch the clips Maxine & Danny Ilabaca: https://vimeo.com/218437106 Gaza Parkour Team : https://vimeo.com/218438501 Parkour - Freerunning or Art Du Déplacement ? The world "Parkour" is a modification of the French phrase "parcours du combattant" roughly translated as "military obstacle course." At first glance it looks like an extreme sport, and it certainly has many of the same qualities, however it's considered by practitioners - known as traceurs - as more of an art and a discipline. -
The Full 100+ Page Pdf!
2014 was a unique year for pro-wrestling, one that will undoubtedly be viewed as historically significant in years to follow. Whether it is to be reflected upon positively or negatively is not only highly subjective, but also context-specific with major occurrences transpiring across the pro-wrestling world over the last 12 months, each with its own strong, and at times far reaching, consequences. The WWE launched its much awaited Network, New Japan continued to expand, CMLL booked lucha's biggest match in well over a decade, culminating in the country's first million dollar gate, TNA teetered more precariously on the brink of death than perhaps ever before, Daniel Bryan won the WWE's top prize, Dragon Gate and DDT saw continued success before their loyal niche audiences, Alberto Del Rio and CM Punk departed the WWE with one ending up in the most unexpected of places, a developing and divergent style produced some of the best indie matches of the year, the European scene flourished, the Shield disbanded, Batista returned, Daniel Bryan relinquished his championship, and the Undertaker's streak came to an unexpected and dramatic end. These are but some of the happenings, which made 2014 the year that it was, and it is in this year-book that we look to not only recap all of these events and more, but also contemplate their relevance to the greater pro-wrestling landscape, both for 2015 and beyond. It should be stated that this year-book was inspired by the DKP Annuals that were released in 2011 and 2012, in fact, it was the absence of a 2013 annual that inspired us to produce a year-book for 2014.