DOCSLIB.ORG

Page 1---Kickstarter

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Page 1---Kickstarter ----------------------- Page 1----------------------- Kickstarter Manuscript Preview 3.0 © 2020 White Wolf Entertainment © 2020 Onyx Path Publishing ----------------------- Page 2----------------------- Unit 4: Internal Matters Other things may change us, but we start and end with the family. — Anthony Brandt “So,” he said, “I need all the information on the recruiting in your department for the past ten years, and as soon as possible. Can you help?” Poor guy, Duv thought, grinning benignly. Stephen looked just ever so slightly harried, which meant, in Duv’s experience, that he was seriously stressed. Served him right, too; he’d always breezed through training, testing and assignments with an annoying aplomb that even the most highly ranked agents were known to envy. It was about time someone gave him a difficult assignment. “Sure, sure, glad to. When do you need it by? Couple a’weeks is probably the best we can do.” “Tomorrow morning. Tonight would be better.” Duv raised an eyebrow. Either this was serious, or Stephen had truly pissed someone off and generously decided to share. Well, it didn’t actually matter which it was; either way, Duv needed to jump or risk getting official displeasure splashed all over his nice black suit. He mentally added another case of his favorite beer to the tally he reckoned Stephen owed him at this point. Fortunately, there was an easy solution to this particular problem; one that Duv took frequent advantage of with an almost religious devotion: “Hey Madelyn, I want you to meet my friend, Stephen. He needs some information, and everyone knows you’re the source of all wisdom around here.” Fortress. Family. Home. The Technocratic Union, by definition, is a fortress unified by a technological elite. Yet that fortress has doors, windows, walls, and passageways; cracks in its foundation. Among its theoretically unified ranks dwell fallible human and not-exactly-human beings, whose imperfections and differences mock the monolithic façade around that fortress. To outsiders, the Technocracy seems soulless and impenetrable. To those living and dying within this organization, though, the Technocratic Union is not a reality-strangling conspiracy. It’s a home. Strange as this might seem, the Technocratic Union provides focus, purpose, salvation, family. For many of its operatives and employees, the Union is the greatest thing they’ve ever known. Like any family, it has its flaws; but like the best of families, it nurtures and protects its people in ways outsiders can never understand. Oh, it can be abusive, true, and each member must surrender most of their autonomy in order to remain in the good graces of the Inner Circle. When outsiders challenge the stability of that family, though, the Technocratic Union locks the gates, mans the walls, and drowns outsiders in seas of their own blood. The following chapter builds on and expands upon information presented in Mage 20 (pp. 166- 195) and The Book of Secrets (pp. 223-233). It’s not exhaustive, nor could it possibly be that way. In place of the subjective perspective of the previous chapters, this Unit takes a relatively ----------------------- Page 3----------------------- objective stance. Even then, however, much of the Union remains in shadows. No family, after all, can be summed up fully in a few thousand words. Think of this chapter as a family portrait: A bit remote, outside by definition, capturing certain elements of each family member while suggesting relationships you never clearly see. Artificially presented, but ideally capturing a moment of truth before people in it swirl off with lives and agendas of their own. Be it ever so hostile — to RDs, anyway — there really is no place like home. Toward Technocratic Humanity The Technocratic Union exists to further the march of human progress, protecting humanity from Reality Deviants, who (according to the Technocrats) are dragging progress and humanity backwards, relying on beliefs that do not make sense, and on practices based on those beliefs, invented to comfort a less-advanced form of humanity. The Technocratic Union consistently looks forward, wanting to integrate as many kinds of thought as possible, all of it focused on change for the betterment of humankind. The Union’s goal, despite popular belief, isn’t violence and destruction. The goal is to raise humanity up to from the limitations of its present form; ideally without destroying the things that make humanity beautiful. But what is it like, serving the Union? How do people live and breathe within the confines of its rigid structure? Children grow up within its strict rules and guidelines, marriages are made, partnerships forged and broken, and real living people of all types find themselves working at the core of the Technocracy. Outsiders frequently forget that Technocrats are, at their core, human. They feel, they love, they cry, they relate to others. Of course, where Reality Deviants might have more strict beliefs on what precisely constitutes personhood… What, Within the Technocracy, Constitutes a Person? The Technocratic Union does not see “humanity” as being defined by the parameters of blood and flesh. The structure of the Union requires that broader parameters be applied in order to support new kinds of life. Where some people might consider a test tube baby, or even a child or person born from primordial ooze, to not be “human,” the Union recognizes that humanity changes with the advancements of science. Looking forward, Technocrats see only opportunity, with the boundaries of “humanity” becoming redefined by clones, cyborgs, genetically re-evolved human beings, and even people who have transcended the current concept of “human” landing squarely in the realm of operatives of the Union. Humanity changes; it adapts to new circumstances. As the oceans rise, as technology advances, as the world itself bends to human will, the ways in which a person becomes a person become more complicated. The Union takes the widest-angle approach possible. Instead of placing restrictions upon the concept of humanity, they open their arms to the many varied ways in which people might adapt to the world. ----------------------- Page 4----------------------- Because adaptation is the strength of the Union, adaptability is the quality by which every Technocrat lives and dies, and with that adaptability comes an acknowledgement that within a changing world, there can only be an ever-changing humanity. The Technocratic Union’s approach to what constitutes a person — or for that matter, what constitutes a non-person that is still considered a safe addition to the Technocratic community — is important because it colors the ways in which the Union operates as a whole. While many outsiders see the Technocratic Union as a monolithic fortress filled with violent and unfriendly men in dark suits and sunglasses, that impression is not true. Such assumptions, however, are rooted in a long history of the Technocratic Union preserving and enforcing a culture of bigotry and judgment — a culture that has come to be phased out only within the last few decades. Recent Past and Current Events Despite the egalitarian ideals (at least, by late medieval standards) of its predecessor, the Order of Reason, the Technocratic Union is a product of Victorian Europe, with all the imperial, ethnocentric prejudices that origin implies. Thus, even now, systemic bigotry remains an innate element of the Union’s foundations. That bigotry has poisoned the system for a long time. Outsiders still regard the Technocracy not as a beacon of hope for humankind’s future, but as a monolith of hate seeking to erase anyone disagreeing with it. Ironically, that monolithic impression masks deep internal divisions within the so-called Union, and many of those divisions come from different perspectives about human identity, diversity, and the value of “raw” human beings within a group dedicated — at least in theory — to the advancement of our species. Certain Conventions (notably Iteration X and the NWO) prize collective identity over the capitalist Eurocentricism of the Syndicate and the Darwinian extremism of the Progenitors; meanwhile — as epitomized by the Men in Black agents only recently converted into Black Suits — those same Conventions retain a white- centric, male-gaze legacy that prizes ability over disability and male prowess over feminine skill. Those contrasts between egalitarian ideals and cultural realities provide a complex social battlefield for the supposedly unified Technocracy. In recent decades, though, the ideals have been winning, if only because bigotry is a proven waste of talent and resources. Removing that bigotry from the Union, then, has become imperative for Technocrats in 21st century leadership positions; but people, like institutions, can be stubborn and resistant to change, and so egalitarianism remains a fight that progressive Technocrats must constantly pursue. In recent years, one region within the Union ’s primary influence has been spilling pervasive bigotry: the United States. Once a center of technological pride and innovation (albeit one steeped in slavery, genocide, and masculine-power ideals), the USA has embraced large-scale religious and cultural fundamentalism. Although this trend suits the coffers-filling goals of Syndicate operatives, Technocrats from other Conventions have been horrified to see the constant reduction of science education and funding throughout the USA, the spread of anti- intellectual and anti-science propaganda, and the government’s
Load more

Recommended publications
  • Gang War Erupts in Combat Zone
    WEATHER & GOSSIP OPINION TECH LIFESTYLES ENTERTAINMENT BUSINESS WORLD NEWS HAZARDS Gang War Erupts in Combat Zone By jericho hunt • Night City • 2 Hours Ago Earlier today, the northern sector of the Combat Zone was body conversions and heavily augmented individuals thrust into chaos as tensions between the Iron Sights and either on the edge of or in the grip of cyberpsychosis, the Red Chrome Legion exploded into a full-scale con- lost influence and territory during the Time of the Red. It flict. Bullets flew and rippers sliced as these two violent wasn’t until a recently that the Iron Sights began to see gangs released months of pent up hostility on each other a rise in membership once again. This increase in their and any unfortunate Night City resident that wandered ranks was initially attributed to individuals suffering into their bloody feud. NCPD officers are already on from cyberpsychosis who joined their ranks after fail- the scene attempting to quell this senseless violence but ing to reincorporate into society. But recently, intrepid the sighting of multiple full-body conversions in the fray reporter Jericho Hunt unearthed a discovery that will has necessitated the involvement of C-SWAT. No doubt shock the city and most definitely sheds light on this cur- this conflict will boil over beyond the Combat Zone as rent massacre. Undercover, at a Nomad operated train it escalates. station on the outskirts of Night City, Hunt witnessed a handoff between known Iron Sights affiliates and a mys- But what could have caused this bloodbath? Could there terious cabal of men in black suits.
    [Show full text]
  • Translating Expertise Across Work Contexts: U.S. Puppeteers Move
    ASRXXX10.1177/0003122420987199American Sociological ReviewAnteby and Holm 987199research-article2021 American Sociological Review 2021, Vol. 86(2) 310 –340 Translating Expertise across © American Sociological Association 2021 https://doi.org/10.1177/0003122420987199DOI: 10.1177/0003122420987199 Work Contexts: U.S. Puppeteers journals.sagepub.com/home/asr Move from Stage to Screen Michel Antebya and Audrey L. Holma Abstract Expertise is a key currency in today’s knowledge economy. Yet as experts increasingly move across work contexts, how expertise translates across contexts is less well understood. Here, we examine how a shift in context—which reorders the relative attention experts pay to distinct types of audiences—redefines what it means to be an expert. Our study’s setting is an established expertise in the creative industry: puppet manipulation. Through an examination of U.S. puppeteers’ move from stage to screen (i.e., film and television), we show that, although the two settings call on mostly similar techniques, puppeteers on stage ground their claims to expertise in a dialogue with spectators and view expertise as achieving believability; by contrast, puppeteers on screen invoke the need to deliver on cue when dealing with producers, directors, and co-workers and view expertise as achieving task mastery. When moving between stage and screen, puppeteers therefore prioritize the needs of certain audiences over others’ and gradually reshape their own views of expertise. Our findings embed the nature of expertise in experts’ ordering of types of audiences to attend to and provide insights for explaining how expertise can shift and become co-opted by workplaces. Keywords expertise, audiences, puppetry, film and television Expertise has become a fundamental currency of cases (Abbott 1988:8).
    [Show full text]
  • Metal Obs' Numéro 32
    Metal Obs’ numéro 32 - juillet-Août 2009 Metal Obs’ n°32 - Juillet/Août 2009 MENSUEL METAL GRATUIT DISTRIBUÉ EXCLUSIVEMENT DANS LES Juillet / août, le temps des maillots de bain, de la plage, des MAGASINS FNAC crustacés, des bibines fraîches... et surtout des voyages, histoire de voir si l’herbe est plus verte ailleurs ! Mais même si nous RÉDACTEUR EN CHEF Geoffrey PAUFERT (Fnac Valenciennes)SEC RÉTAIRE DE RÉDAC- allons faire un break bien mérité pendant 2 ou 3 semaines, après TION Will «Of Death» HIEN RÉDACTION Will Of Death, Yazan «Yath» El Safadi, Gaetan une nouvelle clôture dans la douleur, nous allons quand même Soleil, Olivier «Breizhjoker» Le Pan, Regis «min cousin» Vandenbussche, Lucie, Looner, profiter de nos congés pour écouter Megadeth ou Immortal, deux Luna , Gilles «Der Kaiser» Kaeser, Jonathan Deladerrière MAQUETTE: Geoffrey Paufert exemples de grosse sortie de la rentrée, qui s’annonce une nouvelle fois exaltante en termes de WEBMASTER : Jean-Noël Bonnaillie disques à paraître... Bref, les vacances seront studieuses. REMERCIEMENTS aux labels, à la FNAC et à tous les vendeurs metal, les chargés de Cette saison 2008/2009 s’est terminée en beauté par un terrible Hellfest qui a su rassembler plus de communication FNAC, Mathieu Barville, Jean-Luc Muller, Daniel d’UNDERCLASS, Char- 60.000 rednecks venus de partout, en proposant une affiche éclectique unique en Europe ! Quelle les-Henry Provost, Virginie Binard, Karine «Blackberry forever» S. réussite et quel plaisir pour les fans ! Pour fêter ça, en plus de nos rubriques traditionnelles, on vous REMERCIEMENTS ETERNELS Michel S. propose ce mois-ci un report completoilà, dans avec ce photos, tableau qui idyllique, sera complété il y a une par ombre, beaucoup Hcelleellfest d’autres des aupr culs-bénisès clichés, des sur notre site Noiseweb.
    [Show full text]
  • Banks Date Range: 6/01/2013 Thru 6/30/2013
    7/25/2013 2:54 PM A/P HISTORY CHECK REPORT PAGE: 1 VENDOR SET: 99 CITY OF SEABROOK BANK: * ALL BANKS DATE RANGE: 6/01/2013 THRU 6/30/2013 CHECK CHECK CHECK CHECK VENDOR I.D. NAME STATUS DATE AMOUNT DISCOUNT NO STATUS AMOUNT C-CHECK VOID CHECK V 6/05/2013 114982 C-CHECK VOID CHECK V 6/05/2013 115020 C-CHECK VOID CHECK V 6/12/2013 115071 C-CHECK VOID CHECK V 6/26/2013 115197 * * T O T A L S * * NO INVOICE AMOUNT DISCOUNTS CHECK AMOUNT REGULAR CHECKS: 0 0.00 0.00 0.00 HAND CHECKS: 0 0.00 0.00 0.00 DRAFTS: 0 0.00 0.00 0.00 EFT: 0 0.00 0.00 0.00 NON CHECKS: 0 0.00 0.00 0.00 VOID CHECKS: 4 VOID DEBITS 0.00 VOID CREDITS 0.00 0.00 0.00 TOTAL ERRORS: 0 VENDOR SET: 99 BANK: * TOTALS: 4 0.00 0.00 0.00 BANK: * TOTALS: 4 0.00 0.00 0.00 7/25/2013 2:54 PM A/P HISTORY CHECK REPORT PAGE: 2 VENDOR SET: 08 CITY OF SEABROOK BANK: 08 Debt Service Fund DATE RANGE: 6/01/2013 THRU 6/30/2013 CHECK CHECK CHECK CHECK VENDOR I.D. NAME STATUS DATE AMOUNT DISCOUNT NO STATUS AMOUNT 0011 FULBRIGHT & JAWORSKI, LLP I-11208164 BOND COUNSEL R 6/19/2013 001127 08 808-5472 BOND ISSUANCE COSTS BOND COUNSEL 25,155.00 25,155.00 *** VENDOR TOTALS *** 1 CHECKS 25,155.00 * * T O T A L S * * NO INVOICE AMOUNT DISCOUNTS CHECK AMOUNT REGULAR CHECKS: 1 0.00 0.00 25,155.00 HAND CHECKS: 0 0.00 0.00 0.00 DRAFTS: 0 0.00 0.00 0.00 EFT: 0 0.00 0.00 0.00 NON CHECKS: 0 0.00 0.00 0.00 VOID CHECKS: 0 VOID DEBITS 0.00 VOID CREDITS 0.00 0.00 0.00 TOTAL ERRORS: 0 ** G/L ACCOUNT TOTALS ** G/L ACCOUNT NAME AMOUNT ---------------------------------------------------------------------- 08 808-5472 BOND ISSUANCE COSTS 25,155.00 *** FUND TOTAL *** 25,155.00 VENDOR SET: 08 BANK: 08 TOTALS: 1 25,155.00 0.00 25,155.00 BANK: 08 TOTALS: 1 25,155.00CR 0.00 25,155.00 7/25/2013 2:54 PM A/P HISTORY CHECK REPORT PAGE: 3 VENDOR SET: 70 CITY OF SEABROOK BANK: 70 SEDC 2 DATE RANGE: 6/01/2013 THRU 6/30/2013 CHECK CHECK CHECK CHECK VENDOR I.D.
    [Show full text]
  • Thomas Fountain Collection Prepared by Piruz Haney 2019
    1 Finding Aid for the Thomas Fountain Collection Prepared by Piruz Haney 2019 Collection Summary Title: Thomas Fountain Collection Span Dates: 1987-2003 Bulk Dates: 1997-2003 Creator: Thomas Fountain Extent: 6 boxes Language: English Repository: Nancy Staub Puppetry Research Library Center for Puppetry Arts 1404 Spring St NW Atlanta, GA 30309 Abstract: Contains scripts related to the career of film and television puppeteer Thomas “Thom” Fountain with a focus on the TV series “Sabrina, the Teenage Witch”. Administrative Information: Provenance: This collection contains materials donated to the Center for Puppetry Arts (CPA) by puppeteer Thom Fountain from his time working on various TV and movie productions. Processing History: The donation by Thom Fountain to the CPA was made in 2011. In the Spring of 2019, preservation methods were undertaken to remove all metal fasteners and replace them with more stable clips. Rehousing efforts, which began prior to 2019, were completed by transferring all documents to archival boxes. Documents were unscrambled and a finding aid was created. As of May 2019, this collection has not been processed within the Past Perfect system. Copyright Status: Some material may be copyrighted or restricted. It is the patron's obligation to determine and satisfy copyright or other case restrictions when publishing or otherwise distributing materials found in the collections. Access and Restrictions: The records of the Nancy Lohman Staub Archives collection are open to research by appointment only. The library and archives are open Monday-Friday from 9:00 to 3:00, it is suggested that researchers call a week in advance to set up an appointment.
    [Show full text]
  • The Sci-Fi Brain: Narratives in Neuroscience and Popular Culture
    The Sci-Fi Brain: Narratives in Neuroscience and Popular Culture By Åsa Alftberg & Peter Bengtsen Abstract The connection between neuroscience, popular media and lay perceptions of the brain involves the framing of complex scientific processes and results through familiar cultural narratives and metaphors. Such narratives are often built on the premise that neuroscience, with the help of powerful new technologies, will finally solve the mysteries of brain and mind, consciousness and morality. At the same time, popular culture—especially the science fiction genre—tends to focus on worst case scenarios of the implementation of technology. This article explores cultural narratives of what the brain is and how it functions in two different contexts—among neuroscientists and within popular culture. In particular, narratives about technology and the malleable brain as well as the notion of the mad scientist are studied. The article explores how these narratives are presented and used in popular culture and how neuroscientists relate to the narratives when describing their work. There is a contrast, but also a blurring of boundaries, between actual research carried out and the fictional portrayals of scientists constructing, or altering, fully functional brains. To some extent, the narratives serve as a background for the public’s understanding of, and attitude towards, neuroscience—something that must be taken into consideration when dealing with the therapeutic treatment of patients. The narratives of neuroscience in popular culture are to a certain degree shaped by actual scientific practices and findings, but neuroscience is also influenced by laypeople’s perceptions, which often have their roots in the narratives of popular culture.
    [Show full text]
  • Library 3398 Songs, 7.2 Days, 12.30 GB
    Library 3398 songs, 7.2 days, 12.30 GB Song Name Artist Album _Secret Agent - Guster Keep It Together – Celtic Twilight Loreena McKennitt '85 Radio Special Thank You They Might Be Giants Then: The Earlier Years (CD 1) 'Ama'ama Israel "IZ" Kamakawiwo'ole Facing Future 'Round Springfield (Medley) The Simpsons Songs In The Key Of Spring… 'S Wonderful Ella Fitzgerald The Best Of the Song Books 'Til Him The Producers "Badge OF Honor"- Jerry Goldsmith Jerry Goldsmith L.A. Confidential "Chief Wiggum, P.I." Main Title The Simpsons Go Simpsonic With The Sim… "Eye On Springfield" Theme The Simpsons Songs In The Key Of Spring… "Itchy & Scratchy" End Credits Theme The Simpsons Songs In The Key Of Spring… "Itchy & Scratchy" Main Title Theme The Simpsons Songs In The Key Of Spring… "Kamp Krusty" Theme Song The Simpsons Go Simpsonic With The Sim… "Krusty The Clown" Main Title The Simpsons Go Simpsonic With The Sim… "Oh, Streetcar!" (The Musical) The Simpsons Songs In The Key Of Spring… "Quimby" Campaign Commercial The Simpsons Go Simpsonic With The Sim… "Scorpio" End Credits The Simpsons Go Simpsonic With The Sim… "Simpsoncalifragilisticexpiala(Annoyed Grunt)Cio… The Simpsons Go Simpsonic With The Sim… "Skinner & The Superintendent" Theme The Simpsons Go Simpsonic With The Sim… "The Itchy & Scratchy & Poochie Show" Theme The Simpsons Go Simpsonic With The Sim… "The Love-Matic Grampa" Main Title The Simpsons Go Simpsonic With The Sim… "The Simpsons" End Credits Theme The Simpsons Go Simpsonic With The Sim… "The Simpsons" End Credits Theme (Jazz Quartet
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles Queering
    UNIVERSITY OF CALIFORNIA Los Angeles Queering Black Gay Historiography: Performance, (Mis)Identifications, and Possibilities A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Theatre/Performance Studies by Thomas Howard Fitzgerald 2013 ABSTRACT OF THE DISSERTATION Queering Black Gay Historiography: Performance, (Mis)Identifications, and Possibilities. by Thomas Howard Fitzgerald Doctor of Philosophy in Theatre and Performance Studies University of California, Los Angeles, 2013 Professor Sue Ellen Case, Chair This dissertation will examine black gay theatre/ performance in the United States from 1970 to 2010. My intent is to establish a genealogy of black gay performance by situating performance strategies of visibility employed by black gay men in the late 20th century utilizing various performance genres such as revue, theatrical biography, the “event” and history play. Specifically, I am interested that this writing act as a discursive in interrogating the historiography of the tactics of black gay visibility in contrast to and in concert with traditional heterosexual black masculinities where the overall effort was to distinguish a queer black aesthetic separate from the white gay project. My research is necessarily involved with both gay and black performances in this period, since a study of black gay performance practices cannot be pulled away from the black experience in America. Identity politics is the conduit to self- empowerment for black and gay liberation movements, for similar reasons. Accordingly, the project study will concentrate on three areas: (1) social trends and historiography, (2) select black gay performances in this period, and (3) theories of queer and racial identification.
    [Show full text]
  • Puppeteer, Summer 2006
    You’re a what? P t u PP e e e by Elka Jones r uppeteer Paul Mesner has Rapunzel on a string. system, scenery, and other props—for performances. But this Rapunzel gets her prince by taking the Although physical agility may be important for pup- Pwitch’s scooter—an inverted hair dryer that has peteers, a need for attention is not. “Many puppeteers are curlers for handle bars. shy,” says Paul. Speaking through puppets and behind a “I like to create zany, quirky versions of familiar curtain or screen allows people who are more reserved to stories,” says Paul. For inspiration, he turns to classic share their talents. fairytales and fables and then adds the unexpected. “It’s Among the many talents puppeteers share is their quite engaging for kids to hear old stories told in a new sense of humor. Paul uses all types of humor to keep his way,” he says. audience entertained. “I love to hear an audience laugh,” Paul, like many in his trade, writes his own scripts he says. “It’s very satisfying to hear a group of 350 kids and creates his own puppets. He primarily creates shadow roaring, and it’s often at the simplest things.” After a puppets and rod puppets. A shadow puppet is a figure, performance, Paul explains to the audience how he does sometimes cut out of cardboard, wood, or leather, that what he does, and then he answers questions. casts a shadow onto a screen. The audience watches the Puppetry, says Paul, is an art form with a lot of shadow of each puppet, rather than watching the figure potential.
    [Show full text]
  • The Problem of Female Antagonisms in Blaxploitation Cinema Melissa
    1 Who’s Got the “Reel” Power? The Problem of Female Antagonisms in Blaxploitation Cinema Melissa DeAnn Seifert, University of Wisconsin-Milwaukee Abstract: Between 1973 and 1975, films starring Pam Grier and Tamara Dobson such as Cleopatra Jones (Jack Starrett, 1973), Coffy (Jack Hill, 1973) and Foxy Brown (Hill, 1974) introduced leading black women into the predominantly male blaxploitation scene as aggressive action heroines. Within the cinematic spaces of blaxploitation films which featured women as active agents, a racial and sexual divide exists. These films positioned women either inside or outside of gender tolerability by utilising binary constructions of identity based on race, sex and elementary constructions of good and evil, black and white, straight and gay, and feminine and butch. Popular representations of lesbianism and sisterhood within blaxploitation cinema reflect a dominant social view of American lesbianism as white while straight women are consistently represented as black. However, these spaces also constricted black and white female identities by limiting sexuality and morality to racial boundaries. This article seeks to question the unique solitude of these female heroines and interrogate a patriarchal cinematic world where sisterhood is often prohibited and lesbianism demonised. I don’t believe in [women’s lib] for black people … we’re trying to free our black men … I like being a woman. I have been discriminated against, but not because I’m a woman. It’s because I am black … before [people] see me as being female, they see me as being black. The stigma that’s been placed on you because you’re black gives you enough kill to get you through the woman thing … it’s much tougher being black than being a woman.
    [Show full text]
  • PRESS Graphic Designer
    © 2021 MARVEL CAST Natasha Romanoff /Black Widow . SCARLETT JOHANSSON Yelena Belova . .FLORENCE PUGH Melina . RACHEL WEISZ Alexei . .DAVID HARBOUR Dreykov . .RAY WINSTONE Young Natasha . .EVER ANDERSON MARVEL STUDIOS Young Yelena . .VIOLET MCGRAW presents Mason . O-T FAGBENLE Secretary Ross . .WILLIAM HURT Antonia/Taskmaster . OLGA KURYLENKO Young Antonia . RYAN KIERA ARMSTRONG Lerato . .LIANI SAMUEL Oksana . .MICHELLE LEE Scientist Morocco 1 . .LEWIS YOUNG Scientist Morocco 2 . CC SMIFF Ingrid . NANNA BLONDELL Widows . SIMONA ZIVKOVSKA ERIN JAMESON SHAINA WEST YOLANDA LYNES Directed by . .CATE SHORTLAND CLAUDIA HEINZ Screenplay by . ERIC PEARSON FATOU BAH Story by . JAC SCHAEFFER JADE MA and NED BENSON JADE XU Produced by . KEVIN FEIGE, p.g.a. LUCY JAYNE MURRAY Executive Producer . LOUIS D’ESPOSITO LUCY CORK Executive Producer . VICTORIA ALONSO ENIKO FULOP Executive Producer . BRAD WINDERBAUM LAUREN OKADIGBO Executive Producer . .NIGEL GOSTELOW AURELIA AGEL Executive Producer . SCARLETT JOHANSSON ZHANE SAMUELS Co-Producer . BRIAN CHAPEK SHAWARAH BATTLES Co-Producer . MITCH BELL TABBY BOND Based on the MADELEINE NICHOLLS MARVEL COMICS YASMIN RILEY Director of Photography . .GABRIEL BERISTAIN, ASC FIONA GRIFFITHS Production Designer . CHARLES WOOD GEORGIA CURTIS Edited by . LEIGH FOLSOM BOYD, ACE SVETLANA CONSTANTINE MATTHEW SCHMIDT IONE BUTLER Costume Designer . JANY TEMIME AUBREY CLELAND Visual Eff ects Supervisor . GEOFFREY BAUMANN Ross Lieutenant . KURT YUE Music by . LORNE BALFE Ohio Agent . DOUG ROBSON Music Supervisor . DAVE JORDAN Budapest Clerk . .ZOLTAN NAGY Casting by . SARAH HALLEY FINN, CSA Man In BMW . .MARCEL DORIAN Second Unit Director . DARRIN PRESCOTT Mechanic . .LIRAN NATHAN Unit Production Manager . SIOBHAN LYONS Mechanic’s Wife . JUDIT VARGA-SZATHMARY First Assistant Director/ Mechanic’s Child . .NOEL KRISZTIAN KOZAK Associate Producer .
    [Show full text]
  • Title of Book/Magazine/Newspaper Author/Issue Datepublisher Information Her Info
    TiTle of Book/Magazine/newspaper auThor/issue DaTepuBlisher inforMaTion her info. faciliT Decision DaTe censoreD appealeD uphelD/DenieD appeal DaTe fY # American Curves Winter 2012 magazine LCF censored September 27, 2012 Rifts Game Master Guide Kevin Siembieda book LCF censored June 16, 2014 …and the Truth Shall Set You Free David Icke David Icke book LCF censored October 5, 2018 10 magazine angel's pleasure fluid issue magazine TCF censored May 15, 2017 100 No-Equipment Workout Neila Rey book LCF censored February 19,2016 100 No-Equipment Workouts Neila Rey book LCF censored February 19,2016 100 of the Most Beautiful Women in Painting Ed Rebo book HCF censored February 18, 2011 100 Things You Will Never Find Daniel Smith Quercus book LCF censored October 19, 2018 100 Things You're Not Supposed To Know Russ Kick Hampton Roads book HCF censored June 15, 2018 100 Ways to Win a Ten-Spot Comics Buyers Guide book HCF censored May 30, 2014 1000 Tattoos Carlton Book book EDCF censored March 18, 2015 yes yes 4/7/2015 FY 15-106 1000 Tattoos Ed Henk Schiffmacher book LCF censored December 3, 2007 101 Contradictions in the Bible book HCF censored October 9, 2017 101 Cult Movies Steven Jay Schneider book EDCF censored September 17, 2014 101 Spy Gadgets for the Evil Genius Brad Graham & Kathy McGowan book HCF censored August 31, 2011 yes yes 9/27/2011 FY 12-009 110 Years of Broadway Shows, Stories & Stars: At this Theater Viagas & Botto Applause Theater & Cinema Books book LCF censored November 30, 2018 113 Minutes James Patterson Hachette books book
    [Show full text]