Lluniversity.Com Benefits and Strategies for Adding Activity To
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
Buffy's Glory, Angel's Jasmine, Blood Magic, and Name Magic
Please do not remove this page Giving Evil a Name: Buffy's Glory, Angel's Jasmine, Blood Magic, and Name Magic Croft, Janet Brennan https://scholarship.libraries.rutgers.edu/discovery/delivery/01RUT_INST:ResearchRepository/12643454990004646?l#13643522530004646 Croft, J. B. (2015). Giving Evil a Name: Buffy’s Glory, Angel’s Jasmine, Blood Magic, and Name Magic. Slayage: The Journal of the Joss Whedon Studies Association, 12(2). https://doi.org/10.7282/T3FF3V1J This work is protected by copyright. You are free to use this resource, with proper attribution, for research and educational purposes. Other uses, such as reproduction or publication, may require the permission of the copyright holder. Downloaded On 2021/10/02 09:39:58 -0400 Janet Brennan Croft1 Giving Evil a Name: Buffy’s Glory, Angel’s Jasmine, Blood Magic, and Name Magic “It’s about power. Who’s got it. Who knows how to use it.” (“Lessons” 7.1) “I would suggest, then, that the monsters are not an inexplicable blunder of taste; they are essential, fundamentally allied to the underlying ideas of the poem …” (J.R.R. Tolkien, “Beowulf: The Monsters and the Critics”) Introduction: Names and Blood in the Buffyverse [1] In Joss Whedon’s Buffy the Vampire Slayer (1997-2003) and Angel (1999- 2004), words are not something to be taken lightly. A word read out of place can set a book on fire (“Superstar” 4.17) or send a person to a hell dimension (“Belonging” A2.19); a poorly performed spell can turn mortal enemies into soppy lovebirds (“Something Blue” 4.9); a word in a prophecy might mean “to live” or “to die” or both (“To Shanshu in L.A.” A1.22). -
Joséphine Magnard Tim Burton's Charlie and the Chocolate Factory
Joséphine Magnard Tim Burton’s Charlie and the Chocolate Factory: A Fairy Tale between Tradition and Subversion ---------------------------------------------------------------------------------------------------------------------------------------------- MAGNARD Joséphine. Tim Burton’s Charlie and the Chocolate Factory: A Fairy Tale between Tradition and Subversion, sous la direction de Mehdi Achouche. - Lyon : Université Jean Moulin (Lyon 3), 2018. Mémoire soutenu le 18/06/2019. ---------------------------------------------------------------------------------------------------------------------------------------------- Document diffusé sous le contrat Creative Commons « Paternité – pas d’utilisation commerciale - pas de modification » : vous êtes libre de le reproduire, de le distribuer et de le communiquer au public à condition d’en mentionner le nom de l’auteur et de ne pas le modifier, le transformer, l’adapter ni l’utiliser à des fins commerciales. Master 2 Recherche Etudes Anglophones Tim Burton’s Charlie and the Chocolate Factory: A Fairy Tale between Tradition and Subversion A dissertation presented by Joséphine Magnard Year 2017-2018 Under the supervision of Mehdi Achouche, Senior Lecturer ABSTRACT The aim of this Master’s dissertation is to study to what extent Tim Burton plays with the codes of the fairy tale genre in his adaptation of Roald Dahl’s children’s book Charlie and the Chocolate Factory (1964). To that purpose, the characteristics of the fairy tale genre will be treated with a specific focus on morality. The analysis of specific themes that are part and parcel of the genre such as childhood, family and home will show that Tim Burton’s take on the tale challenges the fairy tale codes, providing its viewers with a more Tim Burtonesque, subversive approach where things are not as definable as they might seem. -
El Llegat Dels Germans Grimm En El Segle Xxi: Del Paper a La Pantalla Emili Samper Prunera Universitat Rovira I Virgili [email protected]
El llegat dels germans Grimm en el segle xxi: del paper a la pantalla Emili Samper Prunera Universitat Rovira i Virgili [email protected] Resum Les rondalles que els germans Grimm van recollir als Kinder- und Hausmärchen han traspassat la frontera del paper amb nombroses adaptacions literàries, cinema- togràfiques o televisives. La pel·lícula The brothers Grimm (2005), de Terry Gilli- am, i la primera temporada de la sèrie Grimm (2011-2012), de la cadena NBC, són dos mostres recents d’obres audiovisuals que han agafat les rondalles dels Grimm com a base per elaborar la seva ficció. En aquest article s’analitza el tractament de les rondalles que apareixen en totes dues obres (tenint en compte un precedent de 1962, The wonderful world of the Brothers Grimm), així com el rol que adopten els mateixos germans Grimm, que passen de creadors a convertir-se ells mateixos en personatges de ficció. Es recorre, d’aquesta manera, el camí invers al que han realitzat els responsables d’aquestes adaptacions: de la pantalla (gran o petita) es torna al paper, mostrant quines són les rondalles dels Grimm que s’han adaptat i de quina manera s’ha dut a terme aquesta adaptació. Paraules clau Grimm, Kinder- und Hausmärchen, The brothers Grimm, Terry Gilliam, rondalla Summary The tales that the Grimm brothers collected in their Kinder- und Hausmärchen have gone beyond the confines of paper with numerous literary, cinematographic and TV adaptations. The film The Brothers Grimm (2005), by Terry Gilliam, and the first season of the series Grimm (2011–2012), produced by the NBC network, are two recent examples of audiovisual productions that have taken the Grimm brothers’ tales as a base on which to create their fiction. -
So Many Traps to Set: Subversions and Subversiveness in Profit
254 GRAAT On-Line issue #6 December 2009 “So many traps to set”: subversion and subversiveness in Profit1 Jean Du Verger Université René Descartes - Paris V. Profit, created by David Greenwalt and John McNamara, produced by Stephen J. Cannell and starring Adrian Pasdar as Jim Profit, was first aired on Fox Broadcasting Company in April 1996 and axed after just four episodes2 (out of the eight originally filmed and scheduled). Probably one of the most controversial and category-defying television serials ever, it portrays Jim Profit, a ruthless and ambitious junior executive, whose hidden agenda is progressively unveiled as he climbs the corporate ladder of the multinational conglomerate Gracen & Gracen (G&G). While throwing into sharp relief the shadowy recesses of corporate America, the series also distorts the dominant ideological and aesthetic patterns of traditional television series, as it develops a subversive discourse on American society. Profit mirrors the complex cultural currents and counter currents that run through American society, provocatively depicting such aspects as the workplace, family values and sexuality. Profit is probably one of the most tantalizing and riveting dramas in television‘s recent history, not only on account of the themes it discusses, but because of its reversal of traditional televisual codes, which contributes to the viewer‘s entrapment in a complex and elaborate narrative structure. This paper will, therefore, discuss the narratological implications of the show‘s Chinese box narrative pattern, highlighting the way in which it subverts the traditional textual structures of television series. I will then examine the camera‘s discourse which, in conveying an impression of fragmentation, imparts a puzzle-like 255 dimension to the narrative overall. -
Death As a Gift in J.R.R Tolkien's Work and Buffy the Vampire Slayer
Journal of Tolkien Research Volume 10 Issue 1 J.R.R. Tolkien and the works of Joss Article 7 Whedon 2020 Death as a Gift in J.R.R Tolkien's Work and Buffy the Vampire Slayer Gaelle Abalea Independant Scholar, [email protected] Follow this and additional works at: https://scholar.valpo.edu/journaloftolkienresearch Part of the American Popular Culture Commons, Literature in English, British Isles Commons, and the Other Film and Media Studies Commons Recommended Citation Abalea, Gaelle (2020) "Death as a Gift in J.R.R Tolkien's Work and Buffy the Vampire Slayer," Journal of Tolkien Research: Vol. 10 : Iss. 1 , Article 7. Available at: https://scholar.valpo.edu/journaloftolkienresearch/vol10/iss1/7 This Peer-Reviewed Article is brought to you for free and open access by the Christopher Center Library at ValpoScholar. It has been accepted for inclusion in Journal of Tolkien Research by an authorized administrator of ValpoScholar. For more information, please contact a ValpoScholar staff member at [email protected]. Abalea: Death as a Gift in Tolkien and Whedon's Buffy DEATH AS A GIFT IN J.R.R TOLKIEN’S WORK AND BUFFY THE VAMPIRE SLAYER “Love will bring you to your gift” is what Buffy is told by a spiritual being under the guise of the First Slayer in the Episode “Intervention” (5.18). The young woman is intrigued and tries to learn more about her gift. The audience is hooked as well: a gift in this show could be a very powerful artefact, like a medieval weapon, and as Buffy has to vanquish a Goddess in this season, the viewers are waiting for the guide to bring out the guns. -
Buffy the Vampire Slayer Season 8 Library Edition Volume 1 Pdf, Epub, Ebook
BUFFY THE VAMPIRE SLAYER SEASON 8 LIBRARY EDITION VOLUME 1 PDF, EPUB, EBOOK Michelle Madsen,Paul Lee,Andy Owens,Cliff Richards,Dave Stewart,Georges Jeanty,Joss Whedon,Brian K. Vaughan,Scott Allie | 320 pages | 05 Jun 2012 | Dark Horse Comics,U.S. | 9781595828880 | English | Milwaukie, United States Buffy the Vampire Slayer Season 8 Library Edition Volume 1 PDF Book Buffy finds her powers weakened, because unbeknownst to her, Giles has been drugging her as part of a cruel Watchers' Council test of the Slayer's abilities. The final shot of Willow cradling Tara's corpse will go down in TV history. But that final scene is devastating, particularly the look on Willow's face and Spike, racked with sobs. Faith and Robin Wood enjoy a one-night stand. And yet, the break-up is rough : Remember how cute Willow and Oz were? Past that, "Triangle" breaks up the tension of a season building to a big finish. As in "Flooded," it's just a bummer to see Buffy struggling with making ends meet. Seriously, those demon bikers. Yes, it's another Riley-centric one, but at least here he has a reason to be freaking out. And Buffy and Spike cuddle. But it's really all about cheeky Spike and nutty Dru. Except at the end of the episode, she's killed by Adam, one of the worst villains the show ever gave us. Contner "Things fall apart," Tara says at the end of "Entropy. What better way for Willow and Anya to work out their issues than by joining forces against Anya's ex, a troll named Olaf? And Buffy's heart is broken. -
Joss Whedon's Commentaries on the Buffy the Vampire Slayer Dvds
“Emotional Resonance and Rocket Launchers”: Joss Whedon’s Commentaries on the Buffy the Vampire Slayer DVDs I think everybody who makes movies should be forced to do television. Because you have to finish. You have to get it done, and there are a lot of decisions made just for the sake of making decisions. You do something because it’s efficient and because it gets the story told and it connects to the audience. Joss Whedon, Interview in The Watcher’s Guide, Vol. 2 (323) The two things that matter the most to me: emotional resonance and rocket launchers. Party of Five, a brilliant show, and often made me cry uncontrollably, suffered ultimately from a lack of rocket launchers. Joss Whedon, Audio Commentary for “Innocence” (1) According to an old witticism (credited to, of all people, Otto von Bismarck), “Laws are like sausages, it is better not to see them being made.” Perhaps television shows and movies should be added to the list. The magic we so often experience as members of the audience of both media may well not be visible on the production set. With the advent of the DVD, however, we are now often given the opportunity to peek behind the curtain and see the wizard for what he is, especially when the wizard does the audio commentary. On the DVD releases of Buffy the Vampire Slayer’s first and second seasons, the great and powerful Joss Whedon speaks over the two part pilot, “Welcome to the Hellmouth” and “The Harvest” (1001 and 1002; hereafter “Hellmouth” and “Harvest” respectively) and “Innocence” (2014), and in the process we are given the opportunity to see through his eyes how Buffy was made. -
A Terminologia Da Série Grimm: Uma Análise Com Base Em Corpus Paralelo Inglês/Português
UNIVERSIDADE DE BRASÍLIA INSTITUTO DE LETRAS DEPARTAMENTO DE LÍNGUAS ESTRANGEIRAS E TRADUÇÃO LÍNGUAS ESTRANGEIRAS APLICADAS AO MULTILINGUISMO E À SOCIEDADE DA INFORMAÇÃO ISABELA SILVA DE CASTRO A TERMINOLOGIA DA SÉRIE GRIMM: UMA ANÁLISE COM BASE EM CORPUS PARALELO INGLÊS/PORTUGUÊS. BRASÍLIA – DF 2019 ISABELA SILVA DE CASTRO A TERMINOLOGIA DA SÉRIE GRIMM: UMA ANÁLISE COM BASE EM CORPUS PARALELO INGLÊS/PORTUGUÊS. Trabalho de Conclusão de Curso apresentado ao Departamento de Línguas Estrangeiras e Tradução da Universidade de Brasília como requisito parcial para a obtenção do título de Bacharel em Línguas Estrangeiras Aplicadas ao Multilinguismo e à Sociedade da Informação. Orientador: Prof. Dr. Marcos de Campos Carneiro. BRASÍLIA - DF 2019 ISABELA SILVA DE CASTRO A TERMINOLOGIA DA SÉRIE GRIMM: UMA ANÁLISE COM BASE EM CORPUS PARALELO INGLÊS/PORTUGUÊS. Trabalho de Conclusão de Curso apresentado ao Departamento de Línguas Estrangeiras e Tradução da Universidade de Brasília como requisito parcial para a obtenção do título de Bacharel em Línguas Estrangeiras Aplicadas ao Multilinguismo e à Sociedade da Informação. Brasília, 06 de dezembro de 2019. BANCA EXAMINADORA Prof. Dr. Marcos de Campos Carneiro (orientador) (LET/UNB) Profª. Drª. Helena Santiago Vigata (LET/UNB) Prof. Dr. Thiago Blanch Pires (LET/UNB) AGRADECIMENTOS A Deus, primeiramente, por ter me dado forças, inteligência e capacidade para vencer mais essa fase da minha vida. Mesmo com todas as dificuldades e percalços enfrentados nesses cinco anos de curso, só tenho a agradecer por todas as benções que recebi nesses anos. Na tentativa de conduzir esta pesquisa, em suas várias etapas de desenvolvimento, surgiram diversas incertezas e desafios, com os quais só pude lidar devido às contribuições diretas e indiretas de vários parceiros. -
UNIT 4 CINEMA the Cinema, Like the Detective Story, Makes It Possible To
UNIT 4 CINEMA The cinema, like the detective story, makes it possible to experience without danger all the excitement, passion and desirousness which must be repressed in a humanitarian ordering of life. Carl Jung Before you start doing the main activities of this unit, brush up on active vocabulary to the topic. Exercise 1. Answer t:e following questions: 1. Do you like watching films? Why? / Why not? How often do you… a) go to the cinema, b) rent DVDs, c) buy DVDs, d) watch films on TV? 2. What’s your favourite film? Why do you like it? Who stars in it? Who directed it? How many times have you seen it? Does it hold any special memories for you? Can you tell the plot in thirty seconds? What genre(s) of films do you a) love, b) hate? Why 3. Have you got a video camera? What do you use it for? Why do people make home movies? Which is more special, a home movie or a photo? Why? 4. Would you like to work in the film industry? Why? / Why not? Which job(s) do you think are the most rewarding? Why? Do you prefer to watch films made in your country, or Hollywood movies? Why? 5. Have you ever downloaded a film from the internet – either legally or illegally? How do you prefer to watch films, and why? Have you ever watched a film on… a) a plasma TV, b) a very large IMAX screen, c) an iPod? Compare these experiences to watching films on a normal TV. -
Uncanny Transformations in Film Horror Fairytale and Gothic Horror Laura Hubner Fairytale and Gothic Horror
fairy LAURA HUBNER tale& gothic Uncanny Transformations in Film horror Fairytale and Gothic Horror Laura Hubner Fairytale and Gothic Horror Uncanny Transformations in Film Laura Hubner Department of Media and Film Studies University of Winchester Winchester, UK ISBN 978-1-137-39346-3 ISBN 978-1-137-39347-0 (eBook) https://doi.org/10.1057/978-1-137-39347-0 Library of Congress Control Number: 2018934634 © The Editor(s) (if applicable) and The Author(s) 2018 The author(s) has/have asserted their right(s) to be identifed as the author(s) of this work in accordance with the Copyright, Designs and Patents Act 1988. This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifcally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microflms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specifc statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. -
ROSS BERRYMAN, ACS ASC Director of Photography (Partial List)
ROSS BERRYMAN, ACS ASC Director Of Photography (partial list) http://www.rossberrymandp.com Television/Streaming: FOR ALL MANKIND (Season 2, Eps. 203, 204, 207, 208) Exec Producers: Ron Moore, Ben Nedivi, Maril Davis, Apple TV Matt Wolpert Alternating DP Co-Exec Producers: Steve Oster, David Weddle, Nichole Beattie Director: Andrew Stanton MAGNUM P.I. (Ep.203) Exec Producers: Peter Lenkov, Bryan Spicer CBS Director: Carlos Bernard FOR ALL MANKIND (Season 1, Eps. 103, 104, 107, 108) Exec Producers: Ron Moore, Ben Nedivi, Maril Davis, Apple TV Matt Wolpert Alternating DP Co-Exec Producers: Steve Oster, David Weddle, Nichole Beattie Director: Allen Coulter, Meera Menon MR. MERCEDES (Season 2, Eps. 205: “Andale,” 206: “Proximity”) Producers: David E. Kelley, Jack Bender, Stephen King Audience Network Directors: Peter Weller (#205), Laura Innis (#206) GONE (Season 1) Producers: Kim Moses, Matt Lopez, Barry O’Brien NBC International UPM: David Brightbill Directors: Thomas Carter, Jan Eliasberg, Brad Turner GRIMM (Seasons 5 & 6) Producers: Sean Hayes, Todd Milliner, NBC David Greenwalt, Jim Kouf Directors: various NASHVILLE (Season 1) Producers: Dee Johnson, Loucas George ABC Callie Khouri, R.J. Cutler, Steve Buchanan Directors: various AMISH GRACE (MOW) Director: Gregg Champion Lifetime Producers: Larry Thompson, Kyle Clark DOLLHOUSE (Season 1) Producers: Joss Whedon Fox Television Directors: various UGLY BETTY (Seasons 1, 2) Producers: Silvia Horta, Ben Silverman, ABC TV/Touchstone Teri Weinberg, Alice West, Marco Pennette Directors: various THE POSEIDON ADVENTURE (MOW) Director: John Putch NBC/Hallmark Producers: Larry Levinson, Mary Church ANGEL (Seasons 3, 4 & 5) Producers: Joss Whedon, David Greenwalt, Fox Television David Fury, Jeffrey Bell, Kelly Manners Directors: various EARLY EDITION (Seasons 3, 4 & 5) Producers: Jeff Melvoin, Gary Nelson CBS/TriStar Directors: various 1 4929 Wilshire Blvd., Ste. -
TODD ORR Re-Recording Mixer
TODD ORR Re-Recording Mixer RE-RECORDING MIXER | SELECT TELEVISION CREDITS & AWARDS PRODIGAL SON Chris Fedak WBTV AJ AND THE QUEEN Michael Patrick King WBTV DECEPTION Chris Fedak WBTV VICE PRINCIPALS Danny McBride HBO DEAR WHITE PEOPLE Justin Simien Lionsgate Television BLINDSPOT Martin Gero WBTV SUPERNATURAL Eric Kripke WBTV Michael Patrick King/Lisa THE COMEBACK Kudrow HBO BALLERS Stephen Levinson HBO THE NEWSROOM Aaron Sorkin HBO Entertainment POWER Courtney A. Kemp CBS Television Studios MAN IN THE HIGH CASTLE (Pilot) Frank Spotnitz Amazon Studios TWISTED Adam Milch Pariah THE MOB DOCTOR Josh Berman/Rob Wright Sony Pictures Television ENTOURAGE (2010) (2012) Doug Ellin HBO BIG LOVE Mark V. Olsen/Will Scheffer Playtone THE GLADES Clifton Campbell Fox Television Studios SAVING GRACE Nancy Miller Fox Television Studios Dean Devlin/Roland THE VISITOR Emmerich 20th Century Fox Television THE BIG EASY Jaqueline Zambrano USA Network The Samuel Goldwyn FLIPPER (1997) Michael Nankin Company Tom Hanks/Steven BAND OF BROTHERS (2002) Spielberg DreamWorks FROM THE EARTH TO THE MOON (1998) (1999) Tom Hanks Imagine Entertainment BABYLON 5 J. Michael Straczynski WBTV DOLLHOUSE Joss Whedon 20th Century Fox Television Warner Bros. Post Production Creative Services | 4000 Warner Blvd. | Burbank, CA 91522 | 818.954.5305 Award Key: W for Win | N for Nominated OSCAR | BAFTA | EMMY | MPSE | CAS BATTLESTAR GALACTICA Glen A. Larson British Sky Broadcasting James Cameron/Charles H. DARK ANGEL Eglee 20th Century Fox Television JANE BY DESIGN April Blair ABC Family DROP DEAD DIVA Josh Berman Sony Pictures Television MAD MEN (2010) (2010) Matthew Weiner Lionsgate Television THE SOPRANOS (1999/2000/2003/2004/2007) (2000) (2001/2005/2007/2008) David Chase HBO THE BLACK DONNELLYS Paul Haggis NBC REVELATIONS David Seltzer NBC Enterprises BUFFY THE VAMPIRE SLAYER (1999) Joss Whedon 20th Century Fox Television David Greenwalt/Joss ANGEL Whedon 20th Century Fox Television SPACE: ABOVE AND BEYOND Glen Morgan Village Roadshow Pictures Warner Bros.