The Ethosophy of the Grizzly Man: Timothy Treadwell's Three Ethologies
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Resource Collection for High Ability Secondary Learners 2011
Resource Collection for High Ability Secondary Learners Office of Gifted Education Montgomery County Public Schools 2011 - 2012 Table of Contents 2011 – 2012 Materials for High Ability Secondary Students How to Order .................................................................................................................................. 3 Professional Resources for Teachers .............................................................................................. 4 Differentiation ............................................................................................................................. 4 Assessment .................................................................................................................................. 5 Learning Styles and Multiple Intelligences ................................................................................ 6 Curriculum, Strategies and Techniques ...................................................................................... 7 Miscellaneous ............................................................................................................................. 9 English ...................................................................................................................................... 10 Mathematics .............................................................................................................................. 13 History...................................................................................................................................... -
Celebrations Press PO BOX 584 Uwchland, PA 19480
Enjoy the magic of Walt Disney World all year long with Celebrations magazine! Receive 1 year for only $29.99* *U.S. residents only. To order outside the United States, please visit www.celebrationspress.com. Subscribe online at www.celebrationspress.com, or send a check or money order to: Celebrations Press PO BOX 584 Uwchland, PA 19480 Be sure to include your name, mailing address, and email address! If you have any questions about subscribing, you can contact us at [email protected] or visit us online! Cover Photography © Garry Rollins Issue 67 Fall 2019 Welcome to Galaxy’s Edge: 64 A Travellers Guide to Batuu Contents Disney News ............................................................................ 8 Calendar of Events ...........................................................17 The Spooky Side MOUSE VIEWS .........................................................19 74 Guide to the Magic of Walt Disney World by Tim Foster...........................................................................20 Hidden Mickeys by Steve Barrett .....................................................................24 Shutters and Lenses by Mike Billick .........................................................................26 Travel Tips Grrrr! 82 by Michael Renfrow ............................................................36 Hangin’ With the Disney Legends by Jamie Hecker ....................................................................38 Bears of Disney Disney Cuisine by Erik Johnson ....................................................................40 -
A Summative History
CHAPTER 1 “A MUSEUM HERE FOUNDED” A Summative History Chip Colwell-Chanthaphonh, Museum Origins, 1897−1910 Kristine A. Haglund, In 1893 the city of Chicago hosted the World’s Columbian Exposi- Richard K. Stucky, and tion, a celebration inspired by the 400th anniversary of Columbus’s arrival Pamela Wineman in the Americas. The fair attracted global attention and inspired a generation to rethink architecture, science, industry, the arts, and city planning. Even the severe economic depression that started that year would not dampen the enthusiasm awakened by the exposition’s displays, performances, buildings, and demonstrations. Spurred in part by the exposition, Denver’s most prominent citizens visited Edwin Carter in his mountain home in Breck- enridge, Colorado (Fig. 1.1). Headed by Governor John L. Routt, the Denver entourage knew Carter held a magnificent collection of Colorado wildlife. Carter (Fig. 1.2) had come to Colorado during the 1859 Pikes Peak gold rush and had had modest success. He retired several years later, settled in a tiny cabin in Breckenridge in 1868, and pursued his passion for natural history, particularly the study of birds and mammals. Carter was a wholehearted collector, as one historian has written: Edwin Carter found such joy in collecting that he too structured his life and work around it. The prospecting and tanning that filled his summers played second fiddle to the wintertime pleasures of tramping through the Figure 1.1. Edwin Carter’s cabin, woods, observing, tracking, and taking game. Breckenridge, Colorado. Accompanied by a burro and his dog, Bismark, who pulled a small sled with food and supplies, the tall, thin miner roamed the hills in snowshoes, watching the small movements of the birds in trees and the way the snow dropped from the branches 11 DENVER MUSEUM OF NATURE & SCIENCE ANNALS | No. -
Film Reviews
Page 117 FILM REVIEWS Year of the Remake: The Omen 666 and The Wicker Man Jenny McDonnell The current trend for remakes of 1970s horror movies continued throughout 2006, with the release on 6 June of John Moore’s The Omen 666 (a sceneforscene reconstruction of Richard Donner’s 1976 The Omen) and the release on 1 September of Neil LaBute’s The Wicker Man (a reimagining of Robin Hardy’s 1973 film of the same name). In addition, audiences were treated to remakes of The Hills Have Eyes, Black Christmas (due Christmas 2006) and When a Stranger Calls (a film that had previously been ‘remade’ as the opening sequence of Scream). Finally, there was Pulse, a remake of the Japanese film Kairo, and another addition to the body of remakes of nonEnglish language horror films such as The Ring, The Grudge and Dark Water. Unsurprisingly, this slew of remakes has raised eyebrows and questions alike about Hollywood’s apparent inability to produce innovative material. As the remakes have mounted in recent years, from Planet of the Apes to King Kong, the cries have grown ever louder: Hollywood, it would appear, has run out of fresh ideas and has contributed to its evergrowing bank balance by quarrying the classics. Amid these accusations of Hollywood’s imaginative and moral bankruptcy to commercial ends in tampering with the films on which generations of cinephiles have been reared, it can prove difficult to keep a level head when viewing films like The Omen 666 and The Wicker Man. -
The American Nightmare, Or the Revelation of the Uncanny in Three
The American Nightmare, or the Revelation of the Uncanny in three documentary films by Werner Herzog La pesadilla americana, o la revelación de lo extraño en tres documentales de DIEGO ZAVALA SCHERER1 Werner Herzog http://orcid.org/0000-0002-7362-4709 This paper analyzes three Werner Herzog’s films: How Much Wood Would a Woodchuck Chuck (1976), Huie’s Sermon (1981) and God´s Angry Man (1981) through his use of the sequence shot as a documentary device. Despite the strong relation of this way of shooting with direct cinema, Herzog deconstructs its use to generate moments of filmic revelation, away from a mere recording of events. KEYWORDS:Documentary device, sequence shot, Werner Herzog, direct cinema, ecstasy. El presente artículo analiza tres obras de la filmografía de Werner Herzog: How Much Wood Would a Woodchuck Chuck (1976), Huie´s Sermon (1981) y God´s Angry Man (1981), a partir del uso del plano secuencia como dispositivo documental. A pesar del vínculo de esta forma de puesta en cámara con el cine directo, Herzog deconstruye su uso para la generación de momentos de revelación fílmica, lejos del simple registro. PALABRAS CLAVE: Dispositivo documental, plano secuencia, Werner Herzog, cine directo, éxtasis. 1 Tecnológico de Monterrey, México. E-mail: [email protected] Submitted: 01/09/17. Accepted: 14/11/17. Published: 12/11/18. Comunicación y Sociedad, 32, may-august, 2018, pp. 63-83. 63 64 Diego Zavala Scherer INTRODUCTION Werner Herzog’s creative universe, which includes films, operas, poetry books, journals; is labyrinthine, self-referential, iterative … it is, we might say– in the words of Deleuze and Guattari (1990) when referring to Kafka’s work – a lair. -
An Anguished Self-Subjection: Man and Animal in Werner Herzog's Grizzly
An Anguished Self-Subjection: Man and Animal in Werner Herzog’s Grizzly Man Stefan Mattessich Santa Monica College Do we not see around and among us men and peoples who no longer have any essence or identity—who are delivered over, so to speak, to their inessentiality and their inactivity—and who grope everywhere, and at the cost of gross falsifications, for an inheritance and a task, an inheritance as task? Giorgio Agamben The Open erner herzog’s interest in animals goes hand in hand with his Winterest in a Western civilizational project that entails crossing and dis- placing borders on every level, from the most geographic to the most corporeal and psychological. Some animals are merely present in a scene; early in Fitzcarraldo, for instance, its eponymous hero—a European in early-twentieth-century Peru—plays on a gramophone a recording of his beloved Enrico Caruso for an audience that includes a pig. Others insist in his films as metaphors: the monkeys on the raft as the frenetic materializa- tion of the conquistador Aguirre’s final insanity. Still others merge with characters: subtly in the German immigrant Stroszek, who kills himself on a Wisconsin ski lift because he cannot bear to be treated like an animal anymore or, literally in the case of the vampire Nosferatu, a kindred spirit ESC 39.1 (March 2013): 51–70 to bats and wolves. But, in every film, Herzog is centrally concerned with what Agamben calls the “anthropological machine” running at the heart of that civilizational project, which functions to decide on the difference between man and animal. -
The Planet, 2013, Fall
Western Washington University Masthead Logo Western CEDAR The lP anet Western Student Publications Fall 2013 The lP anet, 2013, Fall Mikey Jane Moran Western Washington University Huxley College of the Environment, Western Washington University Follow this and additional works at: https://cedar.wwu.edu/planet Part of the Environmental Sciences Commons, Higher Education Commons, and the Journalism Studies Commons Recommended Citation Moran, Mikey Jane and Huxley College of the Environment, Western Washington University, "The lP anet, 2013, Fall" (2013). The Planet. 66. https://cedar.wwu.edu/planet/66 This Issue is brought to you for free and open access by the Western Student Publications at Western CEDAR. It has been accepted for inclusion in The Planet by an authorized administrator of Western CEDAR. For more information, please contact [email protected]. EDITOR-IN-CHIEF Mikey Jane Moran ADVISOR Dr. Rebekah Green MANAGING EDITOR Sarah Mikkelborg EDITORS Julian Theberge Meg Duke SCIENCE EDITOR Christopher Zemp DEAR READER, PHOTO EDITOR Jasper Gibson When you were a child, did you ever flip over rocks? In the imprint of each stone, a myriad of many-legged creatures retreated from the light, MULTIMEDIA EDITOR worms wriggled deeper into the soil. Each rock held the mystery of what Ryan Hasert lay beneath, and once you turned one over, you had to know what was lurking under the next. Curiosity took over. Fingers got muddy. DESIGNERS Ruth Ganzhorn Zachary Sankey This fall. The Planet started flipping. ASSISTING DESIGNER This issue is about the process and pursuit of knowledge. We Enkhbayar Munkh-Erdene researched emerging theories about salmon navigation and trailed after scat-sniffing dogs, not for answers, but out of curiosity. -
Everything In
University of Texas at El Paso ScholarWorks@UTEP Open Access Theses & Dissertations 2020-01-01 Everything In Greg Chavez University of Texas at El Paso Follow this and additional works at: https://scholarworks.utep.edu/open_etd Part of the Creative Writing Commons Recommended Citation Chavez, Greg, "Everything In" (2020). Open Access Theses & Dissertations. 3149. https://scholarworks.utep.edu/open_etd/3149 This is brought to you for free and open access by ScholarWorks@UTEP. It has been accepted for inclusion in Open Access Theses & Dissertations by an authorized administrator of ScholarWorks@UTEP. For more information, please contact [email protected]. EVERYTHING IN GREG CHAVEZ Master’s Program in Creative Writing APPROVED: Sylvia Aguilar-Zéleny, MH, MFA, Chair Jeffrey Sirkin, Ph.D. Annika Mann, Ph.D. Stephen L. Crites, Jr., Ph.D. Dean of the Graduate School Copyright © by Greg Chavez 2020 EVERYTHING IN by GREG CHAVEZ, B.A. THESIS Presented to the Faculty of the Graduate School of The University of Texas at El Paso in Partial Fulfillment of the Requirements for the Degree of MASTER OF FINE ARTS Department of Creative Writing THE UNIVERSITY OF TEXAS AT EL PASO December 2020 Acknowledgements I wish to express my sincerest gratitude for the entire creative writing community at UTEP. Your invaluable feedback and encouragement along the way has helped guide my writing into and out of spaces it had feared to tread. Special thanks to all my UTEP professors who challenged me to see writing and literature from perspectives never imagined. To my thesis committee, Professor Sylvia Aguilar-Zéleny, Dr. Jeffrey Sirkin, and Dr. -
L'invention Musicale Face À La Nature Dans Grizzly
L’invention musicale face à la nature dans Grizzly Man, The Wild Blue Yonder et La grotte des rêves perdus de Werner Herzog Vincent Deville To cite this version: Vincent Deville. L’invention musicale face à la nature dans Grizzly Man, The Wild Blue Yonder et La grotte des rêves perdus de Werner Herzog. Revue musicale OICRM, Observatoire interdisciplinaire de création et de recherche en musique, 2018, 5 (n°1), s.p. hal-02133197v1 HAL Id: hal-02133197 https://hal.archives-ouvertes.fr/hal-02133197v1 Submitted on 17 May 2019 (v1), last revised 15 Jul 2019 (v2) HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution - NonCommercial - NoDerivatives| 4.0 International License L’invention musicale face à la nature dans Grizzly Man, The Wild Blue Yonder et La grotte des rêves perdus de Werner Herzog Vincent Deville Résumé Quand le cinéaste allemand Werner Herzog réalise ou produit trois documentaires sur la création et l’enregistrement de la musique de trois de ses films entre 2005 et 2011, il effectue un double geste de révélation et d’incarnation : les notes nous deviennent visibles à travers le corps des musiciens. -
LOCOMOTOR ADAPTATIONS and ECOMORPHOLOGY of SHORT-FACED BEARS (Arctodus Simus) in EASTERN BERINGIA
Palaeontology Program Government of the Yukon Occasional Papers in Earth Sciences No. 7 LOCOMOTOR ADAPTATIONS AND ECOMORPHOLOGY OF SHORT-FACED BEARS (Arctodus simus) IN EASTERN BERINGIA Paul E. Matheus The Alaska Quaternary Center, Department of Geology and Geophysics and The Institute of Arctic Biology University of Alaska Fairbanks YUKON Palaeontology Program Department of Tourism and Culture Elaine Taylor, Minister 2003 Publication Note: This monograph was originally written as as Matheus 1995 and 2001. The dissertation also Chapters 2, 3, and 4 of the Ph.D. dissertation contained an appendix with stable isotope data on entitled, “Paleoecology and Ecomorphology of the modern and Pleistocene carnivores along with a Giant Short-Faced Bear in Eastern Beringia,” manual for extracting and purifying collagen from completed by the author in 1997 at The University bone. The present monograph may be cited of Alaska Fairbanks. The content is essentially directly, but if the citation is used to establish unchanged, except for minor editing, typographic when the ideas herein were established or data corrections, and re-formatting. The complete herein made public, then the dissertation or dissertation contained two additional papers Matheus (1995) take precedence. (Chapters 1 and 5) that are cited in this monograph YUKON Palaeontology Program Department of Tourism and Culture Elaine Taylor, Minister 2003 LOCOMOTOR ADAPTATIONS AND ECOMORPHOLOGY OF SHORT-FACED BEARS (Arctodus simus) IN EASTERN BERINGIA Paul E. Matheus TABLE OF CONTENTS Frontispiece -
Learn to Lead Civil Air Patrol Cadet Programs
03-Chapter 9 Reboot Attempt-pp 0-2_Layout 1 5/4/12 12:27 Page b VOLUME THREE INDIRECT LEADERSHIP LEARN TO LEAD CIVIL AIR PATROL CADET PROGRAMS CHARACTER AIR FORCE TRADITIONS LEADERSHIP THEORY COMMUNICATIONS CRITICAL THINKING 03-Chapter 9 Reboot Attempt-pp 0-2_Layout 1 5/4/12 12:27 Page c CIVIL AIR PATROL USAF AUXILIARY “Be the change that you want to see in the world.” GANDHI 03-Chapter 9 Reboot Attempt-pp 0-2_Layout 1 5/4/12 12:27 Page d VOLUME THREE INDIRECT LEADERSHIP LEARN TO LEAD CIVIL AIR PATROL CADET PROGRAMS 03-Chapter 9 Reboot Attempt-pp 0-2_Layout 1 5/4/12 12:27 Page e “Only the man who knows how to obey “Few men are willing to brave . the wrath of can understand what it is to command and give orders their society. Moral courage is a rarer commodity when the spears are coming at him and his time than bravery in battle.” to lead has come.” ROBERT F. KENNEDY SOPHOCLES “Only those who will risk going too far can “There are no secrets to success. It is the result of possibly find out how far one can go.” preparation, hard work, and learning from failure.” T.S. ELIOT COLIN POWELL “The medals don’t mean anything and the glory doesn’t last. It’s all about your happiness.” JACKIE JOYNER-KERSEE “Miss Jean Louise, stand up. Your father’s passin’.” HARPER LEE LEARN TO LEAD Published by Civil Air Patrol Maxwell Air Force Base, Ala. CURT LAFOND with Associate Editors NEIL PROBST & BECCI SUNDHAGEN MAJOR S. -
Mediated Meetings in Grizzly Man
An Argument across Time and Space: Mediated Meetings in Grizzly Man TRENT GRIFFITHS, Deakin University, Melbourne ABSTRACT In Werner Herzog’s 2005 documentary Grizzly Man, charting the life and tragic death of grizzly bear protectionist Timothy Treadwell, the medium of documentary film becomes a place for the metaphysical meeting of two filmmakers otherwise separated by time and space. The film is structured as a kind of ‘argument’ between Herzog and Treadwell, reimagining the temporal divide of past and present through the technologies of documentary filmmaking. Herzog’s use of Treadwell’s archive of video footage highlights the complex status of the filmic trace in documentary film, and the possibilities of documentary traces to create distinct affective experiences of time. This paper focuses on how Treadwell is simultaneously present and absent in Grizzly Man, and how Herzog’s decision to structure the film as a ‘virtual argument’ with Treadwell also turns the film into a self-reflexive project in which Herzog reconsiders and re-presents his own image as a filmmaker. With reference to Herzog’s notion of the ‘ecstatic truth’ lying beneath the surface of what the documentary camera records, this article also considers the ethical implications of Herzog’s use of Treadwell’s archive material to both tell Treadwell’s story and work through his own authorial identity. KEYWORDS Documentary time, self-representation, digital film, trace, authorship, Werner Herzog. Introduction The opening scene of Grizzly Man (2005), Werner Herzog’s documentary about the life and tragic death of grizzly bear protectionist and amateur filmmaker Timothy Treadwell, shows Treadwell filming himself in front of bears grazing in a pasture, addressing the camera as though a wildlife documentary presenter.