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Download 1St Season of Game of Thrones Free Game of Thrones, Season 1
download 1st season of game of thrones free Game of Thrones, Season 1. Game of Thrones is an American fantasy drama television series created for HBO by David Benioff and D. B. Weiss. It is an adaptation of A Song of Ice and Fire, George R. R. Martin's series of fantasy novels, the first of which is titled A Game of Thrones. The series, set on the fictional continents of Westeros and Essos at the end of a decade-long summer, interweaves several plot lines. The first follows the members of several noble houses in a civil war for the Iron Throne of the Seven Kingdoms; the second covers the rising threat of the impending winter and the mythical creatures of the North; the third chronicles the attempts of the exiled last scion of the realm's deposed dynasty to reclaim the throne. Through its morally ambiguous characters, the series explores the issues of social hierarchy, religion, loyalty, corruption, sexuality, civil war, crime, and punishment. The PlayOn Blog. Record All 8 Seasons Game of Thrones | List of Game of Thrones Episodes And Running Times. Here at PlayOn, we thought. wouldn't it be great if we made it easy for you to download the Game of Thrones series to your iPad, tablet, or computer so you can do a whole lot of binge watching? With the PlayOn Cloud streaming DVR app on your phone or tablet and the Game of Thrones Recording Credits Pack , you'll be able to do just that, AND you can do it offline. That's right, offline . -
Final Draft Thesis Corrected
REDEFINING MASCULINITY IN GAME OF THRONES !1 Redefining Masculinity through Disability in HBO’s Game of Thrones A Capstone Thesis Submitted to Southern Utah University in partial fulfillment of the requirements for the degree of Master of Arts in Professional Communication April 2016 By Amanda J. Dearman Capstone Committee: Dr. Kevin A. Stein, Ph.D., Chair Dr. Arthur Challis, Ed.D. Dr. Matthew H. Barton, Ph.D. Running head: REDEFINING MASCULINITY IN GAME OF THRONES !3 Acknowledgements I have been blessed with the support of a number of number of people, all of whom I wish to extend my gratitude. The completion of my Master’s degree is an important milestone in my academic career, and I could not have finished this process without the encouragement and faith of those I looked toward for support. Dr. Kevin Stein, I can’t thank you enough for your commitment as not only my thesis chair, but as a professor and colleague who inspired many of my creative endeavors. Under your guidance I discovered my love for popular culture studies and, as a result, my voice in critical scholarship. Dr. Art Challis and Dr. Matthew Barton, thank you both for lending your insight and time to my committee. I greatly appreciate your guidance in both the completion of my Master’s degree and the start of my future academic career. Your support has been invaluable. Thank you. To my family and friends, thank you for your endless love and encouragement. Whether it was reading my drafts or listening to me endlessly ramble on about my theories, your dedication and participation in this accomplishment is equal to that of my own. -
Chaotic Conceptions of Good and Evil Presented in Game of Thrones (TV Series)
Chaotic Conceptions of Good and Evil Presented in Game Of Thrones (TV Series) Agatha Rakasiwi Cahya Nirvana [email protected] Universitas Sains A Qur’an, Wonosobo, Jawa Tengah Atinia Hidayah [email protected] Universitas Sains A Qur’an, Wonosobo, Jawa Tengah Abstract The objectives of this study as it is mentioned in the problem statements is to analyze (1) the chaotic conception of good and evil presented in Game of Thrones (TV series), and (2) the conception of good and evil constructed in Game of Thrones. The method used in this research is qualitative approach. The object of this study is several episodes of Game of Thrones from season one to season eight. In collecting data, the techniques applied by the researcher are listening, reading, identifying, classifying, and selecting. The data analysis method is done by displaying, explaining, and interpreting. As a primary theory for the analysis, the researcher uses study of ethics by Peter Singer and Yaneer Bar-yam’s chaotic concepts. The results of the analysis shows that (1) the series presents chaotic conceptions of good and evil through the complex development of characters in Game of Thrones. (2) the series shows the construction of good and evil conception through four particular issues and cultural systems found in Game of Thrones, which are; how the culture enforce the law, the justice system, slavery, and trial by combat. Keyword: good, evil, chaotic conception, Game of Thrones Introduction The modern world where civilized people lived has put in their mind the common conception of good and evil. It has been taught for many generations and finally accepted in society as a moral belief that one is related to another and put one against the other in representation of positive and negative elements. -
Hi Here Is the Material Requested for the Emmys. We Have Take the Material from Episodes 6, 7 and 8. Here Are the Clips for Th
Hi Here is the material requested for the Emmys. We have take the material from Episodes 6, 7 and 8. Here are the clips for the dvd: CLIP ONE: Scene between Pedro Pascal (OBERYN MARTELL) and Peter Dinklage (TYRION LANNISTER) Episode Seven Starts 1.36.22 - first line you hear is Tyrion’s “I imagined you’d be back at the brothel at this hour" Ends 1.41.22 - last line is “I will be your champion” Running time: 5 minutes SYNOPSIS: Tyrion Lannister has been imprisoned by his family as he is suspected of killing his nephew the King Joffrey by poison. He needs someone to fight a trial-by-combat on his behalf. He is astonished to find Oberyn Martell - a long-term enemy of the Lannisters - entering his cell and offering to fight on his behalf. In this scene Oberyn Martell explains his family relationship with the Lannisters. He then reveals that he reason he wants to fight on Tyrion’s behalf is that the opponent that he will have to fight is the man wo raped and killed his sister. Oberyn Martell wants a public opportunity to avenge his sister’s death. NEW CAST MEMBER: Pedro Pascal PREVIOUS CAST MEMBER - Peter Dinklage CLIP TWO: Scene between Michiel Huisman (DAARIO NAHARIS) and Emilia Clarke (DAENERYS TARGARYEN) Episode Seven Starts 1.18.09 - starts with the line “How did you get in here?" Ends 1.20.40 - ends with rear view of Daario dropping his trousers to the floor Running time: 2 minutes and 31 seconds SYNOPSIS: Daenerys is surprised by Daario - one of her faithful soldiers - in her bedchamber. -
Carolyne Larrington
Winter is coming Carolyne Larrington Winter is coming LES RACINES MÉDIÉVALES DE GAME OF THRONES Traduit de l’anglais par Antoine Bourguilleau ISBN 978‑2‑3793‑3049‑0 Dépôt légal – 1re édition : 2019, avril © Passés Composés / Humensis, 2019 170 bis, boulevard du Montparnasse, 75014 Paris Le code de la propriété intellectuelle n’autorise que « les copies ou reproductions stric‑ tement réservées à l’usage privé du copiste et non destinées à une utilisation collec‑ tive » [article L. 122‑5] ; il autorise également les courtes citations effectuées dans un but d’exemple ou d’illustration. En revanche « toute représentation ou reproduction intégrale ou partielle, sans le consentement de l’auteur ou de ses ayants droit ou ayants cause, est illicite » [article L. 122‑4]. La loi 95‑4 du 3 janvier 1994 a confié au C.F.C. (Centre français de l’exploitation du droit de copie, 20, rue des Grands Augustins, 75006 Paris), l’exclusivité de la gestion du droit de reprographie. Toute photocopie d’oeuvres protégées, exécutée sans son accord préalable, constitue une contrefaçon sanctionnée par les articles 425 et suivants du Code pénal. Sommaire Liste des abréviations ....................................................... 9 Préface ................................................................................ 15 Introduction ....................................................................... 19 Chapitre 1. Le Centre ........................................................ 31 Chapitre 2. Le Nord ......................................................... -
Game of Thrones Season 3 Episode 10 Download Free Game of Thrones, Season 3
game of thrones season 3 episode 10 download free Game of Thrones, Season 3. Game of Thrones is an American fantasy drama television series created for HBO by David Benioff and D. B. Weiss. It is an adaptation of A Song of Ice and Fire, George R. R. Martin's series of fantasy novels, the first of which is titled A Game of Thrones. The series, set on the fictional continents of Westeros and Essos at the end of a decade-long summer, interweaves several plot lines. The first follows the members of several noble houses in a civil war for the Iron Throne of the Seven Kingdoms; the second covers the rising threat of the impending winter and the mythical creatures of the North; the third chronicles the attempts of the exiled last scion of the realm's deposed dynasty to reclaim the throne. Through its morally ambiguous characters, the series explores the issues of social hierarchy, religion, loyalty, corruption, sexuality, civil war, crime, and punishment. Game of Thrones – Season 3 Complete. The third season of the fantasy drama television series Game of Thrones premiered in the United States on HBO on March 31, 2013, and concluded on June 9, 2013. It was broadcast on Sunday at 9:00 pm in the United States, consisting of 10 episodes, each running approximately 50–60 minutes. [1] The season is based roughly on the first half of A Storm of Swords (the third of the A Song of Ice and Fire novels by George R. R. Martin, of which the series is an adaptation). -
By Steve Pond
The Insider’s Guide to All Things Emmys EMMY A publication of The Wrap News TheWrap 2855 S. Barrington Ave. Los Angeles, CA 90064 BACK COVER FRONT COVER INSIDE FRONT COVER INSIDE BACK COVER The Insider’s Guide to All Things Emmys DOWN TO THE WIRE | JULY 28, 2014 EMMYA publication of The Wrap News Shane Smith: The Vice Founder Chats About Reinventing TV Journalism Tim Molloy’s Predictions: Who Will Win, Who Should Win Steve Pond’s Burning Questions About Emmy's Future Backstage Confidential: Politics, Pranks and Personalities at the Telecast A Golden Year The Emmys Salute a Classic Time for Great Television Plus: Kerry Washington, James Cameron, Colin Hanks, Minnie Driver and the Wide World of TV, from Silicon Valley to Downton Abbey TheWrap 2855 S. Barrington Ave. Los Angeles, CA 90064 CONGRAT ULATIONS CONGRATULATIO® TO ALL OUR 2014 PRIME TIME EMMY N O M I N E E S ! ® OUTSTANDING SOUND EDITING FOR A SERIES OUTSTANDING LEAD ACTRESS IN A COMEDY SERIES OUTSTANDING COSTUMES FOR A SERIES SARAH SILVERMAN: THE NORMAL HEART TREME Tim Kimmel, Supervising Sound Editor; Jed M. Dodge, Julia Louis-Dreyfus as Vice President Selina Meyer John Dunn, Lisa Padovani, Costume Designers; HBO Films® in association with Plan B Entertainment, HBO Entertainment in association with Supervising Dialogue Editor; Tim Hands, Supervising ADR Editor; Joseph La Corte, Costume Supervisor; “New York Sour” WE ARE MIRACLES OUTSTANDING SUPPORTING ACTRESS IN A COMEDY SERIES Blumhouse and Ryan Murphy Productions Blown Deadline Productions Paula Fairfi eld, Sound Designer; David Klotz, Music Editor; Anna Chlumsky as Amy Brookheimer OUTSTANDING HAIRSTYLING FOR A SINGLE-CAMERA SERIES HBO Entertainment in association with Funny or Die Bradley C. -
Game of Thrones“
Hochschule der Medien Bachelorarbeit im Studiengang Audiovisuelle Medien (AMB) The Sound of Ice and Fire Eine Sounddesignanalyse der Serie „Game of Thrones“ Vorgelegt von Sabrina Kreuzer Matrikelnummer 23978 am 31. Juli 2015 Erstprüfer: Prof. Oliver Curdt Zweitprüfer: Prof. Jörn Precht Eidesstattliche Erklärung Hiermit versichere ich, Sabrina Kreuzer, an Eides Statt, dass ich die vorliegende Bachelorar- beit mit dem Titel The Sound of Ice and Fire – Eine Sounddesignanalyse der Serie „Game of Thrones” selbständig und ohne fremde Hilfe verfasst und keine anderen als die angegebenen Hilfsmit- tel benutzt habe. Die Stellen der Arbeit, die dem Wortlaut oder dem Sinn nach anderen Werken entnommen wurden, sind in jedem Fall unter Angabe der Quelle kenntlich gemacht. Die Arbeit ist noch nicht veröffentlicht oder in anderer Form als Prüfungsleistung vorgelegt worden. Ich habe die Bedeutung der eidesstattlichen Versicherung und die prüfungsrechtlichen Fol- gen (§26 Abs. 2 Bachelor-SPO (6 Semester), § 23 Abs. 2 Bachelor-SPO (7 Semester) bzw. § 19 Abs. 2 Master-SPO der HdM) sowie die strafrechtlichen Folgen (gem. § 156 StGB) einer un- richtigen oder unvollständigen eidesstattlichen Versicherung zur Kenntnis genommen. Stuttgart, den 31. Juli 2015 Kurzfassung Diese Arbeit befasst sich mit dem Sounddesign der Serie „Game of Thrones“. Die Analyse des Sounddesigns soll dazu führen, die zentralen Fragestellungen 1) Welche Rolle spielen Sprache und Dialoge in „Game of Thrones“? 2) Welche Funktionen haben die Geräusche? beantworten zu können. Im ersten Kapitel wird eine allgemeine Übersicht der Serie gegeben. Das zweite Kapitel be- schäftigt sich mit den Themen Sprache und Dialoge, Geräusche und akustische Eigenschaften der Handlungsorte. Im dritten Kapitel werden abschließende Bemerkungen formuliert. -
Natalia López Orozco (Tesis).Pdf
Información Importante La Universidad de La Sabana informa que el(los) autor(es) ha(n) autorizado a usuarios internos y externos de la institución a consultar el contenido de este documento a través del Catálogo en línea de la Biblioteca y el Repositorio Institucional en la página Web de la Biblioteca, así como en las redes de información del país y del exterior con las cuales tenga convenio la Universidad de La Sabana. Se permite la consulta a los usuarios interesados en el contenido de este documento para todos los usos que tengan finalidad académica, nunca para usos comerciales, siempre y cuando mediante la correspondiente cita bibliográfica se le de crédito al documento y a su autor. De conformidad con lo establecido en el artículo 30 de la Ley 23 de 1982 y el artículo 11 de la Decisión Andina 351 de 1993, La Universidad de La Sabana informa que los derechos sobre los documentos son propiedad de los autores y tienen sobre su obra, entre otros, los derechos morales a que hacen referencia los mencionados artículos. BIBLIOTECA OCTAVIO ARIZMENDI POSADA UNIVERSIDAD DE LA SABANA Chía - Cundinamarca ! 1! TRABAJO DE GRADO LOS MEMES: EL JUEGO NARRATIVO DE LOS FANÁTICOS DE “GAME OF THRONES” EN LAS REDES SOCIALES Narrativa Transmedia NATALIA LÓPEZ OROZCO Director: Sergio Roncallo Universidad de La Sabana Facultad de Comunicación Comunicación Social y Periodismo 2014 ! 2! ÍNDICE Resumen…………………………………………………………………………………………5 Abstract…………………………………………………………………………………………..6 Introducción……………………………………………………………………………………..7 Planteamiento del problema……………………………………………………………………9 -
Masculinity, Violence, and Abjection in a Song of Ice and Fire and Game of Thrones
CRIPPLES AND BASTARDS AND BROKEN THINGS: MASCULINITY, VIOLENCE, AND ABJECTION IN A SONG OF ICE AND FIRE AND GAME OF THRONES Tania Evans January 2019 A thesis submitted for the degree of Doctor of Philosophy Of the Australian National University Declaration of Originality This work has not previously been accepted for any degree and is the result of my own independent investigation, except where otherwise stated. Other sources are acknowledged by explicit references. An earlier version of the chapter “The Bear and the Maiden Fair” is published in Aeternum: The Journal of Contemporary Gothic Studies. All images are owned by Home Box Office (HBO) and are reproduced here for the purposes of research. Table of Contents Abstract ............................................................................................................................................................... 1 Acknowledgements ............................................................................................................................................ 2 Abbreviations ..................................................................................................................................................... 3 List of Figures ..................................................................................................................................................... 4 Introduction ........................................................................................................................................................ 8 Chapter -
The Fallacy of Rape Narratives As Paths to Women’S Empowerment in Contemporary Television
Connecticut College Digital Commons @ Connecticut College Film Studies Honors Papers Film Studies Department 2020 “What Doesn’t Kill You Makes You Stronger:” The Fallacy of Rape Narratives as Paths to Women’s Empowerment in Contemporary Television Alessia S. Guise Connecticut College, [email protected] Follow this and additional works at: https://digitalcommons.conncoll.edu/filmhp Part of the Feminist, Gender, and Sexuality Studies Commons, and the Film and Media Studies Commons Recommended Citation Guise, Alessia S., "“What Doesn’t Kill You Makes You Stronger:” The Fallacy of Rape Narratives as Paths to Women’s Empowerment in Contemporary Television" (2020). Film Studies Honors Papers. 7. https://digitalcommons.conncoll.edu/filmhp/7 This Honors Paper is brought to you for free and open access by the Film Studies Department at Digital Commons @ Connecticut College. It has been accepted for inclusion in Film Studies Honors Papers by an authorized administrator of Digital Commons @ Connecticut College. For more information, please contact [email protected]. The views expressed in this paper are solely those of the author. “What Doesn’t Kill You Makes You Stronger:” The Fallacy of Rape Narratives as Paths to Women’s Empowerment in Contemporary Television An Honors Thesis Presented By Alessia S. Guise To The Department of Film Studies In Fulfillment of the Requirements for Honors in the Major Field Connecticut College New London, Connecticut May 2020 2 Acknowledgements I would first and foremost like to thank my advisor, Dr. Nina Martin. I have been Dr. M’s student since my first semester at Connecticut College, and I can honestly say that I would not be the scholar, the feminist, or the person I am today without her guidance and instruction throughout the past four years. -
Monstrosity in Medievalism in Richard III and a Song of Ice and Fire Emily Parise
Locus: The Seton Hall Journal of Undergraduate Research Volume 1 Article 8 October 2018 “You are not on trial for being a dwarf”: Monstrosity in Medievalism in Richard III and A Song of Ice and Fire Emily Parise Follow this and additional works at: https://scholarship.shu.edu/locus Recommended Citation Parise, Emily (2018) "“You are not on trial for being a dwarf”: Monstrosity in Medievalism in Richard III and A Song of Ice and Fire," Locus: The Seton Hall Journal of Undergraduate Research: Vol. 1 , Article 8. Available at: https://scholarship.shu.edu/locus/vol1/iss1/8 Parise: “You are not on trial for being a dwarf”: Monstrosity in Medieval “You are not on trial for being a dwarf”: Monstrosity in Medievalism in Richard III and A Song of Ice and Fire Emily Parise Seton Hall University Abstract During an interview with MTV, Peter Din- klage, the actor playing Tyrion Lannister on George R.R Martin’s fantasy series, A Song HBO’s Game of Thrones, describes the show of Ice and Fire, and William Shakespeare’s play in forty-five seconds: “Stabby, stabby, stabby, Richard III both utilize a fictionalized medieval stabby, sexy, sexy, sexy, more stabby, stabby, setting, thus creating an act of medievalism. Both beautiful language” (Dinklage). Dinklage’s expla- texts utilize the setting of the War of the Roses to nation of Game of Thrones encapsulates George recreate a violent medieval past for popular con- R.R. Martin’s desires regarding the medieval word sumption. By using the Middle Ages as a back- he creates in A Song of Ice and Fire, the book se- drop for these fictions, Shakespeare and Martin ries the HBO show Game of Thrones is based on.