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GLAAD Media Institute Began to Track LGBTQ Characters Who Have a Disability
Studio Responsibility IndexDeadline 2021 STUDIO RESPONSIBILITY INDEX 2021 From the desk of the President & CEO, Sarah Kate Ellis In 2013, GLAAD created the Studio Responsibility Index theatrical release windows and studios are testing different (SRI) to track lesbian, gay, bisexual, transgender, and release models and patterns. queer (LGBTQ) inclusion in major studio films and to drive We know for sure the immense power of the theatrical acceptance and meaningful LGBTQ inclusion. To date, experience. Data proves that audiences crave the return we’ve seen and felt the great impact our TV research has to theaters for that communal experience after more than had and its continued impact, driving creators and industry a year of isolation. Nielsen reports that 63 percent of executives to do more and better. After several years of Americans say they are “very or somewhat” eager to go issuing this study, progress presented itself with the release to a movie theater as soon as possible within three months of outstanding movies like Love, Simon, Blockers, and of COVID restrictions being lifted. May polling from movie Rocketman hitting big screens in recent years, and we remain ticket company Fandango found that 96% of 4,000 users hopeful with the announcements of upcoming queer-inclusive surveyed plan to see “multiple movies” in theaters this movies originally set for theatrical distribution in 2020 and summer with 87% listing “going to the movies” as the top beyond. But no one could have predicted the impact of the slot in their summer plans. And, an April poll from Morning COVID-19 global pandemic, and the ways it would uniquely Consult/The Hollywood Reporter found that over 50 percent disrupt and halt the theatrical distribution business these past of respondents would likely purchase a film ticket within a sixteen months. -
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“Can We Get a Cleanup On Aisle 2?” Previous: The Antisocial Fantasies of Jude the Obscure by Matthew Risling “Can We Get a Cleanup On Aisle 2?”: How Film Critics Mopped Up the Transgressions of Jenny McCarthy’s Dirty Love Sara Swain Pivot is published through Open Journal Systems (OJS) at York University 2 Introduction Dirty Love (John Asher, 2005) is the consequence of Jenny McCarthy’s fearless foray into the risky territory of the gross-out comedy. The film endured a long and laborious gestation period under the threat of financial ruin. The project began as a sitcom pilot that McCarthy had initially penned for Fox Television. Fox passed, deeming the project “too edgy and too controversial for TV” “Can We Get a Cleanup On (qtd. in Kevin Aisle 2?”: Williamson). But McCarthy and her How Film Critics Mopped Up the production team could Transgressions of Jenny McCarthy’s not be dissuaded. They Dirty Love bought the rights back Sara Swain from Fox and McCarthy went to work transforming the script into a feature film (Kates). She insists that she never wanted to be a writer but because of the dearth of onscreen comedic roles for women, she was forced to take matters into her own hands (qtd. in Sobczynski). Dirty Love eventually debuted at the Sundance Film Festival in late January 2005, where it was warmly received. John Cooper, the Festival’s Programming Director, lauded the filmmakers in the program notes for so brazenly travelling “across a comic minefield where few dare to tread.” Soon after the film was picked up for distribution. -
“No Reason to Be Seen”: Cinema, Exploitation, and the Political
“No Reason to Be Seen”: Cinema, Exploitation, and the Political by Gordon Sullivan B.A., University of Central Florida, 2004 M.A., North Carolina State University, 2007 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2017 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Gordon Sullivan It was defended on October 20, 2017 and approved by Marcia Landy, Distinguished Professor, Department of English Jennifer Waldron, Associate Professor, Department of English Daniel Morgan, Associate Professor, Department of Cinema and Media Studies, University of Chicago Dissertation Advisor: Adam Lowenstein, Professor, Department of English ii Copyright © by Gordon Sullivan 2017 iii “NO REASON TO BE SEEN”: CINEMA, EXPLOITATION, AND THE POLITICAL Gordon Sullivan, PhD University of Pittsburgh, 2017 This dissertation argues that we can best understand exploitation films as a mode of political cinema. Following the work of Peter Brooks on melodrama, the exploitation film is a mode concerned with spectacular violence and its relationship to the political, as defined by French philosopher Jacques Rancière. For Rancière, the political is an “intervention into the visible and sayable,” where members of a community who are otherwise uncounted come to be seen as part of the community through a “redistribution of the sensible.” This aesthetic rupture allows the demands of the formerly-invisible to be seen and considered. We can see this operation at work in the exploitation film, and by investigating a series of exploitation auteurs, we can augment our understanding of what Rancière means by the political. -
Autoethnographic Research Through Storytelling in Animation and Video Games
Autoethnographic Research through Storytelling in Animation and Video Games Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Fine Arts in the Graduate School of The Ohio State University By Renee Chia-Lei Chen B.S. Graduate Program in Design The Ohio State University 2016 Master’s Examination Committee: Susan Melsop, Advisor Linda Mizejewski Alan Price Copyright by Renee Chia-Lei Chen 2016 Abstract This thesis serves as a deep exploration of myself through my storytelling work in animation and video games. In this thesis study, I seek to build a philosophy that explains my value about what storytelling can do. The objective is threefold. I aim to use storytelling to reveal a deep sense of myself, unpack social and cultural biases to express my values within my design work, and affect the viewers by fostering empathy. By adapting my attitude and my values to visual components, I seek to find ways to use storytelling as a voice for social-justice purposes. The reflective process of this thesis provides me a way to see a holistic picture of the relationship between society and me, and how my pessimistic worldview may have been formed. Storytelling, in my philosophy, can serve as an acceptable reprisal to seek social justice. For this reason, I choose to use storytelling as a social experiment. I see the viewers’ responses as an acknowledgement of my emotional pain, and as an attack to the offenders in society. I use storytelling as a cathartic method to tell society that it has wronged me. I see this process as a coping mechanism for artists who are as hopeless about changing society as I am. -
(“Spider-Man”) Cr
PRIVILEGED ATTORNEY-CLIENT COMMUNICATION EXECUTIVE SUMMARY SECOND AMENDED AND RESTATED LICENSE AGREEMENT (“SPIDER-MAN”) CREATIVE ISSUES This memo summarizes certain terms of the Second Amended and Restated License Agreement (“Spider-Man”) between SPE and Marvel, effective September 15, 2011 (the “Agreement”). 1. CHARACTERS AND OTHER CREATIVE ELEMENTS: a. Exclusive to SPE: . The “Spider-Man” character, “Peter Parker” and essentially all existing and future alternate versions, iterations, and alter egos of the “Spider- Man” character. All fictional characters, places structures, businesses, groups, or other entities or elements (collectively, “Creative Elements”) that are listed on the attached Schedule 6. All existing (as of 9/15/11) characters and other Creative Elements that are “Primarily Associated With” Spider-Man but were “Inadvertently Omitted” from Schedule 6. The Agreement contains detailed definitions of these terms, but they basically conform to common-sense meanings. If SPE and Marvel cannot agree as to whether a character or other creative element is Primarily Associated With Spider-Man and/or were Inadvertently Omitted, the matter will be determined by expedited arbitration. All newly created (after 9/15/11) characters and other Creative Elements that first appear in a work that is titled or branded with “Spider-Man” or in which “Spider-Man” is the main protagonist (but not including any team- up work featuring both Spider-Man and another major Marvel character that isn’t part of the Spider-Man Property). The origin story, secret identities, alter egos, powers, costumes, equipment, and other elements of, or associated with, Spider-Man and the other Creative Elements covered above. The story lines of individual Marvel comic books and other works in which Spider-Man or other characters granted to SPE appear, subject to Marvel confirming ownership. -
9. List of Film Genres and Sub-Genres PDF HANDOUT
9. List of film genres and sub-genres PDF HANDOUT The following list of film genres and sub-genres has been adapted from “Film Sub-Genres Types (and Hybrids)” written by Tim Dirks29. Genre Film sub-genres types and hybrids Action or adventure • Action or Adventure Comedy • Literature/Folklore Adventure • Action/Adventure Drama Heroes • Alien Invasion • Martial Arts Action (Kung-Fu) • Animal • Man- or Woman-In-Peril • Biker • Man vs. Nature • Blaxploitation • Mountain • Blockbusters • Period Action Films • Buddy • Political Conspiracies, Thrillers • Buddy Cops (or Odd Couple) • Poliziotteschi (Italian) • Caper • Prison • Chase Films or Thrillers • Psychological Thriller • Comic-Book Action • Quest • Confined Space Action • Rape and Revenge Films • Conspiracy Thriller (Paranoid • Road Thriller) • Romantic Adventures • Cop Action • Sci-Fi Action/Adventure • Costume Adventures • Samurai • Crime Films • Sea Adventures • Desert Epics • Searches/Expeditions for Lost • Disaster or Doomsday Continents • Epic Adventure Films • Serialized films • Erotic Thrillers • Space Adventures • Escape • Sports—Action • Espionage • Spy • Exploitation (ie Nunsploitation, • Straight Action/Conflict Naziploitation • Super-Heroes • Family-oriented Adventure • Surfing or Surf Films • Fantasy Adventure • Survival • Futuristic • Swashbuckler • Girls With Guns • Sword and Sorcery (or “Sword and • Guy Films Sandal”) • Heist—Caper Films • (Action) Suspense Thrillers • Heroic Bloodshed Films • Techno-Thrillers • Historical Spectacles • Treasure Hunts • Hong Kong • Undercover -
Bordwell,Thewayhollywood
introduction Beyond the Blockbuster q: Do you write with specific actors in mind? a: Always...but they’re usually dead. charles shyer (Private Benjamin, Irreconcilable Differences) This book is about the art and craft of Hollywood cinema since 1960. In two essays I trace some major ways that filmmakers have used moving images to tell stories. The narrative techniques I’ll be examining are astonishingly robust. They have engaged millions of viewers for over eighty years, and they have formed a lingua franca for worldwide filmmaking. Naturally,during the years I’m considering, American films have changed enormously.They have become sexier,more profane, and more violent; fart jokes and kung fu are everywhere. The industry has metamorphosed into a corporate behemoth, while new technologies have transformed produc- tion and exhibition. And, to come to my central concern, over the same decades some novel strategies of plot and style have risen to prominence. Behind these strategies, however, stand principles that are firmly rooted in the history of studio moviemaking. In the two essays that follow I consider how artistic change and continuity coexist in modern American film. To track the dynamic of continuity and change since 1960, it’s conventional to start by looking at the film industry. As usually recounted, the indus- try’s fortunes over the period display a darkness-to-dawn arc that might satisfy a scriptwriter of epic inclinations.We now have several nuanced ver- sions of this story, so I’ll merely point out some major turning points.1 The appendix provides a year-by-year chronology. -
Hollywood Cinema Walter C
Southern Illinois University Carbondale OpenSIUC Publications Department of Cinema and Photography 2006 Hollywood Cinema Walter C. Metz Southern Illinois University Carbondale, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/cp_articles Recommended Citation Metz, Walter C. "Hollywood Cinema." The Cambridge Companion to Modern American Culture. Ed. Christopher Bigsby. Cambridge: Cambridge UP. (Jan 2006): 374-391. This Article is brought to you for free and open access by the Department of Cinema and Photography at OpenSIUC. It has been accepted for inclusion in Publications by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. “Hollywood Cinema” By Walter Metz Published in: The Cambridge Companion to Modern American Culture. Ed. Christopher Bigsby. Cambridge: Cambridge UP, 2006. 374-391. Hollywood, soon to become the United States’ national film industry, was founded in the early teens by a group of film companies which came to Los Angeles at first to escape the winter conditions of their New York- and Chicago-based production locations. However, the advantages of production in southern California—particularly the varied landscapes in the region crucial for exterior, on-location photography—soon made Hollywood the dominant film production center in the country.i Hollywood, of course, is not synonymous with filmmaking in the United States. Before the early 1910s, American filmmaking was mostly New York-based, and specialized in the production of short films (circa 1909, a one-reel short, or approximately 10 minutes). At the time, French film companies dominated global film distribution, and it was more likely that one would see a French film in the United States than an American-produced one. -
Read Book Spider-Man: Birth of Venom
SPIDER-MAN: BIRTH OF VENOM PDF, EPUB, EBOOK David Michelinie | 352 pages | 04 Apr 2007 | Marvel Comics | 9780785124986 | English | New York, United States Spider-man: Birth Of Venom PDF Book Chance takes a cab to his home, where he opens a secret panel where he hides his costume. Venom is so popular among fans for a reason and his battles with Spidey here are a pretty good showing of why. Details if other :. Especially Peter Parker was not likeable. The used language felt pretty dated.. On the way, he spots Nathan Lubensky having a fit in front of a bank machine as he has maxed out the withdrawal limit from Aunt May's account for the day and he still needs more money. Spider-Man separates himself from it seemingly for good this time, which eventually results in the first appearance of Venom. Spider-Man struggles to get free, managing to push his hand loose from the webbing and grab the clapper. The Black Cat wasn't likeable, Mary Jane wasn't likable. However, Nathan Lubenski answers the phone and scolds Peter for having the nerve to call. He tells them that he has come to take Reed up to his offer to examine his new costume. Peter pulls off his mask, reassuring his wife that it is actually him. The New Mutants provides the first full-length study to consider the relationship between comic book fantasy and radical politics in the modern United States. The only person not attending is Nathan Lubenski who grumpily dismisses the idea of listening to "nursery rhymes". -
Dateline Downtown Volume 61 Issue 4
University of Houston-Downtown’s Newspaper Student Run Since Volume One Dateline:downtown Volume 61 Issue 4 November 21, 2018 In this issue WWE in hot water due to News ...........................................................................pg 3 Saudi partnership.....pg 6 College Life ...............................................................pg 5 Arts and Entertainment ......................................... pg 7 Opinions .....................................................................pg 11 2 Staff From the editor’s desk Editor Quintin Coleman a musical. This may be a high-minded and idealistic take but perhaps it’s worth Assistant Editor keeping in mind that hard work may very Michael Case well take you further than you imagined. It’s impossible to quantify someone’s lifelong career (especially Business Manager given that the man in question died at 95) into a space of about 550 words. Irene Nunez It’s also impossible for me to go into a heartfelt tribute as I wasn’t a diehard fan Social Media Manager of Marvel growing up. What I can say, however, is that he did so much for so Sonia Sanchez many people in so many contexts. He was someone who did something rare for his time: he wrote material that appealed Faculty Advisor to children but could appeal to adults at the same time (if adults took a critical Joe Sample, PhD Photo courtesy of LBC9 News knew and loved. He even created his own look at those comics anyway.) His world company after leaving Marvel yet still re- became so large that it essentially formed tained his status as an ambassador for the Staff Writers the childhood of children for past genera- On November 12, the world lost a leg- company. -
Read PDF Spider-Man: the Venom Factor (Marvel Comics) Online Book Download, PDF Download, Read PDF, Download PDF, Kindle Download
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Lasher Pdf, Epub, Ebook
LASHER PDF, EPUB, EBOOK Anne Rice | 628 pages | 01 Mar 2003 | Random House USA Inc | 9780345397812 | English | New York, United States Lasher PDF Book This could affect pricing and availability of other items in your trolley. This Lashing wire must be used with the ZB Lasher only. We've removed the strand lock and enlarged the opening to prevent cable from rubbing on the housing. A screw type grip used to temporarily fasten lashing wire under tension before placing a Most Helpful Rating Recommended. Johnson "He's just venting … this is a guy who last night was lashing out at two Republican Senators … He's a lasher. Type Lashing Wire Size:. Shop Departments. This excludes Extended Range products that have a longer delivery time. Bridle Rope Assembly only photo. Native to the ashen soils of the Firelands , the crimson lasher was transplanted to Azeroth with the help of the Guardians of Hyjal. Game content and materials are trademarks and copyrights of their respective publisher and its licensors. But as the body count raised it was revealed that Kasady was after Mercury Team and Lasher as well as his siblings. Sierra Cable Lasher GMP The Sierra Cable Lasher is recommended for new construction to lash a single aerial cable or numerous cables to supporting strand with stainless steel lashing wire. Added to Your Shopping Cart. Contact Us. Search site: Submit Search. After Venom escaped the team that had been tracking the Venom symbiote and they contained them, it was revealed that they had survived though this time their hosts did not.