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Avatar the Last Air Bender Powerpoint
Ashley Williams, Ginny Nordeng, and Mayela Milian-Hernandez Overview of Presentation ● Anthropology ○ Confucius ○ Filial Piety ● Psychodynamic Theory ○ The younger years of Katara/Sokka, Aang, and Zuko/Azul ● Social Learning Theory ○ The Journey of Sokka, Zuko/Azula and Aang Anthropology is how different cultures view gender(Wood & Fixmer-Oraiz, 2017) https://www.biography.com/scholar/confucius Four nations: Earth, Fire, Water, and Air http://avatar-the-last-airbender-online.blogspot.com/2010/08/avatar-last-airbender-airbender-world.html Filial Piety is the confucius belief of respecting one’s parents, elders and ancestors.(Bedford et al 2019) https://www.bookofdaystales.com/confucius/ https://www.pinterest.com/pin/346495765052132139/ https://avatar.fandom.com/wiki/Iroh https://avatar.fandom.com/wiki/Oza Filial Piety Favoring the intimate, the people closest to you and Respecting the superior; the people with higher authority to you. (Bedford et al 2019) Men and Women represent Yin and Yang In order to keep balance men and women must have separate roles. Men Lead, Women Follow…(Ebry 2019) https://www.deviantart.com/karinart8/art/Ying-and-Yang-283381659 Yin and Yang In the Northern Tribe, the master/teacher refuses to teach women how to bend. It is not their place.. In the southern tribe, All the Men left to fight a war with the fire nation. Women only allowance of leadership Psychodynamic is the first relationship one has to define their gender identity (Wood & Fixmer-Oraiz, 2017) http://thatanimatedotaku. blogspot.com/2013/07/a nimated-role-models-girl s.html http://audreymgonzalez.com/2012/book-three-fire-chapter-twelve-the-w estern-air-temple/ Katara and Sokka Katara has a close relationship with her grandmother. -
Davis Model United Nations Conference Xvii Crisis: Avatar
Crisis: Avatar Davis Model United Nations Conference XVII May 18-19, 2019 University of California, Davis DAVIS MODEL UNITED NATIONS CONFERENCE XVII CRISIS: AVATAR The following content was developed by members of the Davis Model United Nations conference planning team for the sole purpose of framing delegate discussions and debate at the conference and does not represent any official position of the University or anyone engaged in preparing the materials. Delegates should use this information to guide their research and preparation for the conference but should not assume that it represents a complete analysis of the issues under discussion. The materials should not be reproduced, circulated or distributed for any purpose other than as may be required in order to prepare for the conference. MAY 18-19, 2019 1 DAVIS MODEL UNITED NATIONS CONFERENCE XVII CRISIS: AVATAR Letter from the Chair and Crisis Director Esteemed Delegates, Welcome to the 2019 Davis Model United Conference (DMUNC)! We have the pleasure to introduce you to the Avatar the Last Airbender Crisis Committee. My name is Aislinn Matagulay and I will be your Head Chair for this year’s DMUNC. I am a freshman here at UC Davis. I have found a great sense of community in Davis’ MUN club. I was the Chief of Staff at AggieMUN, our collegiate conference and had a wonderful time working with the staff and competitors to make it a fun conference. I am looking forward to the rest of the year to compete in conferences across California and to host you all at DMUNC in May! My name is Thais Terrien and I will be your Crisis Director for this year’s DMUNC. -
Avatar: the Last Airbender
S H U M U N X X I I / / A P R I L 1 0 - 1 1 , 2 0 2 1 AVATAR: THE LAST AIRBENDER B A C K G R O U N D G U I D E D I R E C T E D B Y T I M D Z I E K A N A N D G E O R G E S C H M I D T Avatar: The Last Airbender 1 LETTER FROM THE CHAIR, KACIE Hello Delegates, Welcome to SHUMUN XXI! My name is Kacie Wright (She/Her/Hers), and I will be your chair for the Avatar: The Last Airbender committee. I am currently a sophomore at Seton Hall University, majoring in both Diplomacy and Italian Studies. I am originally from San Diego, California. In high school, I studied Italian for four years and I was able to participate in my high school’s exchange program twice. Here at Seton Hall, I am a part of Seton Hall United Nations Association (SHUNA), our Model United Nations team, I am a member of the Alpha Omicron Pi fraternity, and I am part of the Italian Student Union. I plan to finish my degree at Seton Hall, join the Peace Corps after graduation, and then work for a non-profit organization abroad. Eventually, I want to start my own non-profit organization abroad that helps with community development in communities that are often devastated by conflict and destruction. This committee takes place in the Avatar: The Last Airbender universe, one month after the end of the Hundred Year War. -
The Terminator by John Wills
The Terminator By John Wills “The Terminator” is a cult time-travel story pitting hu- mans against machines. Authored and directed by James Cameron, the movie features Arnold Schwarzenegger, Linda Hamilton and Michael Biehn in leading roles. It launched Cameron as a major film di- rector, and, along with “Conan the Barbarian” (1982), established Schwarzenegger as a box office star. James Cameron directed his first movie “Xenogenesis” in 1978. A 12-minute long, $20,000 picture, “Xenogenesis” depicted a young man and woman trapped in a spaceship dominated by power- ful and hostile robots. It introduced what would be- come enduring Cameron themes: space exploration, machine sentience and epic scale. In the early 1980s, Cameron worked with Roger Corman on a number of film projects, assisting with special effects and the design of sets, before directing “Piranha II” (1981) as his debut feature. Cameron then turned to writing a science fiction movie script based around a cyborg from 2029AD travelling through time to con- Artwork from the cover of the film’s DVD release by MGM temporary Los Angeles to kill a waitress whose as Home Entertainment. The Library of Congress Collection. yet unborn son is destined to lead a resistance movement against a future cyborg army. With the input of friend Bill Wisher along with producer Gale weeks. However, critical reception hinted at longer- Anne Hurd (Hurd and Cameron had both worked for lasting appeal. “Variety” enthused over the picture: Roger Corman), Cameron finished a draft script in “a blazing, cinematic comic book, full of virtuoso May 1982. After some trouble finding industry back- moviemaking, terrific momentum, solid performances ers, Orion agreed to distribute the picture with and a compelling story.” Janet Maslin for the “New Hemdale Pictures financing it. -
The Legend of Korra: Book Five — Part One
Table of Contents TENZIN’S LETTER 1 THE DELIVERY �������������������������������������������������������������������������������3 THE ALL IS AFLAME 10 TALES OF ZAOFU ������������������������������������������������������������������������� 19 THE AVADHOOT ��������������������������������������������������������������������������� 34 THE LIVES OF THE AIRBENDERS ��������������������������������������������������� 45 HARMONIC TRINE 61 i The Legend of Korra: Book Five — Part One The following book is a fan-based derivative work (fan fiction). This book may be copied or reprinted for free distribution without permission from the author. Otherwise all rights reserved. The Legend of Korra and Avatar: The Last Airbender are all owned by Nickelodeon Animation Studios, Michael Dante DiMartino, Bryan Konietzko, and all pertinent parties. Please support the official release. ii ACKNOWLEDGEMENTS I would like to extend my thanks to: My family, for providing me the imaginative support I needed growing up. The numerous editing volunteers, who provided initial critiques, corrections, and feedback. Michael Dante DiMartino and Bryan Konietzko for creating the Avatar universe in the first place. Venerable Ajaan Geoff, whose translations and teachings appear throughout this text and have changed my life for the better. Colleen, for providing the creative spark needed for the reinvention of this endeavour. Makanidotdot, whose illustrations inspired this fanfiction in the first place. And PipReyes, who provided the illustrations and was an excellent partner in this project. May this work both captivate your imagination and be a cause for goodness and creativity. iii Tenzin’s Letter PROLOGUE TENZIN’S LETTER Rohan, I know you have a long journey in front of you as you travel to the Eastern Air Temple. This is an important mark of passage: turning fifteen was the typical age when airbenders undertook this pilgrimage into adulthood. -
April 22, 1995
all of whom believe that because that group is so April 22, 2016 deep, we're going to see teams in the first and second round kind of going after positions of need that aren't anywhere near as deep, like say wide NFL Network Analyst Mike receiver. Or if you think there are four offensive tackles in the drop off, you better go get that Mayock offensive tackle before you get your defensive tackle. But I've talked to an awful lot of teams over THE MODERATOR: Thank you for joining us the last couple of weeks, and he is especially with today on the second of two NFL Network NFL Draft those two trades to the quarterbacks happening, media conference calls. Joining me on the call I'm pretty psyched up for this draft. So let's open today is NFL Networks lead analyst for the 2016 this thing up and take some questions. NFL Draft, Emmy nominated Mayock. Before I turn it over to Mike for opening remarks and Q. Since Ronnie Stanley probably isn't questions, a few quick NFL media programming going to make it to the middle of the third notes around the 2016 NFL Draft. round when the Eagles pick again after taking a Starting Sunday, NFL Network will provide quarterback at number two, I'm curious what 71 hours of live draft week coverage. NFL you think are their best possible offensive Network's draft coverage will feature a record 19 tackle options if they go that route at number NFL team war room cameras, including the L.A. -
Avatar: the Last Airbender 2 Free Download
AVATAR: THE LAST AIRBENDER 2 FREE DOWNLOAD Nickelodeon | 96 pages | 14 Sep 2010 | Random House USA Inc | 9780345518538 | English | New York, United States Episode List Momo looks through Avatar: The Last Airbender 2 Sing Se for Appa, finding only one of his footprints. Luckily, she comes across a waterbending scroll at a boutique. Toph's father, believing Aang has kidnapped her, Avatar: The Last Airbender 2 Xin Fu and Master Yu a chest of gold if they bring her back. Suki reveals she has feelings for Sokka as well. Elsewhere, Zuko discovers that Aang is in the city looking for Appa, Avatar: The Last Airbender 2 sets out as the Blue Spirit to find him. To his mind, he made the mistake of pursuing bigger movies when he should have Avatar: The Last Airbender 2 true to his Avatar: The Last Airbender 2 voice. Zuko Alone 25m. Pathik leads Aang through the intense experience of opening the chakras that run up his body, with the process needing to be completed without interruption. They skip the ferry ride to help some refugees, one of which is going to have a baby, get to Ba Sing Se. Iroh is not happy with what Zuko is doing, and Zuko decides it is best that they part ways. Note: Iroh's tale was dedicated to his voice actor Mako Iwamatsuwho had died just 7 days after Chapters 10 and 11 initially aired. Zhao zeroes in on Aang's location Avatar: The Last Airbender 2 prepares to lay siege to the entire Northern Water Tribe. -
Rocklin and the Magical Seventeen Gary Day
Rocklin and the Magical Seventeen Gary Day Was there something special about their years training in Rocklin that brought the San Francisco 49ers from obscurity to greatness, and then back to obscurity when they left? Is there something special about Rocklin? The Niners trained at Sierra College here during the summers of 1981 through 1997. They won 73% of their games during that seventeen year period including sixteen National Football League playoff games and five Super Bowls. While training in Rocklin they had a winning record every year except the 1982 cancelled season. The Niners entered the NFL in 1950. In the 31 years before training in Rocklin they were a frequent disappointment, winning only 182 of 405 games. During their four best years of that period they played for the NFL championship but lost every year on their way to the title. The Dallas Cowboys beat them in championship games three straight years, in 1970 through 1972. Joe Montana fades to pass in the summer Since moving their summertime training from Rocklin in heat of Sierra College’s athletic field. 1998 the Niners have appeared in only five playoff Montana’s pro successes started in 1981, games while reverting to their pre-Rocklin losing pattern the Niners’ first year practicing in with only 78 wins in 181 games. Rocklin. The contrast between the Niners’ Rocklin years, and years when they summered elsewhere, is striking. No other team has won five Super Bowl titles during a seventeen year period. No other team has a higher decade-long winning percentage than the Niners did for the decade of the 80s. -
Wmc Investigation: 10-Year Analysis of Gender & Oscar
WMC INVESTIGATION: 10-YEAR ANALYSIS OF GENDER & OSCAR NOMINATIONS womensmediacenter.com @womensmediacntr WOMEN’S MEDIA CENTER ABOUT THE WOMEN’S MEDIA CENTER In 2005, Jane Fonda, Robin Morgan, and Gloria Steinem founded the Women’s Media Center (WMC), a progressive, nonpartisan, nonproft organization endeav- oring to raise the visibility, viability, and decision-making power of women and girls in media and thereby ensuring that their stories get told and their voices are heard. To reach those necessary goals, we strategically use an array of interconnected channels and platforms to transform not only the media landscape but also a cul- ture in which women’s and girls’ voices, stories, experiences, and images are nei- ther suffciently amplifed nor placed on par with the voices, stories, experiences, and images of men and boys. Our strategic tools include monitoring the media; commissioning and conducting research; and undertaking other special initiatives to spotlight gender and racial bias in news coverage, entertainment flm and television, social media, and other key sectors. Our publications include the book “Unspinning the Spin: The Women’s Media Center Guide to Fair and Accurate Language”; “The Women’s Media Center’s Media Guide to Gender Neutral Coverage of Women Candidates + Politicians”; “The Women’s Media Center Media Guide to Covering Reproductive Issues”; “WMC Media Watch: The Gender Gap in Coverage of Reproductive Issues”; “Writing Rape: How U.S. Media Cover Campus Rape and Sexual Assault”; “WMC Investigation: 10-Year Review of Gender & Emmy Nominations”; and the Women’s Media Center’s annual WMC Status of Women in the U.S. -
Animating Race the Production and Ascription of Asian-Ness in the Animation of Avatar: the Last Airbender and the Legend of Korra
Animating Race The Production and Ascription of Asian-ness in the Animation of Avatar: The Last Airbender and The Legend of Korra Francis M. Agnoli Submitted for the degree of Doctor of Philosophy (PhD) University of East Anglia School of Art, Media and American Studies April 2020 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. 2 Abstract How and by what means is race ascribed to an animated body? My thesis addresses this question by reconstructing the production narratives around the Nickelodeon television series Avatar: The Last Airbender (2005-08) and its sequel The Legend of Korra (2012-14). Through original and preexisting interviews, I determine how the ascription of race occurs at every stage of production. To do so, I triangulate theories related to race as a social construct, using a definition composed by sociologists Matthew Desmond and Mustafa Emirbayer; re-presentations of the body in animation, drawing upon art historian Nicholas Mirzoeff’s concept of the bodyscape; and the cinematic voice as described by film scholars Rick Altman, Mary Ann Doane, Michel Chion, and Gianluca Sergi. Even production processes not directly related to character design, animation, or performance contribute to the ascription of race. Therefore, this thesis also references writings on culture, such as those on cultural appropriation, cultural flow/traffic, and transculturation; fantasy, an impulse to break away from mimesis; and realist animation conventions, which relates to Paul Wells’ concept of hyper-realism. -
Women in Film Time: Forty Years of the Alien Series (1979–2019)
IAFOR Journal of Arts & Humanities Volume 6 – Issue 2 – Autumn 2019 Women in Film Time: Forty Years of the Alien Series (1979–2019) Susan George, University of Delhi, India. Abstract Cultural theorists have had much to read into the Alien science fiction film series, with assessments that commonly focus on a central female ‘heroine,’ cast in narratives that hinge on themes of motherhood, female monstrosity, birth/death metaphors, empire, colony, capitalism, and so on. The films’ overarching concerns with the paradoxes of nature, culture, body and external materiality, lead us to concur with Stephen Mulhall’s conclusion that these concerns revolve around the issue of “the relation of human identity to embodiment”. This paper uses these cultural readings as an entry point for a tangential study of the Alien films centring on the subject of time. Spanning the entire series of four original films and two recent prequels, this essay questions whether the Alien series makes that cerebral effort to investigate the operations of “the feminine” through the space of horror/adventure/science fiction, and whether the films also produce any deliberate comment on either the lived experience of women’s time in these genres, or of film time in these genres as perceived by the female viewer. Keywords: Alien, SF, time, feminine, film 59 IAFOR Journal of Arts & Humanities Volume 6 – Issue 2 – Autumn 2019 Alien Films that Philosophise Ridley Scott’s 1979 S/F-horror film Alien spawned not only a remarkable forty-year cinema obsession that has resulted in six specific franchise sequels and prequels till date, but also a considerable amount of scholarly interest around the series. -
Demon Girl Power: Regimes of Form and Force in Videogames Primal and Buffy the Vampire Slayer
Demon Girl Power: Regimes of Form and Force in videogames Primal and Buffy the Vampire Slayer Tanya Krzywinska Brunel University Abstract 'There's nothing like a spot of demon slaughter to make a girl's night' Since the phenomenal success of the Tomb Raider (1996) videogame series a range of other videogames have used carefully branded animated female avatars. As with most other media, the game industry tends to follow and expand on established lucrative formats to secure an established market share. Given the capacity of videogames to create imaginary worlds in 3D that can be interacted with, it is not perhaps surprising that pre-established worlds are common in videogames, as is the case with Buffy the Vampire Slayer (there are currently three videogames based on the cult TV show 2000-2003), but in other games worlds have to be built from scratch, as is the case with Primal (2003). With the mainstream media's current romance with kick- ass action heroines, the advantage of female animated game avatars is their potential to broaden the appeal of games across genders. This is however a double-edged affair: as well as appealing to what might be a termed a post-feminist market, animated forms enable hyper-feminine proportions and impossible vigour. I argue that becoming demon - afforded by the plasticity of animation –- in these games troubles the representational qualities ordinarily afforded to female avatars in videogames. But I also argue that theories of representation are insufficient for a full understanding of the formal particularities of videogames and as such it is crucial to address the impact of media-specific attributes of videogames on the interpellation of players into the game space and the way that power regimes are organised.