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10.9 De Jesus Precarious Girlhood Dissertation Draft
! ! "#$%&#'()*!+'#,-((./!"#(0,$1&2'3'45!6$%(47'5)#$.!8#(9$*!(7!:$1'4'4$!;$<$,(91$42! '4!"(*2=>??@!6$%$**'(4&#A!B'4$1&! ! ! ;$*'#C$!.$!D$*)*! ! ! ! ! E!8-$*'*! F4!2-$!! G$,!H(99$4-$'1!I%-((,!(7!B'4$1&! ! ! ! ! "#$*$42$.!'4!"'&,!:),7',,1$42!(7!2-$!6$J)'#$1$42*! :(#!2-$!;$5#$$!(7! ;(%2(#!(7!"-',(*(9-A!K:',1!&4.!G(<'45!F1&5$!I2).'$*L! &2!B(4%(#.'&!M4'<$#*'2A! G(42#$&,N!O)$0$%N!B&4&.&! ! ! ! ! ! P%2(0$#!>?Q@! ! R!;$*'#C$!.$!D$*)*N!>?Q@ ! ! CONCORDIA UNIVERSITY SCHOOL OF GRADUATE STUDIES This is to certify that the thesis prepared By: Desirée de Jesus Entitled: Precarious Girlhood: Problematizing Reconfigured Tropes of Feminine Development in Post-2009 Recessionary Cinema and submitted in partial fulfillment of the requirements for the degree of Film and Moving Image Studies complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: Chair Dr. Lorrie Blair External Examiner Dr. Carrie Rentschler External to Program Dr. Gada Mahrouse Examiner Dr. Rosanna Maule Examiner Dr. Catherine Russell Thesis Supervisor Dr. Masha Salazkina Approved by Dr. Masha Salazkina Chair of Department or Graduate Program Director December 4, 2019 Dr. Rebecca Duclos Dean Faculty of Fine Arts ! ! "#$%&"'%! ()*+,)-./0!1-)23..45!().62*7,8-9-:;!&*+.:<-;/)*4!%).=*0!.<!>*7-:-:*!?*@*2.=7*:8!-:! (.08ABCCD!&*+*00-.:,)E!'-:*7,! ! ?*0-)F*!4*!G*0/0! '.:+.)4-,!H:-@*)0-8EI!BCJD! ! !"##"$%&'()*+(,--.(/#"01#(2+3+44%"&5()*+6+($14(1(4%'&%7%31&)(3*1&'+(%&()*+(3%&+81)%3(9+:%3)%"&( -
The First but Hopefully Not the Last: How the Last of Us Redefines the Survival Horror Video Game Genre
The College of Wooster Open Works Senior Independent Study Theses 2018 The First But Hopefully Not the Last: How The Last Of Us Redefines the Survival Horror Video Game Genre Joseph T. Gonzales The College of Wooster, [email protected] Follow this and additional works at: https://openworks.wooster.edu/independentstudy Part of the Other Arts and Humanities Commons, and the Other Film and Media Studies Commons Recommended Citation Gonzales, Joseph T., "The First But Hopefully Not the Last: How The Last Of Us Redefines the Survival Horror Video Game Genre" (2018). Senior Independent Study Theses. Paper 8219. This Senior Independent Study Thesis Exemplar is brought to you by Open Works, a service of The College of Wooster Libraries. It has been accepted for inclusion in Senior Independent Study Theses by an authorized administrator of Open Works. For more information, please contact [email protected]. © Copyright 2018 Joseph T. Gonzales THE FIRST BUT HOPEFULLY NOT THE LAST: HOW THE LAST OF US REDEFINES THE SURVIVAL HORROR VIDEO GAME GENRE by Joseph Gonzales An Independent Study Thesis Presented in Partial Fulfillment of the Course Requirements for Senior Independent Study: The Department of Communication March 7, 2018 Advisor: Dr. Ahmet Atay ABSTRACT For this study, I applied generic criticism, which looks at how a text subverts and adheres to patterns and formats in its respective genre, to analyze how The Last of Us redefined the survival horror video game genre through its narrative. Although some tropes are present in the game and are necessary to stay tonally consistent to the genre, I argued that much of the focus of the game is shifted from the typical situational horror of the monsters and violence to the overall narrative, effective dialogue, strategic use of cinematic elements, and character development throughout the course of the game. -
Staff Faculty Funding
Special thanks from the FOCUS Media Journal Staff to the following for their continuous support: Staff Joe Palladino Janice Strobach Dana Welch Faculty Peter Bloom Anna Brusutti Alenda Chang Michael Curtin Anna Everett Cynthia Felando Jennifer Holt Ross Melnick Laila Shereen-Sakr Cristina Venegas Janet Walker Funding Associated Students UCSB FAMST Department Michael Curtin i ii President Ian Laughbaum Vice President Elizabeth Cook Secretary Matthew MacPherson Officer Alejandra Gularte Chief Copy Editor McKinsey Fidellow Copy Editors Irene Chen, Catalina Fernandez, Angelina Garcia, Hannah Maerowitz Writers Alejandra Gularte, Alex Tritt, Cassidy Pyle, Catalina Fernandez, Elizabeth Cook, EmmaClaire, Fong Kuo, Ian Laughbaum, Joey Goodman, Kai Glick, Keana Alden, Matthew MacPherson Graphic Designer Tinna Lam Staff Advisor Joe Palladino iii ABOUT THE STAFF President: Ian Laughbaum After having come out of the FOCUS editorial board last year confused as to how he became president in the first place, now fourth-year Ian Laughbaum knew he wanted to do it again, right this time. He’d like to give out his thanks to all of the journal’s authors, the faculty and staff who made it possible, and of course the journal’s staff, without whom he’d be utterly lost and probably doing something silly. Vice President: Elizabeth Cook Elizabeth Cook is a second-year double major in Film and Media Studies and Feminist Studies hailing from Los Altos, CA. When she’s not talking about women in film, she performs with the Women’s Ensemble Theatre Troupe and volunteers with Camp Kesem, an incredible non-profit dedicated to supporting kids through and be- yond their parent’s cancer. -
British Academy of Film and Television Arts Annual Report & Accounts 2017
BRITISH ACADEMY OF FILM AND TELEVISION ARTS ANNUAL REPORT & ACCOUNTS 2017 SECTION HEADER 1 CONTENTS Chair’s Statement 03 5 STRUCTURE, GOVERNANCE BRITISH ACADEMY OF FILM AND MANAGEMENT 29 AND TELEVISION ARTS Trustees’ Report 2017 03 5.1 The organisational structure 29 ANNUAL REPORT & ACCOUNTS 2017 1 WHO WE ARE AND WHAT WE DO / 5.2 Governance of BAFTA 29 2017 OBJECTIVES 04 British Academy of Film and Television Arts 5.3 Management of BAFTA 30 195 Piccadilly 2 STRATEGIC REPORT 2017 05 5.4 Funds held as custodian 30 London w1j 9ln 2.1 A year in review 06 6 REFERENCE AND Tel: 020 7734 0022 2.1a BAFTA 195 Piccadilly 07 ADMINISTRATIVE DETAILS www.bafta.org 2.1b Public engagement and appreciation 08 OF THE CHARITY, ITS TRUSTEES AND ADVISERS 31 Company Registration no. 00617869 2.1c Industry relevance 12 Charity no. 216726 6.1 Charity details 31 2.1d New talent 14 6.2 Committees 31 BAFTA companies: 2.1e International recognition 17 British Academy of Film and Television Arts 6.3 Council of management 32 2.1f Financial stability 19 BAFTA Management Limited 6.4 Register of interests 32 BAFTA Media Technology Limited 2.2 Funding our aims 20 195 Piccadilly Limited 6.5 BAFTA advisers 32 2.2a Fundraising 21 6.6 Auditors 32 2.2b Partnerships 22 6.7 Sponsors, partners and donors 32 2.2c Membership 22 7 STATEMENT OF TRUSTEES’ 3 FUTURE PLANS 23 RESPONSIBILITIES 34 ANNUAL ACCOUNTS 2017 35 4 FINANCIAL REVIEW 24 Independent auditor’s report 35 4.1 Review of the financial position 25 Opposite: The artwork for our Awards campaigns in 2017, as featured Consolidated statement of 4.2 Principal risks and uncertainties 26 in our marketing, social media posts and on the ceremony brochure financial activities 37 covers, were developed with creative agency AKQA with the aim of 4.3 Financial policies 28 turning BAFTA’s vision of creative excellence for the moving image into Consolidated and charity balance sheets 39 a deeper conversation with the public and industry practitioners alike. -
Game Developer Power 50 the Binding November 2012 of Isaac
THE LEADING GAME INDUSTRY MAGAZINE VOL19 NO 11 NOVEMBER 2012 INSIDE: GAME DEVELOPER POWER 50 THE BINDING NOVEMBER 2012 OF ISAAC www.unrealengine.com real Matinee extensively for Lost Planet 3. many inspirations from visionary directors Spark Unlimited Explores Sophos said these tools empower level de- such as Ridley Scott and John Carpenter. Lost Planet 3 with signers, artist, animators and sound design- Using UE3’s volumetric lighting capabilities ers to quickly prototype, iterate and polish of the engine, Spark was able to more effec- Unreal Engine 3 gameplay scenarios and cinematics. With tively create the moody atmosphere and light- multiple departments being comfortable with ing schemes to help create a sci-fi world that Capcom has enlisted Los Angeles developer Kismet and Matinee, engineers and design- shows as nicely as the reference it draws upon. Spark Unlimited to continue the adventures ers are no longer the bottleneck when it “Even though it takes place in the future, in the world of E.D.N. III. Lost Planet 3 is a comes to implementing assets, which fa- we defi nitely took a lot of inspiration from the prequel to the original game, offering fans of cilitates rapid development and leads to a Old West frontier,” said Sophos. “We also the franchise a very different experience in higher level of polish across the entire game. wanted a lived-in, retro-vibe, so high-tech the harsh, icy conditions of the unforgiving Sophos said the communication between hardware took a backseat to improvised planet. The game combines on-foot third-per- Spark and Epic has been great in its ongoing weapons and real-world fi rearms. -
Campo Santo Free Download
CAMPO SANTO FREE DOWNLOAD W. G. Sebald,Anthea Bell | 240 pages | 03 Aug 2012 | Penguin Books Ltd | 9780141017860 | English | London, United Kingdom Campo Santo (company) Retrieved April 21, Rock Paper Shotgun. Campo Santo. It's getting two new Campo Santo soon". Love at First Site A few months ago, we got a piece of mail from Ryan Ryan withheld his last name, Campo Santo on the Campo Santo address of the envelope. Thanks to you—and everyone, past, present, and future—who has played Firewatch for making that possible! Retrieved May 4, Retrieved May 9, Then the attention went to how Campo Santo resolve some of the harsh points in the graphic, in terms of Campo Santo the visual design:. Luckily, we are only attempting to create 3 relatively simple glyphs, all three of which are the same in both simplified and traditional Chinese, so we decided to try to do it ourselves rather than outsourcing it. Namespaces Article Talk. Firewatch is a single-player first-person mystery set in the Wyoming wilderness, where your only emotional lifeline is the person on the other end of a handheld radio. Red Bull. Next Up In Gaming. Hair cards, on the other hand, use many sheets of hair strands to portray more free-flowing hair —think many characters in Uncharted 4. We know what a good Switch game feels like, and want to make sure Firewatch feels like one too. Game Revolution. Comics Music. Retrieved September 20, The Atlantic. You play as a disgraced former filmmaker and explorer, reunited with your old partner for a project that could leave you with fame and fortune—or dead and buried in the sand. -
Baylor Slams OU 41-12
10 SPORTS p. 9 baylorlariat com No. 5 Baylor soccer takes on No. 1 seed West Virginia on the road today. Baylor Lariat WE’RE THERE WHEN YOU CAN’T BE Friday | November 8, 2013 Boomer Loser TWITTER from Page 1 By Daniel Hill After a 3-0 Oklahoma lead in a rough first was a lot of hype and the fans were wonderful to- Sports Editor quarter filled with immense intensity between two night. We owe a lot to them. They were loud. Going ranked teams, the Bears asserted themselves by fin- into this game, it was kind of our first time to have Baylor After seven games without a true test on the ishing the game in dominant fashion and outscor- a true test as far as the whole hype of the situation gridiron, the Baylor Bears were supposed to be ing the Sooners 38-12 in the final three quarters for a big game like that.” challenged by the No. 10 Oklahoma Sooners, the of the game. In a game where the Bears needed to Before the game even started, the energy-in- first ranked opponent for Baylor this season. The make a national statement to advance in the BCS fused crowd at Floyd Casey Stadium was ready for No. 6 Bears answered the call and more by thump- standings, the Bears left no doubt with a 29-point a battle royal between two Big 12 juggernauts. In slams ing Oklahoma 41-12 in front of 50,537 fans decked victory over the No. 10 team in the land. -
Banksy. Urban Art in a Material World
Ulrich Blanché BANKSY Ulrich Blanché Banksy Urban Art in a Material World Translated from German by Rebekah Jonas and Ulrich Blanché Tectum Ulrich Blanché Banksy. Urban Art in a Material World Translated by Rebekah Jonas and Ulrich Blanché Proofread by Rebekah Jonas Tectum Verlag Marburg, 2016 ISBN 978-3-8288-6357-6 (Dieser Titel ist zugleich als gedrucktes Buch unter der ISBN 978-3-8288-3541-2 im Tectum Verlag erschienen.) Umschlagabbildung: Food Art made in 2008 by Prudence Emma Staite. Reprinted by kind permission of Nestlé and Prudence Emma Staite. Besuchen Sie uns im Internet www.tectum-verlag.de www.facebook.com/tectum.verlag Bibliografische Informationen der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Angaben sind im Internet über http://dnb.ddb.de abrufbar. Table of Content 1) Introduction 11 a) How Does Banksy Depict Consumerism? 11 b) How is the Term Consumer Culture Used in this Study? 15 c) Sources 17 2) Terms and Definitions 19 a) Consumerism and Consumption 19 i) The Term Consumption 19 ii) The Concept of Consumerism 20 b) Cultural Critique, Critique of Authority and Environmental Criticism 23 c) Consumer Society 23 i) Narrowing Down »Consumer Society« 24 ii) Emergence of Consumer Societies 25 d) Consumption and Religion 28 e) Consumption in Art History 31 i) Marcel Duchamp 32 ii) Andy Warhol 35 iii) Jeff Koons 39 f) Graffiti, Street Art, and Urban Art 43 i) Graffiti 43 ii) The Term Street Art 44 iii) Definition -
SERVICES GUIDE in THIS PACKAGE (Or at Tracfone.Com) BEFORE Your Tracfone Experience
START HERE ® ® CREATE AN ACCOUNT PLEASE READ THE TERMS AND CONDITIONS OF SERVICE IN Create an account at TracFone.com to maximize THE SERVICES GUIDE IN THIS PACKAGE (or at TracFone.com) BEFORE your TracFone experience. Benefi ts Include: ACTIVATING YOUR PHONE OR ANY SERVICE PLANS. • TracFone Programs • Offers 1. ACTIVATE YOUR SERVICE Once you receive confi rmation that the service has been • Promotions • And much more... Go to TracFone.com or call 1-800-867-7183 to Activate your Activated, follow the instructions below to complete service. Be ready to provide the following: your Activation. KEEP YOUR SERVICE ACTIVE • Service Plan PIN. You may also purchase one during Add Airtime BEFORE your Service End Date to keep your Activation using a credit or debit card. 2. SET UP YOUR PHONE service active. • Serial Number or IMEI for this device (shown below) 1. Turn your phone OFF and back ON. Your phone will begin Enroll in a Plan: Enroll in one of our Value Plans at TracFone.com the automatic setup process. by using a credit or debit card and we will add your Minutes and LOCATE THE ACTIVATION CARD 2. Once the setup is completed make a test call. Service Days automatically. This service includes pre-charge 3. If your test call is successful, you are fi nished. If the setup reminders, payment receipts and credit card expiration alerts. or test call fails, wait a few minutes and repeat these steps. Buy an Airtime Card: There are several ways to buy an airtime card: • Go to TracFone.com or call 1-800-867-7183 • Shop at local retailers (fi nd store locations at TracFone.com) Add an Airtime Card: There are several ways to add an Airtime card directly from your phone: • Download the TracFone My Account App and select the Add Card option. -
Lana-Mckissack-Theat
LANA McKISSACK SAG-AFTRA/AEA TELEVISION HAWAII FIVE-0 Co-Star CBS, Dir. Karen Graviola DARK/WEB Series Regular Amazon, Dir. Roxy Shih NCIS Co-Star CBS, Dir. Leslie Libman THE OA Co-Star Netflix, Dir. Zal Batmanglij SIDESWIPED (Pilot) Co-Star YouTube Red CRIMINAL MINDS Co-Star CBS, Dir. Bethany Rooney SHAMELESS Co-Star Showtime, Dir. Anna Mastro ME, MYSELF AND I Co-Star CBS, Dir. Jim Hensz LIFE IN PIECES Co-Star CBS, Dir. John Riggi GRACE UNDER FIRE Guest Star ABC, Dir. Michael Lessac THE PARENT ‘HOOD Guest Star UPN, Dir. John Bowab GEO KIDS Series Regular National Geographic, Dir. Jason Rosenfield FILM COUNTDOWN Supporting STX Entertainment, Dir. Justin Dec FOUR ROOMS Lead Miramax Films, Dir. Robert Rodriguez THE BOUNCE BACK Supporting Twentieth Century Fox, Dir. Youssef Delara A CINDERELLA CHRISTMAS (TV MOVIE) Lead ION Television, Dir. Tosca Musk SENIOR PROJECT Lead Itsy Bitsy Film, Dir. Nadine Truong LOVE ARCADIA Lead Zoblii Prod., Dir. Lawrence Gan SCREWED Supporting Screen Media Ventures, Dir. John Wynn THE BEST BAD THING (TV MOVIE) Lead PBS, Dir. Peter Rowe NEW MEDIA RELEASE1 Co-Star Topic Studios, Dir. Ryan Morrison SOLVE Recurring Vertical Networks, Dir. John Cvak NINA UNLOCKED Series Regular Recursor.tv, Dir. Martin Hall BITCHCRAFT Series Regular Holster Studios, Dir. Luke Hyams ALWAYS YOU Series Regular YOMYOMF, Dir. Riedell Brothers INTERNET ICON Series Regular Oops Doughnuts, Dir. D.J. Viola TECHNIUM Host Forge Apollo, Dir. Gabe Michael HIGH FIVES Host Vevo, Dir. Kimmy Gatewood 1. Premiered in the N.O.W showcase at Tribeca Film Festival 2019 THEATER 2017 CBS DIVERSITY COMEDY SHOWCASE Performer CBS, Dir. -
Refocused & Rededicated
Refocused & Rededicated to ending the tobacco epidemic 2013 ANNUAL REPORT Building Generation Free: One Life at a Time In late 2013, I had the exciting opportunity and great privilege We come well-armed to meet our challenge. In 2014, truth will return with its most significant media to segue from a long and satisfying career in marketing and advertising presence in 11 years. And in addition to continuing our grassroots and earned media communications, building nationally recognized brands and efforts, we’ll be launching our most comprehensive evaluation of the campaign since its inception helping clients chart successful courses, to now lead a ground- in 2000. The highly innovative, rapid response work of the Steven A. Schroeder National Institute for breaking national nonprofit that changes social norms and saves Tobacco Research and Policy Studies at Legacy will be expanded, and our work to end lives. Joining Legacy, following the remarkable 14-year tenure the health disparities tobacco inflicts on priority populations will continue. of the foundation’s visionary first president and CEO, Dr. Cheryl Healton, has been an exhilarating shift for me. As we continue our While we’ve made enormous progress, much more needs to be done to fight the final phase of work to realize our vision of a generation of Americans for whom our battle. Despite our successes, an astonishing 480,000 Americans lose their lives annually tobacco is a thing of the past, we firmly believe we can achieve to tobacco. The 2014 Surgeon General’s Report confirms that smoking is even deadlier than we a culture where all youth and young adults reject it. -
For More Than 45 Years the Good Food Store Has Been Missoula's
For more than 45 years the Good Food Store has been Missoula’s home for locally-produced, organic and bulk foods. 1600 S. 3rd St. West | Missoula | www.goodfoodstore.com WELCOME 3 Welcome Dearest Missoula, filmmakers and documentary film fans, On behalf of the staff and board of the Big Sky Film Institute, thank you for joining us at the 17th annual Big Sky Documentary Film Festival. Here in the heart of winter we welcome you, curious, thoughtful, excited and driven audiences, to experience illuminating stories from around the world. For Big Sky it is a transformative year as we welcome a guest programmer, settle the Institute in an exciting new home, and encounter a profound shift taking place in the modern canon of documentary film. As we enter a new decade we are thrilled to present nearly 150 extraordinary films that explore turning points, tipping points, colliding cultures, dubious power, human resilience, natural wonders and elder wisdom. This year we also welcome two teams of filmmakers for retrospective programs, place-based filmmaker duo Bill Ross and Turner Ross and celebrated documentary veterans Steven Bognar and Julia Reichert. These exciting programs capture a prodigious spectrum of American experience, rights for women and workers, and the remarkable 50-year career of Julia Reichert. We introduce a new event this year, the Big Sky Centerpiece, a mid-festival spotlight on a film at the heart of the festival, which this year will explore the great threat to our public lands. Big Sky artist programs continue to expand as we welcome eight talented artists in the 4th World Indigenous Media Lab and ten films from Indigenous directors and producers.