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Magazine Media
SEPTEMBER 2012: IMAGES & ICONS M M MediaMagazine edia agazine Menglish and media centre issue 41 | septemberM 2012 FEMINIST ICONS OF NORDIC NOIR THE ICONOGRAPHY OF THE ALBUM COVER STEVE JOBS AND THE ICONIC APPLE THE ICONOGRAPHY OF THE WESTERN english english and media centre SELF-IMAGE AND THE | issue | 41 issue | september 2012 MEDIA ICONS IN THE HOOD MM MM MediaMagazine is published by the English and Media Centre, a Welcome to new readers just starting out on your media and non-profit making organisation. film journey – and welcome back to those of you returning to A2 The Centre publishes a wide range and other Level 3 courses. of classroom materials and runs courses for teachers. If you’re This first issue of the year is on Images and Icons – traditionally studying English at A Level, look out the first port of call in Media Studies. You’ll already be well for emagazine, also published by practised in reading and analysing still and moving images, but the Centre. what’s this slippery term icon? And what does iconography mean in the context of The English and Media Centre Media Studies? You’ll know the word from the graphic symbols on your desktop, but 18 Compton Terrace that’s only one meaning. At its simplest, it’s described as: ‘An image; a representation’ London N1 2UN or ‘a symbol resembling the thing it represents’. Most definitions remark on the Telephone: 020 7359 8080 term’s derivation from religious imagery: ‘the representation or picture of a sacred Fax: 020 7354 0133 or sanctified Christian personage, traditionally used and venerated in the Eastern Email for subscription enquiries: Church’ (http://www.thefreedictionary.com/icon). -
1 April 2012 DEAD by DAWN 29 March - 1 April 2012 All Screenings in Cinema One
29 March - 1 April 2012 DEAD BY DAWN 29 March - 1 April 2012 All screenings in Cinema One Thursday THE FIELDS 2330 – 0115 Friday RED TEARS 1200 – 1335 What You Make It short film programme 1415 – 1515 THE OMEN 1600 – 1800 Long Shorts short film programme 1900 – 2035 BELOW ZERO + Q&A with Signe Olynyk and Bob Schultz 2115 – 2315 THE PUPPET MONSTER MASSACRE 0015 – 0130 Saturday DELIVERANCE 1245 – 1445 Cutting Edge short film programme 1530 – 1715 NIGHTMARE FACTORY 1815 – 1950 LOBOS DE ARGA + Q&A with Juan Martinez Moreno 2045 – 2250 Late Night Triple Bill Bear + JUAN DE LOS MUERTOS 0000 – 0155 Infernal Nuns + DEMONS 0230 – 0405 MACABRE 0425 – 0600 Sunday CREEPSHOW 1345 – 1550 2D & Deranged short animation programme 1630 – 1740 RED NIGHTS 1830 – 2015 HAUNTERS 2100 – 2245 Freebies, Blethering, Shit Film Amnesty 2330 – 2350 THE CABIN IN THE WOODS 2350 – 0140 Some times may be subject to slight change. Welcome to Dead by Dawn! It’s sound advice to be more afraid of the living than the dead. Sure, the dead can kill you, but at least they’re easy to spot. In this year’s programme too many of the monsters will smile when they meet you, and will still be smiling when they lock you in a meat freezer. Or encourage you onto a ledge. Or offer to share their martini. You could try politely declining their kind offer, see how that works out... Dead by Dawn is a discovery festival which exists to showcase potential and vibrant emerging talent, but also aims to screen the widest possible range of what can be described as horror both in feature and short form. -
Machinima As Digital Agency and Growing Commercial Incorporation
A Binary Within the Binary: Machinima as Digital Agency and Growing Commercial Incorporation A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Megan R. Brown December 2012 © 2012 Megan R. Brown. All Rights Reserved 2 This thesis titled A Binary Within the Binary: Machinima as Digital Agency and Growing Commercial Incorporation by MEGAN R. BROWN has been approved for the School of Film and the College of Fine Arts by Louis-Georges Schwartz Associate Professor of Film Studies Charles A. McWeeny Dean, College of Fine Arts 3 ABSTRACT BROWN, MEGAN R., M.A., December 2012, Film Studies A Binary Within the Binary: Machinima as Digital Agency and Growing Commercial Incorporation (128 pp.) Director of Thesis: Louis-Georges Schwartz. This thesis traces machinima, films created in real-time from videogame engines, from the exterior toward the interior, focusing on the manner in which the medium functions as a tool for marginalized expression in the face of commercial and corporate inclusion. I contextualize machinima in three distinct contexts: first, machinima as historiography, which allows its minority creators to articulate and distribute their interpretation of national and international events without mass media interference. Second, machinima as a form of fan fiction, in which filmmakers blur the line between consumers and producers, a feature which is slowly being warped as videogame studios begin to incorporate machinima into marketing techniques. Finally, the comparison between psychoanalytic film theory, which explains the psychological motivations behind cinema's appeal, applied to videogames and their resulting machinima, which knowingly disregard established theory and create agency through parody. -
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Mediafishpresents
26 March - 5 April 2012 leedsyoungfilm.com MediaFishpresents © Filmkompaniet / Moomin Characters™ Welcome to the 2012 Leeds Young People’s Film Festival presented by MediaFish! Lights, Camera, Action! Are you ready to join MediaFish As ever, we want to offer you something a little bit more in celebrating Leeds Young People’s Film Festival’s 13th than a regular visit to the multiplex and this year we don’t Birthday? think you’ll be disappointed! We’re an enthusiastic group of young people from the From Leeds documentary We Are Poets, with special guest local Leeds area that love film. We meet in the Leeds Film appearance Benjamin Zephaniah to our very first Great Academy every week to plan the Film Festival and have Big Family Film Day to our celebration of independent even started making our own films too. young filmmakers to an exclusive preview screening of From Octonauts to The Cabin in the Woods, no matter Joss Whedon’s Cabin in the Woods and a host of inside what your taste, the Film Festival caters for you. We’re information from moving image industry professionals, excited that Leeds talent is playing a major part in you won’t want to miss out!! this year’s festival and if you take part in our unique With our under 19 ticket price fantastic value at just £2 - masterclasses and workshops, it could be your films on why not bring your friends and help us celebrate our first the screen someday! To find out more, flick through the year as a teenager in style! brochure or visit www.leedsyoungfilm.com Debbie, Martin & the Leeds Young Film Team We hope you enjoy our festival! www.leedsyoungfilm.com The MediaFish team: Aidan Alex MediaFish www.hydeparkpicturehouse.co.uk Alfie Dylan City Centre Box Office 0113 224 3801 Ed Freya Carriageworks, Millennium Square, Leeds Gage Jamie Don’t worry if you can’t get through, leave a message and Laura Ruby someone from Box Office will call you back. -
The Spaces and Places of Horror
The Spaces and Places of Horror Edited by Francesco Pascuzzi Rutgers University Sandra Waters Rutgers University Series in Critical Media Studies Copyright © 2020 by the authors. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Vernon Art and Science Inc. www.vernonpress.com In the Americas: In the rest of the world: Vernon Press Vernon Press 1000 N West Street, C/Sancti Espiritu 17, Suite 1200, Wilmington, Malaga, 29006 Delaware 19801 Spain United States Series in Critical Media Studies Library of Congress Control Number: 2019942247 ISBN: 978-1-62273-742-0 Cover design by Vernon Press. Cover image by cocoparisienne from Pixabay. Product and company names mentioned in this work are the trademarks of their re- spective owners. While every care has been taken in preparing this work, neither the authors nor Vernon Art and Science Inc. may be held responsible for any loss or damage caused or alleged to be caused directly or indirectly by the information con- tained in it. Every effort has been made to trace all copyright holders, but if any have been inad- vertently overlooked the publisher will be pleased to include any necessary credits in any subsequent reprint or edition. Table of contents Acknowledgments vii Foreword ix Bernadette Wegenstein The Johns Hopkins University Introduction xiii Francesco Pascuzzi and Sandra Waters Rutgers University Part 1. Spaces 1 Chapter 1 This is a Sacred Place (lessness): The Horrific Untetherings of Martyrs (2008) 3 Katherine A. -
2019 CVG Program Guide
1 2 It is perhaps fitting that as CONvergence turns twenty- • CONvergence is a people that celebrates everything one, that it finds itself in a new city, a new location, a new across the Sci Fi and Fantasy world. CONvergence is celebration—the Next Celebration. Twenty-one is a time of the Jedi and the Hufflepuffs, it is the Avengers and the becoming—of growth and change, and, in some sense, of Dothraki, it is the Klingons and the Pokémon Trainers, it is rebirth as we embark on a new phase in our life and become the movie watchers and the musicians, the artists and the who we are meant to be. The past twenty years have been coffee drinkers; it is everyone and everything in the world of geekery. It is community. It is family. glorious, fun-filled and heartwarming, as we have seen all manner of good and evil in the world, and like anyone And as we embark on this next celebration, to boldly go coming of age, we had to leave the nest, spread our wings where no ONE has gone before, we are poised to grow and fly; fly on to the next adventure, because despite our in new directions, to broaden our outreach and bring in long history in one location, CONvergence is not a hotel, it is new communities to make our geeky world more inclusive a people. and more representative of ALL the people who celebrate • CONvergence is that cosplayer working up until 2:00am fandom. the night before with a glue gun in one hand and a So welcome to The Next Celebration. -
Gangs and Guilt: Towards a New Theory of Horror Film
Gangs and Guilt: Towards a New Theory of Horror Film “Horror films give us back our sins as monsters.” (Sam J. Miller) Horror films are always about something being dismissed that needs to be taken seriously. Scholarship is virtually unanimous in its belief that that something is fear: “If it is the movie’s aim to terrify, horrify or frighten, it qualifies as a horror production.”1 To some extent, this is simply a tautology that muddies the waters by conflating horror as an experience with horror as a genre:2 if ‘horror’ as an emotion can be defined as “what we feel when anything frightens us or promotes fear or terror,”3 it follows that horror as a genre is all about, to cite Hantke’s title, Creating and Marketing Fear. Scholars of horror have differed widely on what kinds of fear exactly the horror film evokes—the list here ranges from formless fears (with “Fear of death and the unknown”4 ranking right at the top) to concrete social and political fears5 such as atomic anxieties6 and World War III panic7—, and they have investigated different reasons why viewers might agree to expose themselves to such 1 Muir 1. This assumption is so a priori that it remains unstated in many sources, although it is also an exceedingly common statement. Stephen King, an undisputed expert on the theme, has described “Horror, terror, fear, panic” as the province of the horror genre (Danse Macabre 26). Scholars have overwhelmingly agreed with him. A small and random sample of scholarly works casting fear as the central mover and shaker of horror might include Büssing; Cantor / Oliver 64-67; Clemens 1-2; Cowan 5-18; Derry, Dark Dreams 2.0 110, 363-4, and “More Dark Dreams” 162; Fahy, “Introduction” 1-2; Grant’s “Introduction” to Planks of Reason, xii-xiii; Grodal 249; Hanich’s Pleasurable Fear; Hantke, Horror Film: Creating and Marketing Fear; Hutchings 7 and 81; Manchel, Terrors of the Screen; Prawer’s The Film as Tale of Terror; Sipos 5; Schomacker; Spehr; Telotte, “Through a Pumpkin’s Eye” 116-17; D. -
Sequoyah High School Literary Magazine 2020 Through 2021
Pinnacle Sequoyah High School Literary Magazine 2020 through 2021 Cover Art by Briana Redner 1 My dear reader, Thank you for picking up this magazine. This project is the culmination of this class's best pieces. Hours were spent on these creations, these extensions of self, and for you to open this magazine and read this message, means so much to us. So go on, and enjoy! --Dominic Lattanzio, Co-Chief Editor This magazine is the result of long, caffeine-filled nights filled with swimming words and splitting headaches. The pieces it contains are the results of the inner emotions of a classroom of writers. Personally, Lit Mag has been a place of growth, a sanctuary, an outlet from the onslaught of the outside world. Looking back on old pieces of mine not only shows me how immensely my writing has grown; it shows me how I have grown. I want to thank Dr. Murphy and this class for both these areas of growth, for offering the timid fourteen-year-old I once was an outlet. So, reader, as you flip through our magazine, be aware that each piece contains a piece of its author. Read them, listen to them, and you will hear each author’s story. Happy reading, Alison Eltz, Co-Chief Editor 2 Table of Contents POETRY--------------------4 PROSE--------------------46 PINNACLE-------------103 SENIOR QUOTES----123 3 POETRY Letter of Expectation-----------------------------------------5 An Ode to a Chosen Family----------------------------------7 Always and Forever Broken----------------------------------9 Cycle of Broken------------------------------------------------11 -
The Cabin on the Screen: Defining the •Œcabin Horror╊ Film
Feature 01 over time. This is especially evident when considering all three films together, as the pure horror aesthetic of The Evil Dead shifts into comedy and self-reflexivity with Evil Dead 2 and The Cabin in the Woods. Through its function as a site of release for repressed desire, its hostile isolationist agency and its playful adaptability as a genre-spanning setting, the cabin is revealed to be a unique, enduring landscape of horror and the cabin horror film a distinct subgenre with its own conventions and modes, functioning perfectly as an evocation and microcosm of the horror genre itself. Before defining the specific attributes and conventions which make up the cabin horror A B OV E The cabin awaits film, it is necessary to first establish it as a valid subgenre, rather than a simple cycle or trend in horror. There are three specific pieces of evidence which substantiate this claim. The first is the cabin’s longevity in The Cabin on the Screen: contemporary horror film, from its birth in the 1980s to its resurgence in the 2000s. The cabin horror genre surfaced in the Defining the “Cabin 1980s with slashers and slasher-inspired films, such as The Evil Dead, Evil Dead 2, Sean Cunningham’s Friday the 13th (1980), and Stan Winston’s Pumpkinhead (1988). Horror” Film Its oversaturation and decline in the late 1980s and 1990s might have signalled its By Matthew Grant end if it were a simple cycle or finite trend, but in the 2000s cabin horror experienced a renaissance with films such as Daniel KEYWORDS: Evil Dead, Evil Dead 2, The Cabin in the Woods, Myrick and Eduardo Sánchez’s The Blair Witch Project (1999), Eli Roth’s Cabin Fever Robin Wood, repression, horror film, cabin horror, genre (2002), Rob Schmidt’s Wrong Turn (2003), David Koepp’s Secret Window (2004), Lars von studies Trier’s Antichrist (2009), Eli Craig’s Tucker and Dale vs. -
Tab Journal 4.2 (March 2016)
volume 4 · issue 2 · march 4 · issue volume Callista Buchen, p. 6–7 CURB Deborah Doolittle, p. 8–11 TURKEY VULTURES STOLEN INTERLUDE NATHANIEL HAWTHORNE’S PRIMROSES Okla Elliott, p. 12–14 CHICAGO LOVE STORY—OR: THE VEHICLE LURCHES THREATENINGLY Genevieve Kaplan, p. 15–16 WALL-CLIMBER, DUCKER-UNDERER Elline Lipkin, p. 17–19 AMONG MOTHERS Tania Pryputniewicz, p. 20–22 WALKING THE LAGUNA Kenneth Yuen, p. 23–31 DITHER Katie Manning, p. 32–42 PRAISE BEYOND THE DAY: THE RECEPTION OF ELIZABETH ALEXANDER’S INAUGURAL POEM © tab: The Journal of Poetry & Poetics. Volume 4. Issue 2. March 2016. No part of this publication may be reproduced in any form or by any means, WILKINSON COLLEGE FALL 2012 • Colloquium electronic or mechanical,o withoutf Humanit ipriores and Socialwritten Sc ipermissionences from tab. Rights to individual submissions remain the property of their authors. Department of English Chapman University THE CENTER FOR POETRY AT CHAPMAN UNIVERSITY WILKOneINS OUniversityN COLLE DriveGE WILKINSON COLLEGE of Humanities and Social Sciences Orange,A ca B92866U ofL HumanAities and Social Sciences www.chapman.edu/poetryT issn: 2169-3013 THE CENTER FOR POETRY AT CHAPMAN UNIVERSITYWI LKINSON COLLEGE Department of of Humanities and Social Sciences A B U L A Department of T WILKINSON COLLEGE Department of of Humanities and Social Sciences COMMUNICATION STUDIES Department of THE JOURNAL OF POET ICS & COMMUNICATION STUDIES POE T RY WILKINSON COLLEGE Department of ENGLISH T A of HBumanities and Social Sciences Department of ENGLISH THE JOURNAL OF POE T RY & POEWT IICSLKINSON COLLEGE Department of HISTORY of Humanities and Social Sciences Department of HISTORY WILKINSON COLLEGE Department of of Humanities and Social Sciences LANGUAGES Department of LANGUAGES WILKINSON COLLEGE Department of of Humanities and Social Sciences POLITICAL SCIENCE Department of POLITICAL SCIENCE Department of WILKINSON COLLEGE TAB: THE JOURNAL OF POETRY & POETICS VOL 4. -
It Was Late January And, Although It Was Only Six O'clock in the Evening
Jarvis, Timothy J. (2009) The wanderer: peregrinations in eldritch regions. PhD thesis http://theses.gla.ac.uk/740/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] The Wanderer Peregrinations in Eldritch Regions By Timothy James Jarvis A Creative Writing PhD Thesis University of Glasgow Faculty of Arts April 2009 © Timothy James Jarvis 15/04/2009 Abstract This being a creative, not critical, project, there is no overall thesis to summarize here, and I am loath to offer a synopsis of the fiction, for to do so would pre-empt plot turns. However, I feel it would be useful for me to give a brief outline of the intentions and aspirations I had for the material before I began to write it. At the inception of this enterprise I had two main aims. First, I hoped to produce a creative writing thesis that, rather than consisting of separate critical and fictional components, was a ludic interweaving of theory and invention. To this end, I decided to structure the work as a kind of detournement of the annotated critical edition, situating a critical apparatus around my core work of fiction.