Stay out of the 6Ui[Aing Wfien You 1Re Not Supposed to 6E in Here. It's P[Ain

Total Page:16

File Type:pdf, Size:1020Kb

Stay out of the 6Ui[Aing Wfien You 1Re Not Supposed to 6E in Here. It's P[Ain University High School Volume 71 1362 East 59th Street Number3 Chicago, Illinois 60637 a~e School uses video cameras to strengthen security but some U-Highers wonder if ethics are weakened any people don't even know they exist. Some have heard rumors. Still others have seen themselves Mthrough them. Hidden cameras exist here at the Laboratory Schools and have since last year. AFTER REPEATED thefts and vandalism of Laboratory School property, administrators ordered alarms and motion de­ tectors installed three years ago . This system alerted adminis­ trators when security was breached but no trespasser was ever identified and no culprit ever caught. After repeated late night phone calls to administrators from CE PHOTO from a third floor University police regarding breakins, Assistant Director David Stafford and Manager of Auxiliary Services Peter Brown de­ northea t U-High camera. ote the size of this cided to have hidden surveillance cameras installed as part of camera's len , the tiny obje(t the hand in of an experiment. "M.ike," a ecurit con ultant. "After getting calls at two in the ffiOi"ningabout four or five times throughout the year," recalled Lab Schools Director Lucinda Lee Katz, "I asked Mr. Stafford and Mr. Brown to in­ on." vestigate enhancing the security system ." Reluctant to release the times at which AFTER LOOKING AT numerous alternatives, including a the cameras are in operation, administra­ ~~~~~~~~~~~~~~ keying system that reg- tors would say the surveillance system is isters who enters the only activated after school hours and on school, at what location weekends. ((Stay of out the 6ui[aing and what time, Mr. MIDWAY EDITORS LEARNED the 1 Brown and Mr. Stafford hours of camera operation from a faculty wfien you re not opted to explore surveil­ memo but decided that publishing them lance cameras. might aid people trying to circumvent the supposedto 6e in here. "Not even I knew about security system. them ," Mrs. Katz ex­ According to Mr. Brown, the cameras 11 plained. "Ms. Gold­ shoot in color and are small enough to be It's p[ain ani simpfe. within legal boundaries. Tapes are only reviewed when alarms schmidt (U-High princi­ portable . Mr. Brown also noted that the when taped over. pal) and I found out cameras change locations frequently and are tripped and the video is erased -Laboratory Schools "MIKE," A SECURITY expert at Discrete Electronics on the about them at the same only monitor public areas of the schools. small as a time. Actually I don't see He also noted they do not violate civil North Side, explained that camera lenses can be as Assistant Director pin head V16th of an inch in diameter and can be powered by David Stafford them as a bad thing. I rights and are never placed in locker rooms and restrooms. Administrators batteries for hours. According to security experts, cameras of -;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;.think that they're a great this kind cost approximately $600 and can be hidden anywhere • idea. I leave the school checked with the schools' lawyers regard­ many times as late as 11 p.m. and I feel better knowing they're ing hidden cameras and found them from vents to smoke alarms to holes in the ceiling. Other schools across the city and suburbs also use security systems, most of them including visible cameras and monitors in the halls . At suburban Oak Park-River Forest High School, cameras are turned on at all hours. Many U-Highers have expressed concern about the ethics of having secret cameras. "I THINK IT'S admirable that the school is interested in pro­ tecting it 's students and property ," said Senior Sam Meites. "But it bothers me that the administration didn't tell us about the cameras when they were installed. The fact that they're hidden suggests that the school may be trying to hide something." Informing people of the cameras, administrators say, would have defeated the purpose. "Once you tell your security plan, it's not secure," Mr. Stafford reasoned . "Stay out of the building when you're not supposed to be in here . It's plain and simple . Students were not told about the cameras because the cameras are not on during the schools business hours and are intended to catch night time trespassers. " · SOCRATES ONCE ASKED, "Who will watch the watchers?" Administrators say the answer to that question is easy. "I watch Peter and Peter watches me, " Mr. Stafford said. "And I watch them and the Board watches me, "Mrs. Katz added. "Although we are on a need-to-know basis, there are very few secrets in the Laboratory Schools. " ,u[ 6y BAXALL ECURITY CAMoRA model Andiew Gardner and ikki Meyer check ~rrmtpage. repartetf, written o proaucd '£Jlitors-in.-aiie. CD9000, photo from top left, i ju tone of to ee if any one's watching. The photo at XpreernSa~ 'DaviaSafinas rnuf !if.k{Zamiar. many kind of camera used for urveil­ right wa taken from a econd-fl or, ea t­ PFwtos6g Jeremiah Sdiatt. JilJt6g feo'IJ Pofydiro11.opouws. lance in chool . Cameras can be hidden wing surveillance camera.The camera was Camera..cfwts courte..r:yof Pe.tu 'Brown. (jrapliicsprovitfea 6y in vent , lights and trophy case . Seniors .recently moved. 2(prumSak/1- Previews U-High Midway• Tuesday, November 12, 1996 proposal approved by the faculty last of-year retreats. Who would participate in what month to have all class retreats take retreat would depend in part on what retreat a A place during the first week of school, has faculty member preferred and if a faculty member some teachers and student concerned. had to go home each evening for family obligations Freshman and sophomore retreats would take or stay in the city because of other school obligations, place Monday through Wednesday of the first week such as coaching sports teams. of school. Freshman retreat would consist of an Though the plan received a welcome reception at orientation to the school. Sophomores would explore the faculty meeting, not all teachers are happy with the Community Learning program in which they the proposal. all participate, including visiting some community "I AM CONCERNED that this plan was created sites. with the convenience of the faculty in mind," JUNIOR AND SENIOR retreats would take explained History Teacher Susan Shapiro. place Sunday through Wednesday. "This plan is not best for students, especially the Juniors would participate in what formerly was seniors. The Resurrection retreat needs to take place Sophomore Retreat, caving and rock-climbing in in February of junior year; that's when it's right group-trust-building activities at the Touch of developmentally." Nature Center on the grounds of Southern Illinois Some students have also voiced concern over the University in Carbondale. retreats being rescheduled for the start of the year. Seniors would participate in what was formerly MANY OF THEM feel the whole point ofretreats Junior Retreat at Resurrection Center in far has been to provide a welcome break in the school northwest suburban Woodstock, joining in routine and to get students away from the school to discussions, games and ceremonies intended to deal with each other in new settings. encourage class members to know each other better Last month, Sophomore Political Representative Video 'disco' as people away from school and then bring their Mike Zabel circulated a petition for administrators draws dancers closer relationships back to school. signed by nearly the entire class to maintain DISCO LIGHTS turned, SENIORS COULD STILL have their traditional Sophomore Retreat as a fall-quarter, away-from­ videos flashed on a huge weekend getaway, in recent years at Eagle Ridge school event. Resort near Galena, later in the year if they wished. "Sophomores are really getting screen and about 200 U­ the short end of Faculty Retreat Committee Chairperson Suzanne the stick," Mike explained. "The Touch of Nature Highers danced to the beat at Buckwalter, math teacher, said committee members retreat has always been an important part of Cultural Union's "Video felt a start-of-the-year coordinated plan would sophomore year. It's not fair that we don't get to Dance Parti" Oct. 25 in Sunny eliminate the interruption of classwork retreats experience it." Gym. Though invited, only have created to considerable faculty discontent. The petition was forwarded to Dean of Students about 50 students from Latin, The Committee offered the faculty two proposals Jewel Thomas. Parker and Morgan Park for retreat schedules, the other involving retreats ONE PROBLEM the new schedule would Academy showed up. scheduled at varying times during the year. At their eliminate is retreat conflicts with other scheduled GROOVING TO the Oct. 1 faculty meeting teachers present approved school activities. Macarena (photos from top), the start-of-the-year plan with only one teacher This year Junior Retreat and Senior Getaway, dissenting. from left, are Juniors Faith scheduled for the same weekend in January, are UNDER THE PLAN, which administrators . taking place the same time a Model United Nations Baxter, Tiffany Harper, ultimately must approve, all faculty members would trip to a University of Michigan conference has also Angela Keene, Emily Varlet, participate in one of the four class level beginning- been planned. Marie Geffrard and Arou­ ssiak Gabrielian. Photos by Michael Hoy GOING SOLO, Freshman favorite decade, said Senior Alex Brady shows off her --·Jason Boulware, C.U. Midway, staff get top honor moves. president. As D .J., Jason Dressing in fashions from plans to play music a variety Individual staff members of the the scorebook," said Midway Ad­ Midway's 4 7th consecutive in the '50s, '60s, '70s and '80s on of oldies and current hits.
Recommended publications
  • Power, Coercion, Legitimacy and the Press in Pinochet's Chile a Dissertation Presented to the Faculty Of
    Writing the Opposition: Power, Coercion, Legitimacy and the Press in Pinochet's Chile A dissertation presented to the faculty of the College of Arts and Sciences of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Brad T. Eidahl December 2017 © 2017 Brad T. Eidahl. All Rights Reserved. 2 This dissertation titled Writing the Opposition: Power, Coercion, Legitimacy and the Press in Pinochet's Chile by BRAD T. EIDAHL has been approved for the Department of History and the College of Arts and Sciences by Patrick M. Barr-Melej Professor of History Robert Frank Dean, College of Arts and Sciences 3 ABSTRACT EIDAHL, BRAD T., Ph.D., December 2017, History Writing the Opposition: Power, Coercion, Legitimacy and the Press in Pinochet's Chile Director of Dissertation: Patrick M. Barr-Melej This dissertation examines the struggle between Chile’s opposition press and the dictatorial regime of Augusto Pinochet Ugarte (1973-1990). It argues that due to Chile’s tradition of a pluralistic press and other factors, and in bids to strengthen the regime’s legitimacy, Pinochet and his top officials periodically demonstrated considerable flexibility in terms of the opposition media’s ability to publish and distribute its products. However, the regime, when sensing that its grip on power was slipping, reverted to repressive measures in its dealings with opposition-media outlets. Meanwhile, opposition journalists challenged the very legitimacy Pinochet sought and further widened the scope of acceptable opposition under difficult circumstances. Ultimately, such resistance contributed to Pinochet’s defeat in the 1988 plebiscite, initiating the return of democracy.
    [Show full text]
  • 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.
    [Show full text]
  • Remixing the Voyager Interstellar Record Or, As Extraterrestrials Might Listen
    Journal of Sonic Studies 8 (2014) Sounds of Space: http://www.researchcatalogue.net/view/109536/109537 Remixing the Voyager Interstellar Record Or, As Extraterrestrials Might Listen Stefan Helmreich Contextualizing the Context In 2010, scientists claiming to belong to a dissenting faction of the Search for Extraterrestrial Intelligence (SETI) contacted Seeland Records. Calling themselves the Search for Extraterrestrial Intelligence in Exile, or SETI-X, the group claimed to have received an alien transmission of rearranged sound from the Voyager Golden Record, a phonograph album famously sent into outer space in 1977 on each of NASA’s two Voyager spacecraft (Figure 1). The Golden Record had been put together in the mid-1970s by a panel convened by astronomer Carl Sagan, and it held a program of sounds and music of Earth, representing to imagined aliens our planet’s soundscapes, voices, and musical traditions. [1] Figure 1: The Voyager Golden Record. Side 1, on left, is the analog audio program. Side 2, on right, instructions to extraterrestrials on how to play the record. [2] 1 Because the scientists of SETI-X wished to remain anonymous, Seeland sought a public voice or commentator from other quarters. Because the label had in 2003 released a CD I had created, Xerophonics: Copying Machine Music, a science- and-technology themed mix of sounds of indefinite ownership (Helmreich 2003), and because I had also written about scientific notions of extraterrestrial life (Helmreich 2006), Seeland reasoned that I might be appropriately positioned to offer thoughts on the SETI-X document. They asked me to comment, which I did in a few venues (including, among other sites, the Los Angeles Daily News [Mills 2010].
    [Show full text]
  • Reading in the Dark: Using Film As a Tool in the English Classroom. INSTITUTION National Council of Teachers of English, Urbana, IL
    DOCUMENT RESUME ED 456 446 CS 217 685 AUTHOR Golden, John TITLE Reading in the Dark: Using Film as a Tool in the English Classroom. INSTITUTION National Council of Teachers of English, Urbana, IL. ISBN ISBN-0-8141-3872-1 PUB DATE 2001-00-00 NOTE 199p. AVAILABLE FROM National Council of Teachers of English, 1111 W. Kenyon Road, Urbana, IL 61801-1096 (Stock No. 38721-1659: $19.95, members; $26.95, nonmembers). Tel: 800-369-6283 (Toll Free); Web site http://www.ncte.org. PUB TYPE Books (010) Guides Non-Classroom (055) EDRS PRICE MF01/PC08 Plus Postage. DESCRIPTORS Classroom Techniques; *Critical Viewing; *English Instruction; *Film Study; *Films; High Schools; Instructional Effectiveness; Language Arts; *Reading Strategies; Units of Study IDENTIFIERS *Film Viewing; *Textual Analysis ABSTRACT To believe that students are not using reading and analytical skills when they watch or "read" a movie is to miss the power and complexities of film--and of students' viewing processes. This book encourages teachers to harness students' interest in film to help them engage critically with a range of media, including visual and printed texts. Toward this end, the book provides a practical guide to enabling teachers to ,feel comfortable and confident about using film in new and different ways. It addresses film as a compelling medium in itself by using examples from more than 30 films to explain key terminology and cinematic effects. And it then makes direct links between film and literary study by addressing "reading strategies" (e.g., predicting, responding, questioning, and storyboarding) and key aspects of "textual analysis" (e.g., characterization, point of view, irony, and connections between directorial and authorial choices) .The book concludes with classroom-tested suggestions for putting it all together in teaching units on 11 films ranging from "Elizabeth" to "Crooklyn" to "Smoke Signals." Some other films examined are "E.T.," "Life Is Beautiful," "Rocky," "The Lion King," and "Frankenstein." (Contains 35 figures.
    [Show full text]
  • An Examination of Jerry Goldsmith's
    THE FORBIDDEN ZONE, ESCAPING EARTH AND TONALITY: AN EXAMINATION OF JERRY GOLDSMITH’S TWELVE-TONE SCORE FOR PLANET OF THE APES VINCENT GASSI A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO MAY 2019 © VINCENT GASSI, 2019 ii ABSTRACT Jerry GoldsMith’s twelve-tone score for Planet of the Apes (1968) stands apart in Hollywood’s long history of tonal scores. His extensive use of tone rows and permutations throughout the entire score helped to create the diegetic world so integral to the success of the filM. GoldsMith’s formative years prior to 1967–his training and day to day experience of writing Music for draMatic situations—were critical factors in preparing hiM to meet this challenge. A review of the research on music and eMotion, together with an analysis of GoldsMith’s methods, shows how, in 1967, he was able to create an expressive twelve-tone score which supported the narrative of the filM. The score for Planet of the Apes Marks a pivotal moment in an industry with a long-standing bias toward modernist music. iii For Mary and Bruno Gassi. The gift of music you passed on was a game-changer. iv ACKNOWLEDGEMENTS Heartfelt thanks and much love go to my aMazing wife Alison and our awesome children, Daniela, Vince Jr., and Shira, without whose unending patience and encourageMent I could do nothing. I aM ever grateful to my brother Carmen Gassi, not only for introducing me to the music of Jerry GoldsMith, but also for our ongoing conversations over the years about filM music, composers, and composition in general; I’ve learned so much.
    [Show full text]
  • Aliens, Predators and Global Issues: the Evolution of a Narrative Formula
    CULTURA , LENGUAJE Y REPRESENTACIÓN / CULTURE , LANGUAGE AND REPRESENTATION ˙ ISSN 1697-7750 · VOL . VIII \ 2010, pp. 43-55 REVISTA DE ESTUDIOS CULTURALES DE LA UNIVERSITAT JAUME I / CULTURAL STUDIES JOURNAL OF UNIVERSITAT JAUME I Aliens, Predators and Global Issues: The Evolution of a Narrative Formula ZELMA CATALAN SOFIA UNIVERSITY ABSTRACT : The article tackles the genre of science fiction in film by focusing on the Alien and Predator series and their crossover. By resorting to “the fictional worlds” theory (Dolezel, 1998), the relationship between the fictional and the real is examined so as to show how these films refract political issues in various symbolic ways, with special reference to the ideological construct of “global threat”. Keywords: film, science fiction, narrative, allegory, otherness, fictional worlds. RESUMEN : en este artículo se aborda el género de la ciencia ficción en el cine mediante el análisis de las películas de la serie Alien y Predator y su combinación. Utilizando la teoría de “los mundos ficcionales” (Dolezel, 1999), se examina la relación entre los planos ficcional y real para mostrar cómo estas películas reflejan cuestiones políticas de diversas formas simbólicas, con especial referencia a la construccción ideológica de la “amenaza global”. Palabras clave: film, ciencia ficción, narrativa, alegoría, alteridad, mundos fic- cionales In 2004 20th Century Fox released Alien vs. Predator, directed by Paul Anderson and starring Sanaa Latham, Lance Henriksen, Raoul Bova and Ewen Bremmer. The film combined and continued two highly successful film series: those of the 1979 Alien and its three successors Aliens (1986), Alien 3 (1992) and Alien Resurrection (1997), and of the two Predator movies, from 1987 and 1990 respectively.
    [Show full text]
  • 5. Chord Changes
    How Film & TV Music Communicate – Vol.2 Text © Brian Morrell 2013 Chapter 5 I N S P A C E E V E R Y O N E C A N H E A R T H E C H O R D C H A N G E S ( p a r t 1 ) This chapter will examine the music for some of the most eminent and successful ‘Space movies’ in cinema history. The chapter will examine numerous memorable, famous and iconic science fiction films, most of them with a unifying theme of either being set in Space and/or involving Aliens. It will also ask whether there are inherently ‘sci-fi’ methods of composing music and if there are chord changes, orchestration techniques or melodic devices which are commonly used. Films and music discussed are: Alien (Jerry Goldsmith / Howard Hanson) Aliens (James Horner) Apollo 13 (James Horner) Independence Day, (David Arnold) Star Trek (Alexander Courage, Jerry Goldsmith, James Horner and Michael Giacchano) Mission to Mars (Ennio Morricone) Batman Forever (Elliot Goldenthal) ALIEN Jerry Goldsmith Alien is a 1979 science fiction film directed by Ridley Scott. The lead character is a creature that stalks and kills nearly the entire crew of a spaceship. The common mantra that Alien was to Star Wars what the Rolling Stones were to the Beatles goes some way to articulating how the film Alien is perceived by cinema-goers. Alien offers a subtle, cold, desolate environment; it lacks the usual Hollywood sheen – the razzmatazz, the glitz and the spectacle. It is a slow, plodding, brooding, dark film but one which completely captured the imagination of people who watched it.
    [Show full text]
  • Immigrants, Fiscal Year 2001
    IMMIGRANTS, FISCAL YEAR 2001 This report will appear as a chapter in the forthcoming 2001 Statistical Yearbook of the Immigration and Naturalization Service. All references to Appendices, Charts, Tables, and other sections of the Statistical Yearbook appear as they will in the final Yearbook edition. I. IMMIGRANTS This section presents information on the number and characteristics of persons who come to the United States for permanent residence, including persons arriving with that status and those adjusting to permanent resident status after entry. mmigrants, as defined by U.S. immigration law, are per- (140,000), and diversity immigrants (55,000). The family Isons lawfully admitted for permanent residence in the preference limit is equal to the larger of either 226,000 or a United States. Other terms used in INS reports to refer to calculation consisting of 480,000 minus 1) the previous immigrants include: aliens who are granted legal permanent year’s total of immediate relatives of U.S. citizens, 2) two residence; aliens admitted for legal permanent residence; numerically small categories of children, and 3) certain immigrants admitted; and admissions. (See Appendix 2.) categories of aliens paroled into the United States in the second preceding fiscal year plus any unused employment Aliens wishing to become lawful permanent residents follow preferences from the previous year (see Appendix 1). The one of two paths depending on their residence at the time of employment preference limit can be higher than 140,000 if application. Aliens living abroad apply for an immigrant family preferences go unused in the previous year. visa at a consular office of the Department of State.
    [Show full text]
  • Life and Times" Video Recordings
    http://oac.cdlib.org/findaid/ark:/13030/c8qr4zn7 No online items KCET-TV Collection of "Life and Times" video recordings Taz Morgan William H. Hannon Library Loyola Marymount University One LMU Drive, MS 8200 Los Angeles, CA 90045-8200 Phone: (310) 338-5710 Fax: (310) 338-5895 Email: [email protected] URL: http://library.lmu.edu/collections/archivesandspecialcollections/ ©2013 Loyola Marymount University. All rights reserved. KCET-TV Collection of "Life and CSLA-37 1 Times" video recordings KCET-TV Collection of "Life and Times" video recordings Collection number: CSLA-37 William H. Hannon Library Loyola Marymount University Los Angeles, California Processed by: Taz Morgan Date Completed: October 2013 Encoded by: Taz Morgan 2013 Loyola Marymount University. All rights reserved. Descriptive Summary Title: KCET-TV Collection of "Life and Times" video recordings Dates: 1991-2007 Collection number: CSLA-37 Creator: KCET (Television station : Los Angeles, Calif.) Collection Size: 3,472 videotapes (332 boxes) Repository: Loyola Marymount University. Library. Department of Archives and Special Collections. Los Angeles, California 90045-2659 Languages: Languages represented in the collection: English Access Collection is open to research under the terms of use of the Department of Archives and Special Collections, Loyola Marymount University. Duplication of program tapes for research use is required in accordance with departmental policy regarding the formats of the videotapes of this collection: "Certain media formats may need specialized third party vendor services. If the department does not own a researcher access copy (DVD copy), the cost of reproduction, to be paid fully by patron, will include 1) any necessary preservation efforts upon the original, 2) a master file to be retained by Archives and Special Collections, 3) a researcher viewing copy to be retained by Archives and Special Collections, and 4) the patron copy.
    [Show full text]
  • Prometheus ©Twentieth Century Fox ©Twentieth Directed By: Ridley Scott
    Prometheus ©Twentieth Century Fox ©Twentieth DirecteD by: Ridley Scott certificate: 15 running time: 123 mins country: UK/USA year: 2012 KeyworDs: science fiction, film franchise, action heroine, faith suitable for: 14–19 media/film studies, religious education www.filmeducation.org 1 ©Film Education 2012. Film Education is not responsible for the content of external sites synoPsis Ridley Scott, director of ‘Alien’ and ‘Blade Runner,’ returns to the genre he helped define. With Prometheus, he creates a groundbreaking mythology, in which a team of explorers discover a clue to the origins of mankind on Earth, leading them on a thrilling journey to the darkest corners of the universe. There, they must fight a terrifying battle to save the future of the human race. before Viewing the original ‘alien’ series Alien (Ridley Scott, 1979) – Aliens (James Cameron, 1986) – Alien 3 (David Fincher, 1992) – Alien Resurrection (Jean-Pierre Jeunet, 1997) Prometheus is an eagerly awaited science fiction adventure from Alien director Ridley Scott. In the run-up to its release, anticipation for this film was at fever pitch because it returns to a world created by Scott in the sci-fi horror classic Alien. The four original Alien films share certain things in common: ■ All were directed by visionary filmmakers at the very beginning of their career (Alien 3 was David Fincher’s first film and Alien Resurrection was the Hollywood debut of Amélie director Jean-Pierre Jeunet). ■ Each film features the same female protagonist - Ripley (Sigourney eaver).W ■ Whilst all four are science fiction films, each has the framework of other genres.
    [Show full text]
  • Immigrants: Qualified Aliens/PRUCOL Aliens
    Immigrants: Qualified Aliens/ PRUCOL Aliens ATTACHMENT C [ ] indicates the appropriate ACI Code (Citizenship/Alien Indicator Code) Qualified (FNP for 5 Yrs.) Qualified (FFP) PRUCOL (State/Local Funds) The term Qualified alien (FNP) means an The term Qualified alien (FFP) refers to: PRUCOL alien refers to: immigrant: immigrants who entered the U.S. prior to a. immigrants paroled into the U.S. showing status of less who has been lawfully admitted for August 22, 1996, including individuals who than one year, except Cuban / Haitian entrants [T] permanent residence under the Immigration attained “qualified alien” status subsequent and Nationality Act (INA) to August 22, 1996, and who can b. immigrants residing the U.S. pursuant to an Order of [S if individual has 40 qualifying quarters] demonstrate they continuously resided in Supervision [O] [K if without 40 quarters or 40 quarters not the U.S. until attaining “qualified alien” determined] status [Use applicable Citizenship/Alien c. deportable immigrants residing in the U.S. pursuant to an Indicator Code (ACI)] indefinite stay of deportation [O] who has been paroled into the U.S. under Section 212(d)(5) of the INA for a period of refugees under Section 207 of the INA d. immigrants residing in the U.S. pursuant to an indefinite at least one year [G] (including Amerasian immigrants admitted voluntary departure [O] under the provisions of Public Law 100-202) who has been granted conditional entry e. immigrants on whose behalf an immediate relative petition [R] NOTE: Includes Victims of Trafficking has been approved, who are entitled to voluntary departure, pursuant to Section 203 (a)(7) of the INA [F] [R-NYC D-Upstate] but USCIS does not contemplate enforcing departure [O] who has been determined by the social immigrants who have been granted asylum services district to be in need of Medicaid under Section 208 of the INA [A] f.
    [Show full text]
  • Aliens, Afropsychedelia and Psyculture
    The Vibe of the Exiles: Aliens, Afropsychedelia and Psyculture Feature Article Graham St John Griffith University (Australia) Abstract This article offers detailed comment on thevibe of the exiles, a socio-sonic aesthetic infused with the sensibility of the exile, of compatriotism in expatriation, a characteristic of psychedelic electronica from Goatrance to psytrance and beyond (i.e. psyculture). The commentary focuses on an emancipatory artifice which sees participants in the psyculture continuum adopt the figure of the alien in transpersonal and utopian projects. Decaled with the cosmic liminality of space exploration, alien encounter and abduction repurposed from science fiction, psychedelic event-culture cultivates posthumanist pretentions resembling Afrofuturist sensibilities that are identified with, appropriated and reassembled by participants. Offering a range of examples, among them Israeli psychedelic artists bent on entering another world, the article explores the interface of psyculture and Afrofuturism. Sharing a theme central to cosmic jazz, funk, rock, dub, electro, hip-hop and techno, from the earliest productions, Israeli and otherwise, Goatrance, assumed an off-world trajectory, and a concomitant celebration of difference, a potent otherness signified by the alien encounter, where contact and abduction become driving narratives for increasingly popular social aesthetics. Exploring the different orbits from which mystics and ecstatics transmit visions of another world, the article, then, focuses on the socio- sonic aesthetics of the dance floor, that orgiastic domain in which a multitude of “freedoms” are performed, mutant utopias propagated, and alien identities danced into being. Keywords: alien-ation; psyculture; Afrofuturism; posthumanism; psytrance; exiles; aliens; vibe Graham St John is a cultural anthropologist and researcher of electronic dance music cultures and festivals.
    [Show full text]