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Manufacturing Realisms
Manufacturing Realisms Product Placement in the Hollywood Film by Winnie Won Yin Wong Bachelor of Arts Dartmouth College 2000 Submitted to the Department of Architecture in Partial Fulfillment of the Requirements for the Degree of Master of Science in Architecture Studies at the Massachusetts Institute of Technology June, 2002 MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUN 2 4 2002 Signature of Author 3, 2002 LIBRARIES Winnie Won Yin Wong, Depar nt of Architecture, May ROTCH Certified by Professor David Itriedman, Assobiate Professor of the History of Architecture, Thesis Supervisor Accepted by Professor Julian\8e,jiart, Professorlof1rchitecture, Chair, Committee on Graduate Students Copyright 2002 Winnie Won Yin Wong. All Rights Reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part. 2 Readers Erika Naginski Assistant Professor of the History of Art Arindam Dutta Assistant Professor of the History of Architecture History, Theory and Criticism Department of Architecture 3 4 Manufacturing Realisms Product Placement in the Hollywood Film by Winnie Won Yin Wong Submitted to the Department of Architecture in Partial Fulfillment of the Requirements for the Degree of Master of Science in Architecture Studies Abstract Through an examination of filmic portrayals of the trademarked product as a signifier of real ownerships and meanings of commodities, this paper is concerned with the conjunction of aesthetic and economic issues of the Product Placement industry in the Hollywood film. It analyzes Product Placement as the embedding of an advertising message within a fictional one, as the insertion of a trademarked object into the realisms of filmic space, and as the incorporation of corporate remakings of the world with film fictions. -
Culture Wars' Reloaded: Trump, Anti-Political Correctness and the Right's 'Free Speech' Hypocrisy
The 'Culture Wars' Reloaded: Trump, Anti-Political Correctness and the Right's 'Free Speech' Hypocrisy Dr. Valerie Scatamburlo-D'Annibale University of Windsor, Windsor, Ontario, Canada Abstract This article explores how Donald Trump capitalized on the right's decades-long, carefully choreographed and well-financed campaign against political correctness in relation to the broader strategy of 'cultural conservatism.' It provides an historical overview of various iterations of this campaign, discusses the mainstream media's complicity in promulgating conservative talking points about higher education at the height of the 1990s 'culture wars,' examines the reconfigured anti- PC/pro-free speech crusade of recent years, its contemporary currency in the Trump era and the implications for academia and educational policy. Keywords: political correctness, culture wars, free speech, cultural conservatism, critical pedagogy Introduction More than two years after Donald Trump's ascendancy to the White House, post-mortems of the 2016 American election continue to explore the factors that propelled him to office. Some have pointed to the spread of right-wing populism in the aftermath of the 2008 global financial crisis that culminated in Brexit in Europe and Trump's victory (Kagarlitsky, 2017; Tufts & Thomas, 2017) while Fuchs (2018) lays bare the deleterious role of social media in facilitating the rise of authoritarianism in the U.S. and elsewhere. Other 69 | P a g e The 'Culture Wars' Reloaded: Trump, Anti-Political Correctness and the Right's 'Free Speech' Hypocrisy explanations refer to deep-rooted misogyny that worked against Hillary Clinton (Wilz, 2016), a backlash against Barack Obama, sedimented racism and the demonization of diversity as a public good (Major, Blodorn and Blascovich, 2016; Shafer, 2017). -
Killing Crazy Horse Chapter 16.Pdf
ALSO BY BILL O’REILLY Killing Lincoln Killing Kennedy Killing Jesus Killing Patton Killing Reagan Killing the Rising Sun Killing England Killing the SS The United States of Trump Old School Legends and Lies: The Civil War Legends and Lies: The Patriots Legends and Lies: The Real West Pinheads and Patriots A Bold Fresh Piece of Humanity Culture Warrior The O’Reilly Factor Who’s Looking Out for You? Keep It Pithy Those Who Trespass The No Spin Zone Hitler’s Last Days Lincoln’s Last Days The Day the World Went Nuclear The Day the President Was Shot Kennedy’s Last Days The Last Days of Jesus Give Please a Chance Kids Are Americans Too The O’Reilly Factor for Kids 020-84542_ch01_6P_BVG.indd 2 3/14/20 12:22 AM Killing Crazy Horse THE MERCILESS INDIAN WARS IN AMERICA BILL O’REILLY AND MARTIN DUGARD HENRY HOLT AND COMPANY NEW YORK 020-84542_ch01_6P_BVG.indd 5 3/14/20 12:22 AM Henry Holt and Company Publishers since 1866 120 Broadway New York, NY 10271 www . henryholt . com Henry Holt ® and ® are registered trademarks of Macmillan Publishing Group, LLC. Copyright © 2020 by Bill O’Reilly and Martin Dugard All rights reserved. Distributed in Canada by Raincoast Book Distribution Limited Library of Congress Control Number: 2020931465 ISBN: 9781627797047 Our books may be purchased in bulk for promotional, educational, or business use. Please contact your local bookseller or the Macmillan Corporate and Premium Sales Department at (800) 221- 7945, extension 5442, or by e- mail at MacmillanSpecialMarkets@macmillan . com. First Edition 2020 Designed by Meryl Sussman Levavi Printed in the United States of America 1 3 5 7 9 10 8 6 4 2 BVG 020-84542_ch01_6P_BVG.indd 6 3/14/20 12:22 AM This book is dedicated to Makeda Wubneh— my assistant for twenty- seven years. -
A Queer Analysis of the James Bond Canon
MALE BONDING: A QUEER ANALYSIS OF THE JAMES BOND CANON by Grant C. Hester A Dissertation Submitted to the Faculty of Dorothy F. Schmidt College of Arts and Letters In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Florida Atlantic University Boca Raton, FL May 2019 Copyright 2019 by Grant C. Hester ii MALE BONDING: A QUEER ANALYSIS OF THE JAMES BOND CANON by Grant C. Hester This dissertation was prepared under the direction of the candidate's dissertation advisor, Dr. Jane Caputi, Center for Women, Gender, and Sexuality Studies, Communication, and Multimedia and has been approved by the members of his supervisory committee. It was submitted to the faculty of the Dorothy F. Schmidt College of Arts and Letters and was accepted in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Khaled Sobhan, Ph.D. Interim Dean, Graduate College iii ACKNOWLEDGEMENTS I would like to express my sincere gratitude to Jane Caputi for guiding me through this process. She was truly there from this paper’s incubation as it was in her Sex, Violence, and Hollywood class where the idea that James Bond could be repressing his homosexuality first revealed itself to me. She encouraged the exploration and was an unbelievable sounding board every step to fruition. Stephen Charbonneau has also been an invaluable resource. Frankly, he changed the way I look at film. His door has always been open and he has given honest feedback and good advice. Oliver Buckton possesses a knowledge of James Bond that is unparalleled. I marvel at how he retains such information. -
Tomorrow Never Dies
Tomorrow Never Dies Svensk premiärtitel: Tomorrow Never Dies Videotitel i Sverige: Tomorrow Never Dies Produktionsuppgifter: Produktionsland: Storbritannien, USA Distributör i Sverige (35 mm): United International Pictures AB Svenska Filminstitutet Distributör i Sverige (hyrvideo) (fysisk): Warner Home Video Sweden AB Distributör i Sverige (köpvideo): Warner Home Video Sweden AB Produktionsbolag: Eon Productions Ltd. United Artists Pictures Inc. Danjaq Inc. Förlaga: Titel: James Bond (Fiktiva personer) Skapade av: Ian Fleming Manus: Bruce Feirstein Producent: Michael G. Wilson Barbara Broccoli Foto: Robert Elswit Musik: David Arnold Produktionsdesign: Allan Cameron Klippning: Dominique Fortin Michel Arcand Regi: Roger Spottiswoode Bildformat: Scope (2,35:1) Färgsystem: Färg Ljudsystem: Dolby Stereo Spectral Recording Censur: 135.071 Datum: 1997-12-10 Aldersgräns: Tillåten från 15 år Längd: 3267meter Sverigepremiär: 1997-12-19 BioPalatset Göteborg Sverige 119 minuter 1997-12-19 Filmstaden Göteborg Sverige 119 minuter 1997-12-19 Palladium Göteborg Sverige 119 minuter 1997-12-19 BioPalatset Malmö Sverige 119 minuter 1997-12-19 DownTown Malmö Sverige 119 minuter 1997-12-19 Royal Malmö Sverige 119 minuter 1997-12-19 BioPalatset 1 Stockholm Sverige 119 minuter 1997-12-19 Filmstaden Sergel Stockholm Sverige 119 minuter 1997-12-19 Filmstaden Söder Stockholm Sverige 119 minuter 1997-12-19 Rigoletto 1 Stockholm Sverige 119 minuter TV-visning: 2000-12-10 TV3 Sverige 114 minuter 2002-01-28 TV3 Sverige 114 minuter Videorelease: 1998-05 Sverige 114 -
Stephen Miller Trump's Right-Hand Troll
Trump’s Right-Hand Troll Stephen Miller once tormented liberals at Duke. Now the president’s speechwriter and immigration enforcer is deploying the art of provocation from the White House. Photo illustration by WG600* MCKAY COPPINS | MAY 28, 2018 | POLITICS T’S LATE ON A FRIDAY AFTERNOON in March, and I’m sitting across from Stephen Miller in his spacious, I sunlit West Wing office, trying to figure out whether he’s trolling me. To hear more feature stories, see our full list or get the Audm iPhone app. This is no easy task. A provocateur as skilled as Miller doesn’t just announce when he’s saying something outlandish to get a rise out of you—he tries to make you think he means it. So you have to look for the subtle tells. The fleeting half-smirk when he refers to himself as a “conservative social-justice warrior” early in the conversation. The too-emphatic tone he takes later when he says the best movie he’s seen in the past 15 years is The Dark Knight Rises, and then chides you for not properly appreciating its commentary on the French Revolution. “It takes on the issue of anarchy and social breakdown in a really interesting way,” he says of the Batman movie. “There’s a lot going on in the film that you, of all people, I’d have thought would be all over.” “Me … specifically?,” I ask, taking the bait. “Well,” he replies, letting the mask slip and a sarcastic grin surface, “it’s just your reputation as a very deep thinker.” Perched on a high-backed chair, Miller looks as if he’s posing for a cologne ad in a glossy magazine—his slender frame wrapped in an elegantly tailored suit, his arm draped over the backrest, his legs crossed at the knee just so. -
Starlog Magazine
Celebrate Isaac Asimov's BICENTENNIAL MAN 2 Leonard * V Heather Nimoy Graham, speaks in ALIEN — AUSTIN POWERS' VOICES lady love 1 40 (PIUS) £>v < -! STAR WARS CA J OO Queen Amidala rules o> O) CO TOY STORY 2 </) 3 O) Tooning up the sequel ft CD GO JAMES BOND The two Q THE TRUTH If you're a fantasy sci-fi fanatic, and if you're into toys, comics, collectibles, Manga and anime. if you love Star Wars, Star Trek, Buffy, Angel and the X-Files. Why aren't you here - WWW.ign.COtH mm INSIDE TOY STORY 2 The Pixarteam sends Buzz & Woody off on adventure GALAXY QUEST: THE FILM Questarians! That TV classic is finally a motion picture HEROES OF THE GALAXY Never surrender these pin- ups at the next Quest Con! METALLIC ATTRACTION Get to know Witlock, robot hero & Trouble Magnet ACCORDING TO TIM ALLEN He voices Buzz Lightyear & plays the Questarians' favorite commander THAT HEROIC GUY Brendan Fraser faces mum mies, monsters & monkeys QUEEN AMIDALA RULES Natalie Portman reigns against The Phantom Menace THE NEW JEDI ORDER Fantasist R.A. Salvatore chronicles the latest Star Wars MEMORABLE CHARACTER Now & Again, you've seen actor ! Cerrit Graham 76 THE SPY WHO SHAGS WELL Heather Graham updates readers STARLOC: The Science Fiction Universe is published monthly by STARLOG GROUP, INC., 475 Park Avenue South, New York, on her career moves NY 10016. STARLOG and The Science Fiction Universe are registered trademarks of Starlog Group Inc' (ISSN 0191-4626) (Canadian GST number: R-124704826) This is issue Number 270, January 2000. -
BOND 18 Screenplay by Bruce Feirstein
BOND 18 Screenplay by Bruce Feirstein (for educational purposes only) FADE IN ON: EXT. DESOLATE MOUNTAIN RANGE - HIGH ANGLE - DAWN Super: THE KHYBER PASS, AFGHANISTAN We're looking down at what used to be called "The End of the Known World." A landscape that is both beautiful, and forbidding. In the center of this vista, there is a deep ravine. Pushing in on the ravine, there appears to be a giant icicle hanging over a cliff: AN ICE FALL. A 600 foot waterfall whose face is frozen solid. Pushing in still closer, there is a tiny black dot inching its way up the ice. A human figure. This is: JAMES BOND, BRITISH SECRET SERVICE AGENT, 007. Bond is sweating and straining, four hundred feet in the air. He has an ice-pick tethered to each hand, ice-cleats on his boots. A black backpack. As he climbs, spider-like, pulling himself up, he goes to JAM A CLEAT into the ice, but - CRACK! A 50 foot stiletto of ice breaks off, CRASHING onto the rocks below. Regaining his foothold, Bond looks down: Certain death. He looks up: So very, very, far to go. Bond shakes his head: BOND There has to be an easier way to earn a living. Still, Bond climbs. Huffing, sweating, he goes up, and up, until - ANOTHER ANGLE - He's 25 feet from the top. He drives a first ice pick in. Gets a toehold. But when he slams the second pick in - THE ICE WALL SHATTERS, FALLING AWAY IN FRONT OF HIM. IN THE SHOCK - BOND LOSES HIS GRIP ON THE FIRST ICE PICK - And 007 is now dangling, 575 feet in the air, staring at a torrent of water - hanging only by the leather thread around his wrist, attached to the first ice-pick, still embedded in the wall. -
Peters Pub 7 No Spin Zones
Aalborg Universitet No-spin Zones The rise of the American cable news magazine and Bill O'Reilly Peters, Chris Published in: Journalism Studies DOI (link to publication from Publisher): 10.1080/14616701003658390 Publication date: 2010 Document Version Publisher's PDF, also known as Version of record Link to publication from Aalborg University Citation for published version (APA): Peters, C. (2010). No-spin Zones: The rise of the American cable news magazine and Bill O'Reilly. Journalism Studies, 11(6), 832-851. https://doi.org/10.1080/14616701003658390 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. ? Users may download and print one copy of any publication from the public portal for the purpose of private study or research. ? You may not further distribute the material or use it for any profit-making activity or commercial gain ? You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us at [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Downloaded from vbn.aau.dk on: September 29, 2021 This article was downloaded by: [Peters, Chris] On: 15 April 2010 Access details: Access Details: [subscription number 921328803] Publisher -
Introduction
Notes Introduction 1 . Kristina Jaspers, ‘Zur Entstehungsgeschichte und Funktion des Storyboards’, in Katharina Henkel, Kristina Jaspers, and Peter Mänz (eds), Zwischen Film und Kunst: Storyboards von Hitchcock bis Spielberg (Bielefeld: Kerber, 2012), p. 15. We are indebted to Julia Knaus for all translations from the original German of this book. 2 . Jean-Claude Carrière, The Secret Language of Film , trans. Jeremy Leggatt (London: Faber, 1995), p. 150. 3 . Nathalie Morris, ‘Unpublished Scripts in BFI Special Collections: A Few Highlights’, Journal of Screenwriting 1.1 (2010), pp. 197–198. 4 . Fionnuala Halligan, Movie Storyboards: The Art of Visualizing Screenplays (San Francisco: Chronicle, 2013), p. 9. 5 . Alan David Vertrees, Selznick’s Vision: Gone with the Wind and Hollywood Filmmaking (Austin: University of Texas Press, 1997), pp. 67, 117. 6 . See Steven Price, A History of the Screenplay (Basingstoke: Palgrave, 2013). 7 . Katharina Henkel and Rainer Rother, ‘Vorwort’, in Katharina Henkel, Kristina Jaspers, and Peter Mänz (eds), Zwischen Film und Kunst: Storyboards von Hitchcock bis Spielberg (Bielefeld: Kerber, 2012), p. 8. 8 . Vincent LoBrutto, The Filmmaker’s Guide to Production Design (New York: Allworth, 2002), p. 62. 9 . Halligan, p. 8. 10 . John Hart, The Art of the Storyboard: Storyboarding for Film, TV, and Animation (Boston: Focal Press, 1999), p. 5. 11 . Steven Maras, Screenwriting: History, Theory and Practice (London: Wallflower, 2009), p. 120. 12 . Maras, p. 123. 13 . Kathryn Millard, ‘The Screenplay as Prototype’, in Jill Nelmes (ed.), Analysing the Screenplay (London: Routledge, 2011), p. 156. Millard develops related arguments in ‘After the Typewriter: The Screenplay in a Digital Era’, Journal of Screenwriting 1.1 (2010), pp. -
The Bridge Is the Official New Student Newspaper of Laguardia Community Col Writers: Marion Arreaga, F.D
FIORELLO H. LaGUARDIA COMMUNITY COLLEGE CITY UNIVERSITY OF NEW YORK NOVEMBER 1982 Registration Roulette What's in a Name? By Michele Dyer With all due respect to flutes, they're propriate symbol for our school and our A new law, effective July 1, 1983, will deny financial aid to male students who instruments for sweet music. We in- I newspaper. We intend to bridge the failed to register for the draft. tend to produce a stronger sound. I gap between students. faculty. admin LaGuardia College, in the shadow of I istration, and the many cultures living Oddly enough, after signing the bill, President Reagan released a statement the Queensborough Bridge, is a com- side by side at laGuardia. The music claiming that draft registration was not necessary because the volunteer army munity of diverse cultures and ethnic may not be sweet. but it will be true. had filled its quota. On the one hand, the president has offered students a bribe groups. We feel that a bridge is an ap- register and we will pay to( your education. On the other hand. he is "legally forc ing many students to support a policy they may disagree with on religious. moral and political grounds. Students with the strongest convictions against war and the military will connoe~lIea to drop out In order to fight for what they believe in. PresIdent Reagan's new law not only discriminates against men, but also against those who need . ... ""n,.. •.,. aid the most. Students who have enough money to pay for tuition are r lanectE~O by this law. -
Promoting Leadership Principles to the Millennial Generation Utilizing a Guerrilla Design Campaign
Goliath Sized Campaign: Promoting Leadership Principles to the Millennial Generation Utilizing a Guerrilla Design Campaign 1 FINAL SIGNATURES STACY CANNON, CHAIR ED EDMAN, FIRST READER DAVID MEYER, SECOND READER TODD SMITH, DEPARTMENT CHAIR 2 3 ABSTRACT 6 INTRODUCTION 8 RESEARCH 10 VISUAL PROCESS 18 VISUAL SOLUTION 32 CONCLUSION 42 REFERENCES 44 4 5 ABSTRACT We are nearing a critical juncture with the retirement of the Baby Boomer generation. The growing demand to replace this workforce with the millennial generation causes us to consider if millennials are up to the challenge. Although this next generation is tech-savvy, resourceful and innovative, many millennials have shared shortcomings including a sense of entitlement, demand for attention and praise and a poor work ethic. Lack of experience and no sense of direction, causes other generations to patiently wait to see what will come of millennials. But through strong leadership development there is hope. By instilling leadership characteristics and encouraging the millennial generation to step up, the void in the work place can be filled. By using a guerilla marketing campaign to promote and provoke thoughts and ideas concerning leadership issues, motivated millennials will rise up to lead their peers to become strong and determined. Through the promotion of eight essential leadership traits, in a way which appeals to the always plugged in, ever connected social media generation, we will see a movement to become the next successful leaders in the work place and in society as a whole. 6 7 INTRODUCTION We are nearing a critical juncture with the After becoming aware of the growing concern, retirement of the Baby Boomer generation at a the thesis student began a casual inquiry into rate of nearly 10,000 employees a day.