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Kaiju-Rising-II-Reign-Of-Monsters Preview.Pdf
KAIJU RISING II: Reign of Monsters Outland Entertainment | www.outlandentertainment.com Founder/Creative Director: Jeremy D. Mohler Editor-in-Chief: Alana Joli Abbott Publisher: Melanie R. Meadors Senior Editor: Gwendolyn Nix “Te Ghost in the Machine” © 2018 Jonathan Green “Winter Moon and the Sun Bringer” © 2018 Kane Gilmour “Rancho Nido” © 2018 Guadalupe Garcia McCall “Te Dive” © 2018 Mari Murdock “What Everyone Knows” © 2018 Seanan McGuire “Te Kaiju Counters” © 2018 ML Brennan “Formula 287-f” © 2018 Dan Wells “Titans and Heroes” © 2018 Nick Cole “Te Hunt, Concluded” © 2018 Cullen Bunn “Te Devil in the Details” © 2018 Sabrina Vourvoulias “Morituri” © 2018 Melanie R. Meadors “Maui’s Hook” © 2018 Lee Murray “Soledad” © 2018 Steve Diamond “When a Kaiju Falls in Love” © 2018 Zin E. Rocklyn “ROGUE 57: Home Sweet Home” © 2018 Jeremy Robinson “Te Genius Prize” © 2018 Marie Brennan Te characters and events portrayed in this book are fctitious or fctitious recreations of actual historical persons. Any similarity to real persons, living or dead, is coincidental and not intended by the authors unless otherwise specifed. Tis book or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher except for the use of brief quotations in a book review. Published by Outland Entertainment 5601 NW 25th Street Topeka KS, 66618 Paperback: 978-1-947659-30-8 EPUB: 978-1-947659-31-5 MOBI: 978-1-947659-32-2 PDF-Merchant: 978-1-947659-33-9 Worldwide Rights Created in the United States of America Editor: N.X. Sharps & Alana Abbott Cover Illustration: Tan Ho Sim Interior Illustrations: Frankie B. -
The Rhetorical Significance of Gojira
UNLV Theses, Dissertations, Professional Papers, and Capstones 5-2010 The Rhetorical Significance of Gojira Shannon Victoria Stevens University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Repository Citation Stevens, Shannon Victoria, "The Rhetorical Significance of Gojira" (2010). UNLV Theses, Dissertations, Professional Papers, and Capstones. 371. http://dx.doi.org/10.34917/1606942 This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. THE RHETORICAL SIGNIFICANCE OF GOJIRA by Shannon Victoria Stevens Bachelor of Arts Moravian College and Theological Seminary 1993 A thesis submitted in partial fulfillment of the requirements for the Master of Arts in Communication Studies Department of Communication Studies Greenspun College of Urban Affairs Graduate College University of Nevada, Las Vegas May 2010 Copyright by Shannon Victoria Stevens 2010 All Rights Reserved THE GRADUATE COLLEGE We recommend the thesis prepared under our supervision by Shannon Victoria Stevens entitled The Rhetorical Significance of Gojira be accepted in partial fulfillment of the requirements for the degree of Master of Arts in Communication Studies David Henry, Committee Chair Tara Emmers-Sommer, Committee Co-chair Donovan Conley, Committee Member David Schmoeller, Graduate Faculty Representative Ronald Smith, Ph. -
What Is a Genre? Introduction to Genres
C a p t i o n e d M e d i a P r o g r a m #9938 WHAT IS A GENRE? INTRODUCTION TO GENRES CLASSROOM VIDEO, 2001 Grade Level: 9-13+ 17 mins. 1 Instructional Graphic Enclosed DESCRIPTION What is a genre? What are some genres, and what are the differences between them? What are some tools used to identify a genre? How does identifying a genre aid in understanding text and characters? Helpful examples illuminate the concept of genres. ACADEMIC STANDARDS Subject Area: Language Art–Reading • Standard: Uses reading skills and strategies to understand and interpret a variety of literary texts Benchmark: Knows the defining characteristics of a variety of literary forms and genres (e.g.,fiction, nonfiction, myths, poems, biographies, autobiographies, science fiction, supernatural tales, satires, parodies, plays, drama, American literature, British literature, world and ancient literature, the Bible) (See INSTRUCTIONAL GOALS 1 and 2.) Benchmark: Understands how themes are used across literary works and genres (e.g., universal themes in literature of different cultures, such as death and rebirth, initiation, love and duty; major themes in American literature; authors associated with major themes of specific eras) (See INSTRUCTIONAL GOALS 2.) Subject Area: Language Arts–Viewing • Standard: Uses viewing skills and strategies to understand and interpret visual media Benchmark: Understands that the rules and expectations about genres can be manipulated for particular effects or purposes (e.g., combining or altering conventions of different genres, such as presenting news as entertainment; blurring of genres, such as drama-documentaries) (See INSTRUCTIONAL GOALS 2.) 1 VOICE (800) 237-6213 TTY (800) 237-6819 FAX (800) 538-5636 E-MAIL [email protected] WEB www.cfv.org Funding for the Captioned Media Program is provided by the U.S. -
ANALYSIS of MYTH in STUART BEATTIE's MOVIE “I FRANKENSTEIN” a Thesis Submitted in Partial Fulfillment of the Requirements
ANALYSIS OF MYTH IN STUART BEATTIE’S MOVIE “I FRANKENSTEIN” A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Sarjana Humaniora in English and Literature Department of the Faculty of Adab and Humanities of UIN Alauddin Makassar By ANDI NIRWANA Reg. No. 40300112066 ENGLISH AND LITERATURE DEPARTMENT ADAB AND HUMANITIES FACULTY ALAUDDIN STATE ISLAMIC UNIVERSITY MAKASSAR 2016 i ii iii iv v ACKNOWLEDGEMENT First of all, the writer would like to extend the deepest gratitude to the almighty Allah swt, the creator, the only provider for providing to her with a little light for searching more of His unlimited knowledge during her study at State Islamic University of Alauddin Makassar. The researcher also never forget to send the greet and invocation to the prophet Muhammad saw, the Great prophet who was sent by God as the Rahmatan Lil Alamiin for the world. The writer gotten a lot of help and support from many people around her during the process of finishing this thesis. There are many people have provided their motivations, advices and even remark that here helped the writer. Therefore the writer would like to express her appreciation to all of them. 1. The special gratitude is expressed to the writer’s lovely parents Andi Samri and Andi Idrus who have given their advices, moral values, financial supports and prayers for the writer. 2. A lot of thanks to Prof. Dr. H.Musafir Pababbari, M.Si as the Rector of UIN Alauddin Makassar. Next, the Dean of Adab and Humanities Faculty, Dr. H. Barsihannor, M.Ag, the Head of English and Literature Department, Muh. -
The Mutual Influence of Science Fiction and Innovation
Nesta Working Paper No. 13/07 Better Made Up: The Mutual Influence of Science fiction and Innovation Caroline Bassett Ed Steinmueller George Voss Better Made Up: The Mutual Influence of Science fiction and Innovation Caroline Bassett Ed Steinmueller George Voss Reader in Digital Media, Professor of Information and Research Fellow, Faculty of Arts, Research Centre for Material Technology, SPRU, University University of Brighton, Visiting Digital Culture, School of of Communication Sussex Fellow at SPRU, University of Media, Film and Music, Sussex University of Sussex Nesta Working Paper 13/07 March 2013 www.nesta.org.uk/wp13-07 Abstract This report examines the relationship between SF and innovation, defined as one of mutual engagement and even co-constitution. It develops a framework for tracing the relationships between real world science and technology and innovation and science fiction/speculative fiction involving processes of transformation, central to which are questions of influence, persuasion, and desire. This is contrasted with the more commonplace assumption of direct linear transmission, SF providing the inventive seed for innovation– instances of which are the exception rather than the rule. The model of influence is developed through an investigation of the nature and evolution of genre, the various effects/appeals of different forms of expression, and the ways in which SF may be appropriated by its various audiences. This is undertaken (i) via an inter- disciplinary survey of work on SF, and a consideration the historical construction of genre and its on-going importance, (ii) through the development of a prototype database exploring transformational paths, and via more elaborated loops extracted from the database, and (iii) via experiments with the development of a web crawl tool, to understand at a different scale, using tools of digital humanities, how fictional ideas travel. -
Screams on Screens: Paradigms of Horror
Screams on Screens: Paradigms of Horror Barry Keith Grant Brock University [email protected] Abstract This paper offers a broad historical overview of the ideology and cultural roots of horror films. The genre of horror has been an important part of film history from the beginning and has never fallen from public popularity. It has also been a staple category of multiple national cinemas, and benefits from a most extensive network of extra-cinematic institutions. Horror movies aim to rudely move us out of our complacency in the quotidian world, by way of negative emotions such as horror, fear, suspense, terror, and disgust. To do so, horror addresses fears that are both universally taboo and that also respond to historically and culturally specific anxieties. The ideology of horror has shifted historically according to contemporaneous cultural anxieties, including the fear of repressed animal desires, sexual difference, nuclear warfare and mass annihilation, lurking madness and violence hiding underneath the quotidian, and bodily decay. But whatever the particular fears exploited by particular horror films, they provide viewers with vicarious but controlled thrills, and thus offer a release, a catharsis, of our collective and individual fears. Author Keywords Genre; taboo; ideology; mythology. Introduction Insofar as both film and videogames are visual forms that unfold in time, there is no question that the latter take their primary inspiration from the former. In what follows, I will focus on horror films rather than games, with the aim of introducing video game scholars and gamers to the rich history of the genre in the cinema. I will touch on several issues central to horror and, I hope, will suggest some connections to videogames as well as hints for further reflection on some of their points of convergence. -
Film Genre Moving Image Arts
NEW REVISED GCSE FILM GENRE MOVING IMAGE ARTS 1 Film Genre CONTENTS INTRODUCTION 3 Genre Fact Sheet: HORROR 5 THE WESTERN 8 ACTION/ADVENTURE 11 ROMANTIC COMEDY 14 SCIENCE FICTION 17 CRIME 20 2 Genre: INTRODUCTION 3 The study of genre underpins the entire GCSE Moving Image Arts Course. Students will be expected to recognise specific film genre conventions from the specification’s set list of six core genres, and also to use them in their own creative practice. The current list of set core genres is: • Horror; • Western; • Action/Adventure; • Romantic Comedy; • Science Fiction; • Crime. CCEA will review the list of set genres every two years. Students should be able to recognise and identify the following characteristic elements within each of the set genres: Element Description Iconography Genre films can be identified by key iconic images. Setting Some genres have a distinct location or time period associated with them. Narrative Genre films employ specific story structures and narrative devices. Characters Some characters are associated with particular genres and can attain the status of generic types. Style Genre films can be identified by specific visual and audio techniques. Theme Genre films often have characteristic themes. This booklet contains fact sheets on each of the six set genres and provides some examples of genre specific conventions and characteristics. Some recommended films for each genre are also listed. 4 Genre and the Audience Students should be able to recognise the role of audience and how it informs the storytelling styles and conventions followed by the set genres. It should be clear to students what type of audiences certain genres are primarily aimed at. -
FLM201 Film Genre: Understanding Types of Film (Study Guide)
Course Development Team Head of Programme : Khoo Sim Eng Course Developer(s) : Khoo Sim Eng Technical Writer : Maybel Heng, ETP © 2021 Singapore University of Social Sciences. All rights reserved. No part of this material may be reproduced in any form or by any means without permission in writing from the Educational Technology & Production, Singapore University of Social Sciences. ISBN 978-981-47-6093-5 Educational Technology & Production Singapore University of Social Sciences 463 Clementi Road Singapore 599494 How to cite this Study Guide (MLA): Khoo, Sim Eng. FLM201 Film Genre: Understanding Types of Film (Study Guide). Singapore University of Social Sciences, 2021. Release V1.8 Build S1.0.5, T1.5.21 Table of Contents Table of Contents Course Guide 1. Welcome.................................................................................................................. CG-2 2. Course Description and Aims............................................................................ CG-3 3. Learning Outcomes.............................................................................................. CG-6 4. Learning Material................................................................................................. CG-7 5. Assessment Overview.......................................................................................... CG-8 6. Course Schedule.................................................................................................. CG-10 7. Learning Mode................................................................................................... -
***Film & History 34.1
Tamara L. Falicov | Special In-Depth Section U.S.-Argentine Co-productions, 1982-1990: Roger Corman, Aries Productions, “Schlockbuster” Movies, and the International Market Tamara L. Falicov University of Kansas Introduction By examining the dynamics and processes of coproduction be- A series of low budget films were made jointly by U.S. tween these two countries, one can see how the relative size and producer Roger Corman and Argentine director-producer Héctor wealth of film markets play a determining role in the shaping of Olivera in the 1980s. Produced primarily for the direct-to-video film content and the formation of cultural products in general. and cable market, these commercial entertainment films with titles such as Deathstalker (1983), Barbarian Queen (1985) and Two Why Co-production between the to Tango (1988) were markedly different from the typical art house United States and Argentina? co-productions made in Argentina. For one, they were not des- During the 1980s, due to massive hyperinflation, the Ar- tined for the international film festival market. Second, in con- gentine economy was in a shambles. The film market accordingly trast to other Argentine co-productions, these films for the most had shrunk, and within the film industry community, new strate- part had no bearing on Argentine (popular) culture, history, or gies for encouraging international investment and film export were current events. Third, few were geared toward both the Argentine being considered. In 1982, around the time the transition to demo- and U.S. markets. cratic rule occurred, Héctor Olivera and a producer named This essay examines how co-productions as dual (or mul- Alejandro Sessa contacted Roger Corman about producing low- tilateral) cultural collaborations between countries may potentially budget cinema in the Pampas. -
Science Fiction Cinema
The University of Western Ontario Department of English/Film Studies 3357F – Science Fiction Cinema Course Description This course provides students with a survey of Science Fiction cinema, one of the most popular and enduring genres in the history of cinema. In this course we will engage with the question of what generic elements (narrative, mise-en-scène, philosophical content, etc.) are specific to the Science Fiction film, and will analyze them in relation to larger issues, such as modernity, the relationship between technology, society and the individual, and the history of utopian thought, science and reason. How have filmmakers used Science Fiction to reflect on the social and political questions of the present? Why is it easier to imagine the end of all life on earth than radical social change? When does technology on earth or on the screen serve an ideological function, when does it allow for new ways of thinking, feeling and being? How has Science Fiction cinema envisioned radical otherness and explored the limits of what it means to be “human”? What role has Science Fiction cinema played at key points in film history to advance new filmmaking technologies or marketing strategies? How does Science Fiction cinema relate to other genres with little critical/academic recognition, but huge fan cultures, such as horror or fantasy? Instructor: Dr. Tobias Nagl Office: University College (UC) 2426 Email: [email protected] Office Hours: Tuesday 12:30-2:30pm Screenings: Monday 9:30-12:30pm (UC 1405) Lectures: Tuesday 10:30-12:30am (UC 1401) Readings: -Sean Edmond (ed.), Liquid Metal. -
Hybrid Genre and Character Representation: Noir, Fantasy, and Fantasy Noir In
Hybrid Genre and Character Representation: Noir, Fantasy, and Fantasy Noir in Constantine, Pushing Daisies, and The Dresden Files by Brielle Campos Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the English Program YOUNGSTOWN STATE UNIVERSITY May 2016 Hybrid Genre and Character Representation: Noir, Fantasy, and Fantasy Noir in Constantine, Pushing Daisies, and The Dresden Files Brielle Campos I hereby release this thesis to the public. I understand that this thesis will be made available from the OhioLINK ETD Center and the Maag Library Circulation Desk for public access. I also authorize the University or other individuals to make copies of this thesis as needed for scholarly research. Signature: Brielle Campos, Student Date Approvals: Dr. Laura Beadling, Thesis Advisor Date Dr. Dolores Sisco, Committee Member Date Dr. Linda Strom, Committee Member Date Dr. Salvatore A. Sanders, Dean of Graduate Studies Date ABSTRACT Genre is an important part of the television industry, as it helps both producers market their texts and consumers better interpret the television they consume. By combining genres, producers can create new stories and more dynamic characters to please audiences. A recent combination that has come into being is fantasy noir. Such examples of this genre are Pushing Daisies, Constantine, and The Dresden Files. These shows take recognizable elements from both genres and meld them together to create a stronger story. While the general population does not support texts such as Pushing Daisies, Constantine, or The Dresden Files, the fans who do have found something that they can be highly dedicated to. -
Virtual and Fantastic Urban Perceptions Through Cinema and Their Relation to Contemporary Cities
Virtual and fantastic urban perceptions through cinema and their relation to contemporary cities. Chirag Date | Class of 2016 Submitted in partial fulfillment for the Masters in City and Regional Planning School of City and Regional Planning College of Architecture Georgia Institute of Technology Advisor: Michael Dobbins, FAICP Virtual and fantastic urban perceptions through cinema and their relation to contemporary cities “Cinema is a matter of what’s in the frame and what’s out.” - Martin Scorsese “Cities have the capability of providing something for everybody, only because, and only when, they are created by everybody.” - Jane Jacobs Chirag Date – MCRP candidate (2014-16) Page 1 Virtual and fantastic urban perceptions through cinema and their relation to contemporary cities TABLE OF CONTENTS Acknowledgement…………………………………………………………………………………………...04 Abstract………………………………………………………………………………………………………05 Problem Statement…………………………………………………………………………………………...06 Assumptions / Scope…………………………………………………………………………………………06 Introduction and Methodology………………………………………………………………………………08 Literature Reviews and Analyses…………………………………………………………………………….09 o The Image of the City – Kevin Lynch……………………………………………………………….09 o Cities and Cinema – Barbara Mennel………………………………………………………………..11 o The Cinematic City – David Clarke………………………………………………………………….15 o Design of Cities – Edmund Bacon…………………………………………………………………...17 o Urban Utopias – Malcolm Miles……………………………………………………………………..20 Matrix of components for efficient reading of cities (real/virtual)…………………………………………..23