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H K a N D C U L T F I L M N E W S
More Next Blog» Create Blog Sign In H K A N D C U L T F I L M N E W S H K A N D C U LT F I L M N E W S ' S FA N B O X W E L C O M E ! HK and Cult Film News on Facebook I just wanted to welcome all of you to Hong Kong and Cult Film News. If you have any questions or comments M O N D AY, D E C E M B E R 4 , 2 0 1 7 feel free to email us at "SURGE OF POWER: REVENGE OF THE [email protected] SEQUEL" Brings Cinema's First Out Gay Superhero Back to Theaters in January B L O G A R C H I V E ▼ 2017 (471) ▼ December (34) "MORTAL ENGINES" New Peter Jackson Sci-Fi Epic -- ... AND NOW THE SCREAMING STARTS -- Blu-ray Review by ... ASYLUM -- Blu-ray Review by Porfle She Demons Dance to "I Eat Cannibals" (Toto Coelo)... Presenting -- The JOHN WAYNE/ "GREEN BERETS" Lunch... Gravitas Ventures "THE BILL MURRAY EXPERIENCE"-- i... NUTCRACKER, THE MOTION PICTURE -- DVD Review by Po... John Wayne: The Crooning Cowpoke "EXTRAORDINARY MISSION" From the Writer of "The De... "MOLLY'S GAME" True High- Stakes Poker Thriller In ... Surge of Power: Revenge of the Sequel Hits Theaters "SHOCK WAVE" With Andy Lau Cinema's First Out Gay Superhero Faces His Greatest -- China’s #1 Box Offic... Challenge Hollywood Legends Face Off in a New Star-Packed Adventure Modern Vehicle Blooper in Nationwide Rollout Begins in January 2018 "SHANE" (1953) "ANNIHILATION" Sci-Fi "A must-see for fans of the TV Avengers, the Fantastic Four Thriller With Natalie and the Hulk" -- Buzzfeed Portma.. -
Ghosts of the Abyss. Titanic’S Bow As Seen from Mir II
A Dive to the titAnic Only a handful of craft can transport people to the deepest ocean realms, and I, as a maritime archaeologist, have been fortunate enough to dive in several of these deep submergence vehicles, also known as submersibles. My most exciting dive was to the wreck of the Titanic, which lies two and a half miles beneath the surface. The grand ocean liner sank in the early morning of April 15, 1912, after striking an iceberg, with a loss of more than 1,500 lives. In the fall of 2001, I was invited to take part in a Titanic expedition headed by James Cameron, director of the 1997 film Titanic. The goal of the expedition was to film the vessel’s remains using deep submersibles on which were mounted powerful lights and a unique high-definition 3D video camera. Cameron then produced a 3D IMAX documentary film, Ghosts of the Abyss. Titanic’s bow as seen from Mir II 8 dig www.digonsite.com Dig1105_Deep_DrDigRedo.indd 8 3/16/11 10:52 AM A Dive To The TiTAbynic John D. Broadwater t’s early morning on September 10, 2001, and I am aboard the 122-foot-long Russian research vessel Akademik Mstislav Keldysh. It is equipped with two submersibles, I Mir I and Mir II, both capable of descending 20,000 feet. The Mirs are 26 feet long, weigh more than 18 tons, and can carry three people—a pilot and two scientists or observers. I am participating in this expedition as a representative of the National Oceanic and Atmospheric Administration (NOAA). -
Arxiv:2007.14808V1 [Cs.CV] 29 Jul 2020 from the Target Sequence and Warped to Produce an Accu- from Youtube with a Facial Performance
Face2Face: Real-time Face Capture and Reenactment of RGB Videos Justus Thies1 Michael Zollhofer¨ 2 Marc Stamminger1 Christian Theobalt2 Matthias Nießner3 1University of Erlangen-Nuremberg 2Max-Planck-Institute for Informatics 3Stanford University Proposed online reenactment setup: a monocular target video sequence (e.g., from Youtube) is reenacted based on the ex- pressions of a source actor who is recorded live with a commodity webcam. Abstract on RGB [8, 6] as well as RGB-D data [32, 10, 21, 4, 16]. These techniques have become increasingly popular for the We present a novel approach for real-time facial reenact- animation of virtual CG avatars in video games and movies. ment of a monocular target video sequence (e.g., Youtube It is now feasible to run these face capture and tracking al- video). The source sequence is also a monocular video gorithms from home, which is the foundation for many VR stream, captured live with a commodity webcam. Our goal and AR applications, such as teleconferencing. is to animate the facial expressions of the target video by a In this paper, we employ a new dense markerless fa- source actor and re-render the manipulated output video in cial performance capture method based on monocular RGB a photo-realistic fashion. To this end, we first address the data, similar to state-of-the-art methods. However, instead under-constrained problem of facial identity recovery from of transferring facial expressions to virtual CG characters, monocular video by non-rigid model-based bundling. At our main contribution is monocular facial reenactment in run time, we track facial expressions of both source and tar- real-time. -
Paper Teplate
Volume-03 ISSN: 2455-3085 (Online) Issue-07 RESEARCH REVIEW International Journal of Multidisciplinary July-2018 www.rrjournals.com [UGC Listed Journal] Representation of Sarah Connor in Terminator 2: Judgment Day as "Tough Woman" *1Girish N & 2Dr Nagya Naik B H *1Research Scholar, Department of Postgraduate Studies and Research in English, Kuvempu University, Shankaraghatta, Shivamogga (India) 2Professor, Department of Postgraduate Studies and Research in English, Kuvempu University, Shankaraghatta, Shivamogga (India) ARTICLE DETAILS ABSTRACT Article History The character of Sarah Connor performed by Lynda Hamilton in Terminator 2: Judgment Published Online: 05 July 2018 Day serves as a barometer for the representation of‘ ‗Tough Woman‘ in Science Fiction Films. Usually science fiction films portrayed female protagonists as damsel in distress, Keywords victim, or femme fatale. But Sarah Connor in T2 transcends all the limitations paving way tough Woman, action Heroine, feminity, to recocenptualise gender roles in films in particular and society in general. Using Sherrie masculinity, body, attitude, action, authority Inness‘ four characteristic features which define tough woman i.e., body, attitude, action and authority the paper closely analyses Sarah Connor‘s transformation into a tough *Corresponding Author woman. Email: nagirish[at]yahoo.com 1. Introduction we see a pair of sweaty hands grip metal bar. Tendons knot and release as someone does pull-ups. In the next wide angle Representation of female protagonist as ‗Tough Woman‘ shot we a see a woman in a tank top and hospital pants has become a major archetype in the Science Fiction Films of hanging from the top leg of the vertical bedframe. Her body is recent times. -
Central Florida Future, Vol. 21 No. 06, September 8, 1988
University of Central Florida STARS Central Florida Future University Archives 9-8-1988 Central Florida Future, Vol. 21 No. 06, September 8, 1988 Part of the Mass Communication Commons, Organizational Communication Commons, Publishing Commons, and the Social Influence and oliticalP Communication Commons Find similar works at: https://stars.library.ucf.edu/centralfloridafuture University of Central Florida Libraries http://library.ucf.edu This Newsletter is brought to you for free and open access by the University Archives at STARS. It has been accepted for inclusion in Central Florida Future by an authorized administrator of STARS. For more information, please contact [email protected]. Recommended Citation "Central Florida Future, Vol. 21 No. 06, September 8, 1988" (1988). Central Florida Future. 867. https://stars.library.ucf.edu/centralfloridafuture/867 ·1 he <Dentral Florida\ ·Fl re C 1988 The Central Florida Future Volume 21, Number 6 University of Central Florida/Orlando Thursday September 8 1988 Filming ·begins on _'Superboy' at- UCF Is it a bird? No. ls .it a plane? No. It's a television crew from Hollywood! bring him into contact with situations by Doris Pfister requiring action from Superboy, the THE CENTRAL FLORIDA FUTURE series will also feature his good friend from Smallville, Lana Lang. Played by The University of Central Florida Stacy Haiduk, Lang is a student who campus has been transformed into the often lands herself in difficulties that center stage for the filming of require help from Superboy. Superboy's college life at Shuster Uni Jim Calvert plays as T.J. White, versity. Daily.Planet editor Perry White's son. -
Terminator Dark Fate Sequel
Terminator Dark Fate Sequel Telesthetic Walsh withing: he wags his subzones loosely and nope. Moth-eaten Felice snarl choicely while Dell always lapidify his gregariousness magic inertly, he honours so inertly. Sometimes unsentenced Pate valuate her sacristan fussily, but draconian Oral demodulating tunelessly or lay-offs athletically. Want to keep up with breaking news? Schwarzenegger against a female Terminator, lacked the visceral urgency of the first two films. The Very Excellent Mr. TV and web series. Soundtrack Will Have You Floating Ho. Remember how he could run like the wind, and transform his hands into blades? When the characters talk about how the future is what you make, they are speaking against the logic of the plot rather than organically from it. 'Dark Fate' is our best 'Terminator' sequel in over 20 years. Record in GA event if ads are blocked. Interviews, commentary, and recommendations old and new. Make a donation to support our coverage. Schwarzenegger appears as the titular character but does not receive top billing. Gebru has been treated completely inappropriately, with intense disrespect, and she deserves an apology. Or did the discovery of future Skynet technology start a branching timeline where the apocalypse came via Cyberdyne instead of Skynet? Need help contacting your corporate administrator regarding your Rolling Stone Digital access? We know that dark fate sequel. Judgment Day could be a necessary event that is ultimately the only way to ensure the future of the human race. Beloved Brendan Fraser Movie Has Been Blowing Up On Stream. Underscore may be freely distributed under the MIT license. -
The Terminator by John Wills
The Terminator By John Wills “The Terminator” is a cult time-travel story pitting hu- mans against machines. Authored and directed by James Cameron, the movie features Arnold Schwarzenegger, Linda Hamilton and Michael Biehn in leading roles. It launched Cameron as a major film di- rector, and, along with “Conan the Barbarian” (1982), established Schwarzenegger as a box office star. James Cameron directed his first movie “Xenogenesis” in 1978. A 12-minute long, $20,000 picture, “Xenogenesis” depicted a young man and woman trapped in a spaceship dominated by power- ful and hostile robots. It introduced what would be- come enduring Cameron themes: space exploration, machine sentience and epic scale. In the early 1980s, Cameron worked with Roger Corman on a number of film projects, assisting with special effects and the design of sets, before directing “Piranha II” (1981) as his debut feature. Cameron then turned to writing a science fiction movie script based around a cyborg from 2029AD travelling through time to con- Artwork from the cover of the film’s DVD release by MGM temporary Los Angeles to kill a waitress whose as Home Entertainment. The Library of Congress Collection. yet unborn son is destined to lead a resistance movement against a future cyborg army. With the input of friend Bill Wisher along with producer Gale weeks. However, critical reception hinted at longer- Anne Hurd (Hurd and Cameron had both worked for lasting appeal. “Variety” enthused over the picture: Roger Corman), Cameron finished a draft script in “a blazing, cinematic comic book, full of virtuoso May 1982. After some trouble finding industry back- moviemaking, terrific momentum, solid performances ers, Orion agreed to distribute the picture with and a compelling story.” Janet Maslin for the “New Hemdale Pictures financing it. -
Department of Political Science Chair of Gender Politics Wonder Woman
Department of Political Science Chair of Gender Politics Wonder Woman and Captain Marvel as Representation of Women in Media Sara Mecatti Prof. Emiliana De Blasio Matr. 082252 SUPERVISOR CANDIDATE Academic Year 2018/2019 1 Index 1. History of Comic Books and Feminism 1.1 The Golden Age and the First Feminist Wave………………………………………………...…...3 1.2 The Early Feminist Second Wave and the Silver Age of Comic Books…………………………....5 1.3 Late Feminist Second Wave and the Bronze Age of Comic Books….……………………………. 9 1.4 The Third and Fourth Feminist Waves and the Modern Age of Comic Books…………...………11 2. Analysis of the Changes in Women’s Representation throughout the Ages of Comic Books…..........................................................................................................................................................15 2.1. Main Measures of Women’s Representation in Media………………………………………….15 2.2. Changing Gender Roles in Marvel Comic Books and Society from the Silver Age to the Modern Age……………………………………………………………………………………………………17 2.3. Letter Columns in DC Comics as a Measure of Female Representation………………………..23 2.3.1 DC Comics Letter Columns from 1960 to 1969………………………………………...26 2.3.2. Letter Columns from 1979 to 1979 ……………………………………………………27 2.3.3. Letter Columns from 1980 to 1989…………………………………………………….28 2.3.4. Letter Columns from 19090 to 1999…………………………………………………...29 2.4 Final Data Regarding Levels of Gender Equality in Comic Books………………………………31 3. Analyzing and Comparing Wonder Woman (2017) and Captain Marvel (2019) in a Framework of Media Representation of Female Superheroes…………………………………….33 3.1 Introduction…………………………….…………………………………………………………33 3.2. Wonder Woman…………………………………………………………………………………..34 3.2.1. Movie Summary………………………………………………………………………...34 3.2.2.Analysis of the Movie Based on the Seven Categories by Katherine J. -
Ernest Farino
Ernest Farino Biography & Résumé Frank Herbert’s Dune 2nd Unit Director Ernest Farino Direc tor, Writer DGA (404) 771-3589 [email protected] ERNEST FARINO Director (DGA) / Writer Ernest Farino has directed three feature fi lms, 7 hours of television, and extensive 2nd Unit (including not only action sequences but full scenes with principal actors). His most recent assignment was an episode of the SyFy/ Netfl ix series Superstition starring Mario Van Peebles and Robinne Lee. His episode of the syndicated series Monsters, “Mannikins of Horror,” Steel and Lace based on a story by Robert (Psycho) Bloch, was touted as the top episode Director of the premiere season. Farino then directed the premiere episode of the second season with Lydia Cornell and Marc McClure, as well as episodes Steel and Lace starring Orson Bean, Ed Marinaro and Tina Louise. Director (with Brian Backer and Clare Wren) The Monsters episodes lead Farino to directing the feature fi lm, Steel and Lace (Fries Entertainment) starring Bruce Davison (Oscar® nominee for Longtime Companion), Clare Wren (The Young Riders), David Naughton (An American Werewolf in London) and Michael Cerveris (Tony nominee as Tommy in The Who’s Tommy on Broadway and recent co-star of The Good Wife) and written by Emmy® winner Joseph Dougherty. Following its theatrical release, Steel and Lace recouped over $1 million in foreign sales on its fi rst offering, had an initial pre-buy of 20,000 video units, was released on laserdisc, and has played extensively on Pay-Per-View, HBO, Cinemax, The Movie Channel and Showtime. “Steel and Lace is a cool, inventive take on the revenge thriller … the Pulp Fiction of its time. -
Media Industry Approaches to Comic-To-Live-Action Adaptations and Race
From Serials to Blockbusters: Media Industry Approaches to Comic-to-Live-Action Adaptations and Race by Kathryn M. Frank A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Communication) in the University of Michigan 2015 Doctoral Committee: Associate Professor Amanda D. Lotz, Chair Professor Susan J. Douglas Professor Lisa A. Nakamura Associate Professor Aswin Punathambekar © Kathryn M. Frank 2015 “I don't remember when exactly I read my first comic book, but I do remember exactly how liberated and subversive I felt as a result.” ― Edward W. Said, Palestine For Mom and Dad, who taught me to be my own hero ii Acknowledgements There are so many people without whom this project would never have been possible. First and foremost, my parents, Paul and MaryAnn Frank, who never blinked when I told them I wanted to move half way across the country to read comic books for a living. Their unending support has taken many forms, from late-night pep talks and airport pick-ups to rides to Comic-Con at 3 am and listening to a comics nerd blather on for hours about why Man of Steel was so terrible. I could never hope to repay the patience, love, and trust they have given me throughout the years, but hopefully fewer midnight conversations about my dissertation will be a good start. Amanda Lotz has shown unwavering interest and support for me and for my work since before we were formally advisor and advisee, and her insight, feedback, and attention to detail kept me invested in my own work, even in times when my resolve to continue writing was flagging. -
Animation Library
2019 INTRODUCTION SC LIVE ACTION SC Films specialises in international film sales, SC Films has a catalogue of over 50 live features for home entertainment and television. distribution, finance and film production. SC Films is based in Soho, London and was founded by See scfilmsinternational.com for more details. Simon Crowe and tech entrepreneur, Matthew Joynes in 2008. SC Films focus on 4–5 theatrical films per year, working closely with producers and financiers to secure finance and maximise revenues worldwide. 2018 was a very busy year for SC Films. The year started with the world premiere of the highly acclaimed animation feature WHITE FANG at Sundance FF and then its subsequent worldwide release from March 2018 – France 500,000+ admissions. GNOME ALONE and CHARMING were also theatrically released throughout the summer. PACHAMAMA had its world premiere at Animation Is Film in LA & London FF over a very busy weekend in October for the director, who flew to both events. Netflix licensed ROW. SC Films also launched a new television division headed by Stephan Manpearl in LA. We are currently developing two major TV shows for primetime television KING OF LATE NIGHT and SLOWFOOD. SC Films International Ltd 56 Brewer Street Soho London +44 (0)20 7287 1900 scfilmsinternational.com COCKNEYS VS ZOMBIES | RETREAT | GREEN STREET: HOOLIGANS UNDERGROUND More information: scfilmsinternational.com Credits Not Contractual SC ANIMATION SC TELEVISION SC Films represents the very best of independent animated This is a new division for SC Films headed by Stephan Manpearl. features from all over the World. We are looking for high quality television productions for co-production, funding and distribution. -
University of Southampton Research Repository Eprints Soton
University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. 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 copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES English Behind Apocalypse The Cultural Legacy of 9/11 by Matthew Stuart Leggatt Thesis for the degree of Doctor of Philosophy May 2013 UNIVERSITY OF SOUTHAMPTON ABSTRACT HUMANITIES English Doctor of Philosophy BEHIND APOCALYPSE THE CULTURAL LEGACY OF 9/11 by Matthew Stuart Leggatt ‘Part One: 9/11 and the Death of the Capitalist Utopia’ focuses on how 9/11 has been memorialised, mythologised, and mobilised by contemporary culture. It examines a range of cultural materials from literature, film, and architecture, to 9/11 in the media. The section discusses, through a fusion of cultural and political thought, how the War on Terror became the inevitable continuation of the binary rhetoric of good and evil perpetuated since 9/11.