The Rise of the Anti-Hero: Pushing Network Boundaries in the Contemporary U.S
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Write Yourself As the Antihero
Write yourself as the Antihero What is an Antihero and why do we love them? The best way to define an Antihero is to define what an anti-hero isn’t. An Antihero is not the traditional hero. A hero often has no flaws. Yes, Superman has his kryptonite, but if it were not for that, nothing would stop him. Antiheroes are more flawed than heroes simply because they are malleable and human. And, typically, their greatest flaw is what makes them relatable to readers and fun to write. Is an Antihero a Villain? Often people confuse the Antihero with the villain. Because Antiheroes might lie, cheat, murder, and steal, some say the line between the two and distinction might be subjective. Experts say that the stark difference between the Antihero and the villain is their end goal. Villains often just want to watch the world burn, or they are only out for themselves. Antiheroes usually have a justification for their choices or a noble objective that the reader can get on board with. You can make your character (YOU) both likeable and unlikeable by presenting a story that generates empathy and justifies their/your choices. Examples of Antiheroes The three types: Morally Grey Is Jack Sparrow a protagonist? (Why or why not?) Choices not favored by reader. Still likeable in his own right. Can be humorous if done right. Nonthreatening Character arc of Tyrian Lannister Low expectations from other characters. Little desire to be effectual. This changes over the course of the story arc. Villainous Walter White vs Lisbeth Salander Someone who does things what we cannot/ would not/might not do. -
Crossmedia Adaptation and the Development of Continuity in the Dc Animated Universe
“INFINITE EARTHS”: CROSSMEDIA ADAPTATION AND THE DEVELOPMENT OF CONTINUITY IN THE DC ANIMATED UNIVERSE Alex Nader A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2015 Committee: Jeff Brown, Advisor Becca Cragin © 2015 Alexander Nader All Rights Reserved iii ABSTRACT Jeff Brown, Advisor This thesis examines the process of adapting comic book properties into other visual media. I focus on the DC Animated Universe, the popular adaptation of DC Comics characters and concepts into all-ages programming. This adapted universe started with Batman: The Animated Series and comprised several shows on multiple networks, all of which fit into a shared universe based on their comic book counterparts. The adaptation of these properties is heavily reliant to intertextuality across DC Comics media. The shared universe developed within the television medium acted as an early example of comic book media adapting the idea of shared universes, a process that has been replicated with extreme financial success by DC and Marvel (in various stages of fruition). I address the process of adapting DC Comics properties in television, dividing it into “strict” or “loose” adaptations, as well as derivative adaptations that add new material to the comic book canon. This process was initially slow, exploding after the first series (Batman: The Animated Series) changed networks and Saturday morning cartoons flourished, allowing for more opportunities for producers to create content. References, crossover episodes, and the later series Justice League Unlimited allowed producers to utilize this shared universe to develop otherwise impossible adaptations that often became lasting additions to DC Comics publishing. -
ORANGE IS the NEW BLACK PILOT Written By: Jenji Kohan
ORANGE IS THE NEW BLACK PILOT Written by: Jenji Kohan Based on the Memoir by Piper Kerman Writer's first 5/22/12 BATHING MONTAGE: We cycle through a series of scenes with voice overs. Underneath the dialogue, one song plays throughout. Perhaps it’s ‘Tell Me Something Good,’ by Rufus and Chaka Khan or something better or cheaper or both that the music supervisor finds for us. INT. CONNECTICUT KITCHEN - DAY - 1979 A beautiful, fat, blonde baby burbles and splashes in a kitchen sink. A maternal hand pulls out the sprayer and gently showers the baby who squeals with joy. PIPER (V.O.) I’ve always loved getting clean. CUT TO: INT. TRADITIONAL BATHROOM - 1984 Five year old Piper plays in a bathtub surrounded by toys. PIPER (V.O.) Water is my friend. CUT TO: INT. GIRLY BATHROOM - 1989 Ten year old Piper lathers up and sings her heart out into a shampoo bottle. PIPER (V.O.) I love baths. I love showers. CUT TO: INT. DORM BATHROOM - 1997 Seventeen year old Piper showers with a cute guy. PIPER (V.O.) I love the smell of soaps and salts. CUT TO: INT. LOFT BATHROOM - 1999 Twenty year old Piper showers with a woman. (ALEX) ORANGE IS THE NEW BLACK "Pilot" JENJI DRAFT 2. PIPER (V.O.) I love to lather. CUT TO: INT. DAY SPA - 2004 Piper sits in a jacuzzi with girlfriends. PIPER (V.O.) I love to soak. CUT TO: INT. APARTMENT - 2010 Piper in a clawfoot tub in a brownstone in Brooklyn with LARRY. PIPER (V.O.) It’s my happy place. -
Plot? What Is Structure?
Novel Structure What is plot? What is structure? • Plot is a series of interconnected events in which every occurrence has a specific purpose. A plot is all about establishing connections, suggesting causes, and and how they relate to each other. • Structure (also known as narrative structure), is the overall design or layout of your story. Narrative Structure is about both these things: Story Plot • The content of a story • The form used to tell the story • Raw materials of dramatic action • How the story is told and in what as they might be described in order chronological order • About how, and at what stages, • About trying to determine the key the key conflicts are set up and conflicts, main characters, setting resolved and events • “How” and “when” • “Who,” “what,” and “where” Story Answers These Questions 1. Where is the story set? 2. What event starts the story? 3. Who are the main characters? 4. What conflict(s) do they face? What is at stake? 5. What happens to the characters as they face this conflict? 6. What is the outcome of this conflict? 7. What is the ultimate impact on the characters? Plot Answers These Questions 8. How and when is the major conflict in the story set up? 9. How and when are the main characters introduced? 10.How is the story moved along so that the characters must face the central conflict? 11.How and when is the major conflict set up to propel them to its conclusion? 12.How and when does the story resolve most of the major conflicts set up at the outset? Basic Linear Story: Beginning, Middle & End Ancient (335 B.C.)Greek philosopher and scientist, Aristotle said that every story has a beginning, a middle, and an end. -
Short Story Structure Lesson 1 Finding Your Reader and Their Emotional
Short Story Structure Jodi Henley from Concept to Upload October 2012 Short story Structure Lesson 1 Finding your reader and their emotional triggers Good morning! This has rapidly grown to become my favorite workshop because I actually use it. While I firmly believe you should follow your heart and write your passion—I believe in getting paid or if you're not interested in the money, increasing your readership. Because you're here, I've made a few assumptions. 1. You're open to connecting with your reader. Some writers produce wonderful stories that make them happy, get across a message they're passionate about, or explore variations on theme, but aren't particularly concerned about audience. I'm not saying that you need to compromise your vision, but to connect with a greater number of readers you need to know who your readers are, what they want, and how to tie that into what you're writing. Writing stories without taking your reader into consideration will still get you readers, but the sheer number of viewers who will watch a summer blockbuster hit, or see something playing in their neighborhood movie theater are on a different scale from the people who will find an indie theater and see an art flick from the Sundance Festival. It works that way in stories, too. You need to be accessible to the people you're targeting. The bad word—target. Why do you have to target? Why can't you just write? Where are the five easy pieces you need to know to get your story the readers it deserves? Whether you consciously think about it or not, targeting is already part of your writing. -
Gossip, Exclusion, Competition, and Spite: a Look Below the Glass Ceiling at Female-To-Female Communication Habits in the Workplace
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 5-2013 Gossip, Exclusion, Competition, and Spite: A Look Below the Glass Ceiling at Female-to-Female Communication Habits in the Workplace Katelyn Elizabeth Brownlee [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Organizational Communication Commons Recommended Citation Brownlee, Katelyn Elizabeth, "Gossip, Exclusion, Competition, and Spite: A Look Below the Glass Ceiling at Female-to-Female Communication Habits in the Workplace. " Master's Thesis, University of Tennessee, 2013. https://trace.tennessee.edu/utk_gradthes/1597 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Katelyn Elizabeth Brownlee entitled "Gossip, Exclusion, Competition, and Spite: A Look Below the Glass Ceiling at Female-to-Female Communication Habits in the Workplace." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Science, with a major in Communication and Information. Michelle Violanti, Major Professor We have read this thesis -
PC Is Back in South Park: Framing Social Issues Through Satire
Colloquy Vol. 12, Fall 2016, pp. 101-114 PC Is Back in South Park: Framing Social Issues through Satire Alex Dejean Abstract This study takes an extensive look at the television program South Park episode “Stunning and Brave.” There is limited research that explores the use of satire to create social discourse on concepts related to political correctness. I use framing theory as a primary variable to understand the messages “Stunning and Brave” attempts to convey. Framing theory originated from the theory of agenda setting. Agenda setting explains how media depictions affect how people think about the world. Framing is an aspect of agenda setting that details the organization and structure of a narrative or story. Framing is such an important variable to agenda setting that research on framing has become its own field of study. Existing literature of framing theory, comedy, and television has shown how audiences perceive issues once they have been exposed to media messages. The purpose of this research will review relevant literature explored in this area to examine satirical criticism on the social issue of political correctness. It seems almost unnecessary to point out the effect media has on us every day. Media is a broad term for the collective entities and structures through which messages are created and transmitted to an audience. As noted by Semmel (1983), “Almost everyone agrees that the mass media shape the world around us” (p. 718). The media tells us what life is or what we need for a better life. We have been bombarded with messages about what is better. -
Middlebrow Feminism in Classic British Detective Fiction
Crime Files Series General Editor: Clive Bloom Since its invention in the nineteenth century, detective fiction has never been more popular. In novels, short stories, films, radio, television and now in computer games, private detectives and psychopaths, prim poisoners and overworked cops, tommy gun gangsters and cocaine criminals are the very stuff of modern imagination, and their creators one mainstay of popular consciousness. Crime Files is a ground-breaking series offering scholars, students and discerning readers a comprehensive set of guides to the world of crime and detective fiction. Every aspect of crime writing, detective fiction, gangster movie, true-crime exposé, police procedural and post-colonial investigation is explored through clear and informative texts offering comprehensive coverage and theoretical sophistication. Published titles include: Maurizio Ascari A COUNTER-HISTORY OF CRIME FICTION Supernatural, Gothic, Sensational Hans Bertens and Theo D’haen CONTEMPORARY AMERICAN CRIME FICTION Anita Biressi CRIME, FEAR AND THE LAW IN TRUE CRIME STORIES Ed Christian (editor) THE POST-COLONIAL DETECTIVE Paul Cobley THE AMERICAN THRILLER Generic Innovation and Social Change in the 1970s Michael Cook NARRATIVES OF ENCLOSURE IN DETECTIVE FICTION The Locked Room Mystery Barry Forshaw DEATH IN A COLD CLIMATE A Guide to Scandinavian Crime Fiction Barry Forshaw BRITISH CRIME FILM Subverting the Social Order Emelyne Godfrey MASCULINITY, CRIME AND SELF-DEFENCE IN VICTORIAN LITERATURE Emelyne Godfrey FEMININITY, CRIME AND SELF-DEFENCE -
The Representation of Latinas in Orange Is the New Black a Thesis
The Representation of Latinas in Orange Is the New Black A Thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at George Mason University By Sarah Weatherford Millette Bachelor of Arts Furman University, 2011 Director: Ricardo F. Vivancos Pérez, Associate Professor Department of Modern and Classical Languages Spring Semester 2015 George Mason University Fairfax, VA ACKNOWLEDGEMENTS I would like to thank first and foremost my advisor and mentor, Dr. Ricardo F. Vivancos Pérez, who has believed in me, encouraged me, and never stopped challenging me. I would also like to thank Dr. Lisa Rabin and Dr. Michele Back for their guidance and their time. Thank you to my family and friends for understanding my less-than-social life these past few months. Finally, I would like to thank my new husband, Nick, for accepting the fact that this has been my first love and priority in our first year of marriage. ii TABLE OF CONTENTS Page Abstract................................................................................................................................ iv Introduction........................................................................................................................... 1 Thesis Overview ................................................................................................................... 9 Chapter One - Gender, Sexuality, and Interethnic Relationships in the Fictional Prison .. 12 Women in the US Prison System................................................................................. -
Dragon Magazine
DRAGON 1 Publisher: Mike Cook Editor-in-Chief: Kim Mohan Shorter and stronger Editorial staff: Marilyn Favaro Roger Raupp If this isnt one of the first places you Patrick L. Price turn to when a new issue comes out, you Mary Kirchoff may have already noticed that TSR, Inc. Roger Moore Vol. VIII, No. 2 August 1983 Business manager: Mary Parkinson has a new name shorter and more Office staff: Sharon Walton accurate, since TSR is more than a SPECIAL ATTRACTION Mary Cossman hobby-gaming company. The name Layout designer: Kristine L. Bartyzel change is the most immediately visible The DRAGON® magazine index . 45 Contributing editor: Ed Greenwood effect of several changes the company has Covering more than seven years National advertising representative: undergone lately. in the space of six pages Robert Dewey To the limit of this space, heres some 1409 Pebblecreek Glenview IL 60025 information about the changes, mostly Phone (312)998-6237 expressed in terms of how I think they OTHER FEATURES will affect the audience we reach. For a This issues contributing artists: specific answer to that, see the notice Clyde Caldwell Phil Foglio across the bottom of page 4: Ares maga- The ecology of the beholder . 6 Roger Raupp Mary Hanson- Jeff Easley Roberts zine and DRAGON® magazine are going The Nine Hells, Part II . 22 Dave Trampier Edward B. Wagner to stay out of each others turf from now From Malbolge through Nessus Larry Elmore on, giving the readers of each magazine more of what they read it for. Saved by the cavalry! . 56 DRAGON Magazine (ISSN 0279-6848) is pub- I mention that change here as an lished monthly for a subscription price of $24 per example of what has happened, some- Army in BOOT HILL® game terms year by Dragon Publishing, a division of TSR, Inc. -
Download Heroic Grace: the Chinese Martial Arts Film Catalog (PDF)
UCLA Film and Television Archive Hong Kong Economic and Trade Office in San Francisco HEROIC GRACE: THE CHINESE MARTIAL ARTS FILM February 28 - March 16, 2003 Los Angeles Front and inside cover: Lau Kar-fai (Gordon Liu Jiahui) in THE 36TH CHAMBER OF SHAOLIN (SHAOLIN SANSHILIU FANG ) present HEROIC GRACE: THE CHINESE MARTIAL ARTS FILM February 28 - March 16, 2003 Los Angeles Heroic Grace: The Chinese Martial Arts Film catalog (2003) is a publication of the UCLA Film and Television Archive, Los Angeles, USA. Editors: David Chute (Essay Section) Cheng-Sim Lim (Film Notes & Other Sections) Designer: Anne Coates Printed in Los Angeles by Foundation Press ii CONTENTS From the Presenter Tim Kittleson iv From the Presenting Sponsor Annie Tang v From the Chairman John Woo vi Acknowledgments vii Leaping into the Jiang Hu Cheng-Sim Lim 1 A Note on the Romanization of Chinese 3 ESSAYS Introduction David Chute 5 How to Watch a Martial Arts Movie David Bordwell 9 From Page to Screen: A Brief History of Wuxia Fiction Sam Ho 13 The Book, the Goddess and the Hero: Sexual Bérénice Reynaud 18 Aesthetics in the Chinese Martial Arts Film Crouching Tiger, Hidden Dragon—Passing Fad Stephen Teo 23 or Global Phenomenon? Selected Bibliography 27 FILM NOTES 31-49 PROGRAM INFORMATION Screening Schedule 51 Print & Tape Sources 52 UCLA Staff 53 iii FROM THE PRESENTER Heroic Grace: The Chinese Martial Arts Film ranks among the most ambitious programs mounted by the UCLA Film and Television Archive, taking five years to organize by our dedicated and intrepid Public Programming staff. -
Narrative Structure and Purpose in Arnold Schoenberg's Pierrot
Portrait of the Artist as a Young Clown: Narrative Structure and Purpose in Arnold Schoenberg’s Pierrot Lunaire Mike Fabio Introduction In September of 1912, a 37-year-old Arnold Schoenberg sat in a Berlin concert hall awaiting the premier of his 21st opus, Pierrot Lunaire. A frail man, as rash in his temperament as he was docile when listening to his music, Schoenberg watched as the lights dimmed and a fully costumed Pierrot took to the stage, a spotlight illuminating him against a semitransparent black screen through which a small instrumental ensemble could be seen. But as Pierrot began singing, the audience quickly grew uneasy, noting that Pierrot was in fact a woman singing in the most awkward of styles against a backdrop of pointillist atonal brilliance. Certainly this was not Beethoven. In a review of the concert, music critic James Huneker wrote: The very ecstasy of the hideous!…Schoenberg is…the cruelest of all composers, for he mingles with his music sharp daggers at white heat, with which he pares away tiny slices of his victim’s flesh. Anon he twists the knife in the fresh wound and you receive another thrill…. There is no melodic or harmonic line, only a series of points, dots, dashes or phrases that sob and scream, despair, explode, exalt and blaspheme.1 Schoenberg was no stranger to criticism of this nature. He had grown increasingly contemptuous of critics, many of whom dismissed his music outright, even in his early years. When Schoenberg entered his atonal period after 1908, the criticism became far more outrageous, and audiences were noted to have rioted and left the theater in the middle of pieces.