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Hugo Study Notes
Hugo Directed by: Martin Scorsese Certificate: U Country: USA Running time: 126 mins Year: 2011 Suitable for: primary literacy; history (of cinema); art and design; modern foreign languages (French) www.filmeducation.org 1 ©Film Education 2012. Film Education is not responsible for the content of external sites SYNOPSIS Based on a graphic novel by Brian Selznick, Hugo tells the story of a wily and resourceful orphan boy who lives with his drunken uncle in a 1930s Paris train station. When his uncle goes missing one day, he learns how to wind the huge station clocks in his place and carries on living secretly in the station’s walls. He steals small mechanical parts from a shop owner in the station in his quest to unlock an automaton (a mechanical man) left to him by his father. When the shop owner, George Méliès, catches him stealing, their lives become intertwined in a way that will transform them and all those around them. www.hugomovie.com www.theinventionofhugocabret.com TeacHerS’ NOTeS These study notes provide teachers with ideas and activity sheets for use prior to and after seeing the film Hugo. They include: ■ background information about the film ■ a cross-curricular mind-map ■ classroom activity ideas – before and after seeing the film ■ image-analysis worksheets (for use to develop literacy skills) These activity ideas can be adapted to suit the timescale available – teachers could use aspects for a day’s focus on the film, or they could extend the focus and deliver the activities over one or two weeks. www.filmeducation.org 2 ©Film Education 2012. -
The Satanic Rituals Anton Szandor Lavey
The Rites of Lucifer On the altar of the Devil up is down, pleasure is pain, darkness is light, slavery is freedom, and madness is sanity. The Satanic ritual cham- ber is die ideal setting for the entertainment of unspoken thoughts or a veritable palace of perversity. Now one of the Devil's most devoted disciples gives a detailed account of all the traditional Satanic rituals. Here are the actual texts of such forbidden rites as the Black Mass and Satanic Baptisms for both adults and children. The Satanic Rituals Anton Szandor LaVey The ultimate effect of shielding men from the effects of folly is to fill the world with fools. -Herbert Spencer - CONTENTS - INTRODUCTION 11 CONCERNING THE RITUALS 15 THE ORIGINAL PSYCHODRAMA-Le Messe Noir 31 L'AIR EPAIS-The Ceremony of the Stifling Air 54 THE SEVENTH SATANIC STATEMENT- Das Tierdrama 76 THE LAW OF THE TRAPEZOID-Die elektrischen Vorspiele 106 NIGHT ON BALD MOUNTAIN-Homage to Tchort 131 PILGRIMS OF THE AGE OF FIRE- The Statement of Shaitan 151 THE METAPHYSICS OF LOVECRAFT- The Ceremony of the Nine Angles and The Call to Cthulhu 173 THE SATANIC BAPTISMS-Adult Rite and Children's Ceremony 203 THE UNKNOWN KNOWN 219 The Satanic Rituals INTRODUCTION The rituals contained herein represent a degree of candor not usually found in a magical curriculum. They all have one thing in common-homage to the elements truly representative of the other side. The Devil and his works have long assumed many forms. Until recently, to Catholics, Protestants were devils. To Protes- tants, Catholics were devils. -
Discovering the Lost Race Story: Writing Science Fiction, Writing Temporality
Discovering the Lost Race Story: Writing Science Fiction, Writing Temporality This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia 2008 Karen Peta Hall Bachelor of Arts (Honours) Discipline of English and Cultural Studies School of Social and Cultural Studies ii Abstract Genres are constituted, implicitly and explicitly, through their construction of the past. Genres continually reconstitute themselves, as authors, producers and, most importantly, readers situate texts in relation to one another; each text implies a reader who will locate the text on a spectrum of previously developed generic characteristics. Though science fiction appears to be a genre concerned with the future, I argue that the persistent presence of lost race stories – where the contemporary world and groups of people thought to exist only in the past intersect – in science fiction demonstrates that the past is crucial in the operation of the genre. By tracing the origins and evolution of the lost race story from late nineteenth-century novels through the early twentieth-century American pulp science fiction magazines to novel-length narratives, and narrative series, at the end of the twentieth century, this thesis shows how the consistent presence, and varied uses, of lost race stories in science fiction complicates previous critical narratives of the history and definitions of science fiction. In examining the implicit and explicit aspects of temporality and genre, this thesis works through close readings of exemplar texts as well as historicist, structural and theoretically informed readings. It focuses particularly on women writers, thus extending previous accounts of women’s participation in science fiction and demonstrating that gender inflects constructions of authority, genre and temporality. -
1385280318233.Pdf
™ CORE ™ SERIOUSly? Free-to-Play? Imagination is powerful. To quote Albert Einstein, “Imagination is more impor- tant than knowledge. For knowledge is limited to all we now know and under- stand, while imagination embraces the entire world, and all there ever will be to know and understand.” Well said. We believe in the power of imagination and how it creates wonder and inspira- tion. Roleplaying games are one of the few things that can do what they do. Some might say they are the last frontier for wild imagination and creativity. We certainly believe so. That’s why we make roleplaying games – to help make that possible. Making roleplaying games the way we have hasn’t helped us spark imagination the way we’d hoped. We want to try something different. First, we’re adopting the Creative Commons license, so that you can contribute to the game in a meaningful way. That way, we can support you in your awesome ideas and help you get them out to your fellow players. Then, we’re going to give away electronic copies of the core book for free. We’ve all bought games that didn’t end up working out for us. That’s why we’re giving this to you for free – so that you can figure out if you like the game before you decide to spend money on it. If you like The Void and you play it, we’re going to put out a bunch of cool ma- terial at very reasonable prices. We’re going to do it buffet-style, so you can pick and choose what works best for you and your group. -
The Halsey Minor Collection 13 May 2010 New York
THE HALSEY MINOR COLLECTION 13 MAY 2010 NEW YORK THE HALSEY MINOR COLLECTION 13 MAY 2010 7pm NEW YORK LOTS 1-22 Viewing Saturday 1 May, 10am – 6pm Sunday 2 May, 12pm – 6pm Monday 3 May, 10am – 6pm Tuesday 4 May, 10am – 6pm Wednesday 5 May, 10am – 6pm Thursday 6 May, 10am – 6pm Friday 7 May, 10am – 6pm Saturday 8 May, 10am – 6pm Sunday 9 May, 12pm – 6pm Monday 10 May, 10am – 6pm Tuesday 11 May, 10am – 6pm Wednesday 12 May, 10am – 6pm Front Cover Richard Prince, Nurse in Hollywood #4, 2004, Lot 8 (detail) Thursday 13 May, 10am – 12pm Back Cover Marc Newson, Prototype “Lockheed Lounge,” 1988, Lot 4 COLLECTING IS ABOUT LEARNING AND IT IS DEVELOPING CONNOISSEURSHIP. IT IS AN INTENSE ONGOING PROCESS OF EDUCATION, AND IT IS MY MISSION TO COLLECT ONLY THE BEST. HALSEY MINOR The boldness of Halsey Minor’s collecting vision lies in its identification of energy, of a constant flow of ideas emanating from the questions art asks of its viewers and of their place in the wider world. ‘Collecting is about learning and it is developing connoisseurship,’ Minor has stated. ‘It is an intense ongoing process of education, and it is my mission to collect only the best.’ Why people collect art is as straightforward and as complex as why people fall in love. There are infinite reasons. For Halsey Minor, collecting Contemporary Art and Design is a hunger that cannot be satisfied, a thirst that cannot be quenched. It is the addiction to this nectar, to put together one of the most formidable collections of Marc Newson and Ed Ruscha, for instance that drives him. -
Pseudoscience and Science Fiction Science and Fiction
Andrew May Pseudoscience and Science Fiction Science and Fiction Editorial Board Mark Alpert Philip Ball Gregory Benford Michael Brotherton Victor Callaghan Amnon H Eden Nick Kanas Geoffrey Landis Rudi Rucker Dirk Schulze-Makuch Ru€diger Vaas Ulrich Walter Stephen Webb Science and Fiction – A Springer Series This collection of entertaining and thought-provoking books will appeal equally to science buffs, scientists and science-fiction fans. It was born out of the recognition that scientific discovery and the creation of plausible fictional scenarios are often two sides of the same coin. Each relies on an understanding of the way the world works, coupled with the imaginative ability to invent new or alternative explanations—and even other worlds. Authored by practicing scientists as well as writers of hard science fiction, these books explore and exploit the borderlands between accepted science and its fictional counterpart. Uncovering mutual influences, promoting fruitful interaction, narrating and analyzing fictional scenarios, together they serve as a reaction vessel for inspired new ideas in science, technology, and beyond. Whether fiction, fact, or forever undecidable: the Springer Series “Science and Fiction” intends to go where no one has gone before! Its largely non-technical books take several different approaches. Journey with their authors as they • Indulge in science speculation—describing intriguing, plausible yet unproven ideas; • Exploit science fiction for educational purposes and as a means of promoting critical thinking; • Explore the interplay of science and science fiction—throughout the history of the genre and looking ahead; • Delve into related topics including, but not limited to: science as a creative process, the limits of science, interplay of literature and knowledge; • Tell fictional short stories built around well-defined scientific ideas, with a supplement summarizing the science underlying the plot. -
International Polar Year 2007–2008 SUMMARY by the IPY JOINT COMMITTEE
Understanding Earth’s Polar Challenges: International Polar Year 2007–2008 SUMMARY BY THE IPY JOINT COMMITTEE a PART TWO: IPY SCIENCE PROGRAM 2.6 Subglacial Aquatic Environments Lead Authors: Mahlon C. Kennicutt II, Martin Siegert and Cynan Ellis-Evans Contributing Author: Vladimir Lipenkov Reviewers: Carlo Barbante, Robin Bell, Jill Mikucki and Colin Summerhayes Recognition as a Focus for Scientific Investigation In 1996 an article, featured on the cover of Nature, established the dimensions and setting of the lake and reported that a massive subglacial lake containing led to the first published inventory of subglacial lakes liquid water was hidden beneath ~4 kilometers of ice (of which 77 were recorded from analysis of radio- in Antarctica (Kapitsa et al., 1996). While the data that echo sounding records, Siegert et al., 1996). In the suggested the presence of a lake dated to the 1960s second half of the 1990s, three scientific workshops and 1970s, this feature had gone largely unnoticed by entitled “Lake Vostok Study: Scientific Objectives and the broader scientific community until a re-analysis of Technological Requirements” (St. Petersburg, March the data. The article sparked speculation that these 1998), “Lake Vostok: A Curiosity or a Focus for Scientific environments might be habitats for exotic microbial Research?” (Washington DC, U.S.A., November 1998; life long isolated from the open atmosphere. It was Bell and Karl, 1998), and “Subglacial Lake Exploration” speculated that if sediments were preserved at the (SCAR, Cambridge, September 1999) were held. It bottom of the lake they would contain never before was recognized early on that that, in order to explore seen records of past climate change in the interior these remote habitats, a major, sustained investment of Antarctica. -
Georges Méliès: Impossible Voyager
Georges Méliès: Impossible Voyager Special Effects Epics, 1902 – 1912 Thursday, May 15, 2008 Northwest Film Forum, Seattle, WA Co-presented by The Sprocket Society and the Northwest Film Forum Curated and program notes prepared by Spencer Sundell. Special music presentations by Climax Golden Twins and Scott Colburn. Poster design by Brian Alter. Projection: Matthew Cunningham. Mr. Sundell’s valet: Mike Whybark. Narration for The Impossible Voyage translated by David Shepard. Used with permission. (Minor edits were made for this performance.) It can be heard with a fully restored version of the film on the Georges Méliès: First Wizard of Cinema (1896-1913) DVD box set (Flicker Alley, 2008). This evening’s program is dedicated to John and Carolyn Rader. The Sprocket Society …seeks to cultivate the love of the mechanical cinema, its arts and sciences, and to encourage film preservation by bringing film and its history to the public through screenings, educational activities, and our own archival efforts. www.sprocketsociety.org [email protected] The Northwest Film Forum Executive Director: Michael Seirwrath Managing Director: Susie Purves Programming Director: Adam Sekuler Associate Program Director: Peter Lucas Technical Director: Nora Weideman Assistant Technical Director: Matthew Cunningham Communications Director: Ryan Davis www.nwfilmforum.org nwfilmforum.wordpress.com THE STAR FILMS STUDIO, MONTREUIL, FRANCE The exterior of the glass-house studio Méliès built in his garden at Montreuil, France — the first movie The interior of the same studio. Méliès can be seen studio of its kind in the world. The short extension working at left (with the long stick). As you can with the sloping roof visible at far right is where the see, the studio was actually quite small. -
Son-WSFA 181&2 Miller 1975-04-01
SON OF T H E ' W S*F A J 0 U R N A L .. SF/Fantasy News/Reviow 'Zine — 1st & 2nd Apr- ’75 Issues — 25^ each*, 10/$.2xP0 Editor St Publisher: Don Miller —------- Vol, 31, #Ts 1 & 2; Whole Nos. 181 &-182 In, This Issue — ' ' . IN‘ THIS ISSUE; IN BRIEF (misc. notes/announcements); COLOPHON .............. .. pg 1 THE'’ CON GAME: Mid-April 175 thru Early May 175 ................ .. -.............. -. =» pg 2 THE LOCAL SCENE; Radio Notes; Miscellany .......... .......................................... pp 2,1 BOOKWORLD: Book Reviews (SF/Fantasy, by Don D'Ammassa, Jim Goldfrank; Non-Fiction, by Jim Goldfrank; Mystery/Suspense/Adventure/etc,, by Don D'Ammassa, Sheila D'Ammassa); Review Extracts (SF/Fantagy, Non-Fiction); Books. Announced; Books Received; pp 3-10,1 MAGAZINARAMA: Prozines (& Somi-Prozines) Received .................— .. pp 11-13 THE AMATEUR PRESS: Fanzines Received ............................................a'.... pp lb-20 SF MART: Classified Ads ....................................... ...... pg 2u ON THE MOVE.: Changes-pf-Address, etc. ............. ............ pg 20 EN PASSANT: Lettercolumn (Don D'Ammassa, Martin Last, Floyd Poill/Mary M. Schmidt, WAHF's (Linda Bushyager, Camille Cazedessus, Tom Cobb, Don D'Ammassa, James Ellis, Jim Goldfrank, Tom Mason, Norbert Spel.ner. Howard Thompson, et al) ................................................................................ .. pp 21-22 BOOKWORLD: REVIEW EXTRACTS (Non-Fiction) (Cont. from pg. 6) — prospectors, and conquistadores. There's even a Manilla galleon which periodically emerges from the shifting sand dunes along Oregon's coast, only soon to vanish again, taking-.1 ' its treasure chests and bullion with it.' . , fast-moving and certainly diverting") THE LOCAL SCENE: MISCELLANY (Cont. from pg. 2) — p.mc 2h/h» ## Sleeper at Loyola College Student Center 7:30 & 9:30 p.m. -
A Trip to the Moon As Féerie
7 FRANK KESSLER A Trip to the Moon as Féerie SHORT STORY BY JULES VERNE, first published in 1889 and describ- ing a day in the life of an American journalist in the year 2889, Aopens with the intriguing remark that “in this twenty-ninth cen- tury people live right in the middle of a continuous féerie without even noticing it.”1 This observation linking technological and scientific prog- ress to the magical world of fairy tales quite probably did not surprise Verne’s French readers at the end of the nineteenth century when widely used expressions such as “la fée électricité” emphatically conjured up the image of wondrous magic to celebrate the marvels of the modern age. However, the choice of the term “féerie,” opens up yet another dimen- sion of Verne’s metaphor, namely the realm of the spectacular. A popu- lar stage genre throughout the nineteenth century, the féerie stood for a form of theatrical entertainment combining visual splendor, fantastic plots, amazing tricks, colorful ballets, and captivating music. All these wonders, on the other hand, were not the result of any kind of magic, but of stagecraft, set design, trick techniques, and a meticulously organized mise-en-scène. Verne’s metaphor, thus, complexly intertwines magic and technology, fairy tales and progress, fantasy and science. This, precisely, is the context within which I propose to look at Méliès’s 1902 film A Trip to the Moon2—as a féerie; that is, as a film drawing from a long-standing stage tradition that had also found its way into animated pictures where Copyright © 2011. -
Syllabus Is to Be Used As a Guideline Only
**Disclaimer** This syllabus is to be used as a guideline only. The information provided is a summary of topics to be covered in the class. Information contained in this document such as assignments, grading scales, due dates, office hours, required books and materials may be from a previous semester and are subject to change. Please refer to your instructor for the most recent version of the syllabus. Fall 2018 Instructor: Dr. Ana Hedberg Olenina E-Mail: [email protected] SLC 340 Office: LL 414-D Office Hrs.: Mon. 2:30-3:30 pm & by Approaches to International Cinema appointment Overview Materials This course offers a historical survey of major film movements around the TWO BOOKS to be purchased: world, from the silent era to this day. We will explore key cinematic works, situating them in their aesthetic, cultural, and political contexts, and tracing their -- Bordwell, David and Kristin impact on the global cinematic culture. The course is organized around weekly Thompson, Film History: An Introduction. case studies of pivotal moments in national film histories – French, German, THIRD EDITION (New York: McGraw Italian, Russian, American, Japanese, Indian, Chinese, Korean, Brazilian, Hill, 2009). ISBN: 9780073386133 Senegalese, and others. We will aim to understand how and why cinematic expression around the world developed the way it did. What practices informed the emergence of stylistic innovations? What factors shaped their distribution -- Greiger, Jeffrey and R. L. Rutsky, Film and reception in the global market over time? Finally, we will critically examine Analysis: A Norton Reader. SECOND the very notion of “national” cinema – a concept that often disguises the EDITION. -
Call to Let the People Decide New Place Names on Mercury and Pluto 20 April 2015, by Alice Gorman
Call to let the people decide new place names on Mercury and Pluto 20 April 2015, by Alice Gorman choose the new place-names. Mapping our celestial neighbours How do places in the solar system get named? We already use the names of gods and goddesses given by the Romans, over 2,000 years ago, to the most visible planets: Mercury, Venus, Mars, Jupiter and Saturn. The existence of Pluto, Uranus and Neptune wasn't known until much later; but they were similarly Artist’s impression of NASA’s New Horizons spacecraft named after classical deities. encountering Pluto and its largest moon, Charon. Credit: NASA/Applied Physics Laboratory/Southwest Research Planetary geography really kicked off with the Institute invention of telescopes in the 17th century. Celestial places were being mapped by European astronomers at the same time as places on the Earth, in the era of European colonial expansion. Do you think a place on Pluto should be named after the sinister tentacle-faced monster Cthulhu The lunar maria ("seas"), mountains and craters from the novels of horror writer H.P. Lovecraft? Or familiar to us today were mapped by the first real a crater on Mercury after iconic opera singer Dame selenographer (charter of the moon), the Dutch Nellie Melba? astronomer Michael van Langren, in 1645. (Incidentally, he also made the first known Mercury and Pluto are at the opposite ends of the statistical graph). solar system, but this year, as a result of two extraordinary space missions, some of their newly His place names were mostly European royalty and observed topographical features will receive notable scientists of the time.