DOCSLIB.ORG

Alien Vs Predator Requiem Full Movie

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Alien Vs Predator Requiem Full Movie Alien vs predator requiem full movie Continue This article is about the film. For video games, see Aliens vs. Predator: Requiem (video game). Aliens vs. Predator: RequiemTheatric Release Poster Directed by Brothers StrauseProduced John Davis David Giler Walter Hill Author Shein Salernosas on Alien Charactersby Dan O'BannonRonald Schusett Predator Charactersby Jim ThomasJohn Thomas Starring Stephen Pasquale Reycko Eilsworth John Ortiz Johnny PearlEdited byDanman Century Fox (20th Century Fox) Davis Entertainment Company (Brandywine Productions) , 2007 (2007-11-04) (Los Angeles) (Los Angeles) December 25, 2007 (2007-12-25) (United States) Duration 94 minutes Predator Requiem (also known as AVPR: Aliens vs. Predator) is a 2007 American sci-fi film filmed by brothers Strauss (Colin and Greg Strauss) in their directorial debut and written by Shane Salerno. The film stars Stephen Pasquale, Reiko Aylesworth, John Ortiz, Johnny Lewis and Ariel Gade. This is a sequel to Alien vs. Predator (2004), as well as the second and final installment in the Alien vs. Predator franchise, continuing the crossover between the Alien and Predator franchises. Set immediately after the events of the previous film, the film begins with a predator ship crashing into a forest outside Gunnison, Colorado, where an alien Predator hybrid known as Predalien escapes and makes its way to a nearby small town. An experienced veteran Predator is sent to kill Predalien as the townspeople try to survive the ensuing carnage. Aliens vs. Predator: Requiem premieres November 4, 2007 in Los Angeles. It was released theatrically on December 25 in the United States, to negative reviews, grossing $130.2 million worldwide against a production budget of $40 million. Plot After the events of the previous film, Predator Ship leaves Earth carrying Alien facehuggers, and dead scar body, Predator, who helped Lex defeat the Xenomorph queen. From the body of The Scar erupts the chest chest with features of both species. He quickly matures into the adult Predalien and begins to kill predators on board (in an extended cut, it occurs on a reconnaissance ship that has been separated from the mother ship). The Predator's weapon pierces the hull, and the ship crashes into the woods outside Gunnison, Colorado, killing all but one of the Predators, who is badly injured. Predalien and several facehuggers escape, implanting embryos in nearby father and son who are on the hunt in the woods, as well as several homeless people who live in the sewers. Injured Predator Sends Disaster Signal be killed by Predalien. In the home of the Predator, an experienced veteran Predator, The Wolf, receives a signal and takes a trip to Earth to hunt and kill xenomorphs. He arrives at the wrecked Predator ship, uses a blue acid-like liquid to dissolve and remove evidence of the presence of Xenomorphs, and causes an explosion to completely destroy the vessel. Meanwhile, former inmate Dallas Howard has just returned to Gunnison after serving time in prison. He is met by Sheriff Eddie Morales and reunited with his younger brother Ricky. Ricky shows a romantic interest in his classmate Jesse, but is constantly harassed by his boyfriend Dale and two of his friends. Kelly O'Brien has also just returned to Gunnison after serving in the 101st Airborne Division of the U.S. Army and is reunited with her husband Tim and daughter Molly. Darcy Benson, wife of a murdered father, begins the search for her missing husband and son. Meanwhile, local waitress Carrie Adams discovers that she is pregnant, but her police husband Ray killed Wolf after witnessing him dissolve the bodies of her husband and son Darcy while he searched for them in the woods. The wolf skins his corpse and hung it upside down from a tree branch for sport. The wolf tracks several Xenomorphs in the sewers and defeats the two of them, and as the battle reaches the surface, four disperse into the city. The wolf pursues some power plants where collateral damage from its plasma speller weapon causes a citywide power outage. Ricky and Jesse meet in the school pool, but are interrupted by Dale and his cohorts just as the power goes out and Xenomorph enters the pool, killing Dale's friends. Another Xenomorph invades O'Brien's house, killing Tim, while Kelly escapes with Molly. After the fry cook at the local diner where Carrie works was attacked by Xenomorphs, Carrie was also attacked after hearing the chef's screams, and soaked Predalien with her stomach. Darcy discovers her body in horror, but Sheriff Morales arrives and brings her with him. Kelly, Molly, Ricky, Jesse, Dale, Dallas and Sheriff Morales gather at a sporting goods store to collect weapons. Troops from the Colorado Army National Guard arrive, but are quickly clogged with Xenomorphs. Wolf briefly captures Dallas inside the store to use as bait to lure Xenomorphs, but Dallas runs away. A few Xenomorphs arrive and Wolf comfortably defeats them. Dale is killed by Xenomorph during the battle, and one of Wolf's plasma casters is damaged. He removes the rest and modifies it into a portable blaster. As the survivors try to escape from Gunnison, they contact Colonel Stevens on the radio and are told that an air evacuation is underway in the city centre. Dallas and Kelly are skeptical that they will be surrounded there. so they're with Ricky, Ricky, Molly and several other people go by helicopter to the hospital to get out of town, while Sheriff Morales and Darcy head to the evacuation zone. However, the hospital was captured and captured by Xenomorphs and Predalien, who fertilized some pregnant women to breed more Xenomorphs. The wolf soon arrives at the hospital, where he sends more Xenomorphs and, during the battle, the Predator accidentally pierces Jesse with one of his shuriken weapons. Distraught, Ricky rushes wolf with rifle fire only to be wounded Predalien. The predator is attacked by Xenomorph and both fall down the elevator shafts. Dallas takes possession of Wolf's plasma blaster. Dallas, Ricky, Kelly and Molly reach the roof and fight off several Xenomorphs before fleeing in a helicopter, while Wolf, having survived the fall, battles Predalien on the roof in a hand-held battle. Wolf and Predalien fatally wounded each other just as the warplane arrives. Instead of a rescue mission, the F-22 Raptor carries out a tactical nuclear strike that aligns the entire city, instantly killing Sheriff Morales, Darcy and everyone else gathered at zero. The shock wave leads to the helicopter crashing in a clearing, where the survivors are rescued by the military. Wolfe's plasma blaster is confiscated, and Colonel Stevens introduces him to Miss Yutani. Starring Main Article: A List of Alien vs. Predator characters Stephen Pasquale as Dallas Howard, the recently released convict, Ricky's brother. Reiko Aylesworth as Kelly O'Brien, a soldier returning to his family. John Ortiz as Eddie Morales, Sheriff of Gunnison. Johnny Lewis as Ricky Howard, a student and younger brother of Dallas. Sam Trammell as Tim O'Brien, Kelly's husband and Molly's father. Ariel Gade as Molly O'Brien, daughter of Kelly and Tim O'Brien. Robert Joy as Colonel Stevens, Commander of the Armed Forces. Kristen Hager as Jesse Salinger, Ricky's love interest, angered by her boyfriend Dale. David Paetkau as Dale Collins, Jesse's boyfriend, who mocks Ricky. Matt Ward as Mark, one of Dale's friends. Michal Swanek as Nick, one of Dale's friends. David Hornsby as Drew Roberts, head of the pizzeria. Gina Holden as Carrie Adams, a pregnant waitress; Deputy Ray Adams' wife. Chris William Martin as Deputy Ray Adams, Carrie's husband. Chela Horsdal as Darcy Benson, a mother who is looking for a son and husband. Liam James as Sam Benson Kurt Max Runt in Buddy Benson James Chutter as Deputy Joe Tim Henry as Dr. Lennon Tom McBeath as Karl Tai Olsson as Nathan Rainbow Sun Franks as Count Juan Ridinger as Scott Dalias Blake as Lieutenant Peter Wood Curtis Caravaggio as Commander of special forces Francoise Tom Woodruff Jr. as Aliens and Preauden. Previously portraying Aliens in Alien 3, Alien: Resurrection, and Alien Vs. Woodruff Woodruff role for the film. Ian White in the film Predator/Wolf, the main Predator who arrives on Earth to eliminate aliens and all traces of their presence. The production team nicknamed the character The Wolf after Harvey Keitel's character in Pulp Fiction, whose role is also the role of cleaner. Matthew Charles Santoro provided the voice of the Wolf. White played four Predators in the previous film. Bobby Slim Jones (Bull) and Ian Feuer (Atomic) as additional predators. Production inspired by Terminator 2: Judgment Day, brothers Colin and Greg Strauss moved to Los Angeles to break into the movie business. After a failed attempt to find work at Industrial Light and Magic, the brothers worked on the film Secret Materials and founded their own special effects company Hydraulx. The company produced special effects for films such as Vulcan, The Day After Tomorrow, Poseidon and 300 and the brothers began their careers directing commercials and music videos. Colin believes Hydraulx secured a strong relationship with 20th Century Fox, which owns the Alien and Predator franchise. The brothers unsuccessfully pitched the idea for the first alien vs. Predator movie, and Fox almost bought a film called Wolfenstein offered by the brothers: When the script for this film came along, they thought we'd be perfect for it, because it's an ambitious film for the budget they had, and they knew that having our visual background would be a huge thing. The brothers were hired to direct a sequel to Alien vs.
Load more

Recommended publications
  • The Music of Place, You Will Find the Addresses of Internet Sites You Can Visit to Hear Audio Clips Related to the Stories
    THE MU T Kokopelli, the Flute Player S Sounds of the Colorado Plateau . S IC OF PLACE Where this symbol appears in the OF THE WE THE OF pages of Sojourns—The Music of S ☉ Place, you will find the addresses of Internet sites you can visit to hear audio clips related to the stories. himsical appropriations have a long history in Western , AND CANYON , society. New England is populated with commercial S We’ve also teamed up with KNAU renderings of Minutemen and stiff-lipped Pilgrims, the W Arizona Public Radio at the South has its Jonny Rebs, and here in the American Southwest we see University of Northern Arizona to howling coyotes steel-cast as yard ornaments and the hunchbacked PLATEAU , Kokopelli making appearances everywhere from hand towels to S bring you a sampling of music and earrings and coffee cups. Just as the clever canine hunter is tamed by sounds collected in conjunction with the addition of a neck bandana, the fierce flute-playing warrior is often the contents of this issue. To listen, depicted with a cock-eyed grin and sleepy eyes. go to the KNAU Web site at http:// www.knau.org/Sojourns. Thanks to The original Kokopelli, however, is an extremely powerful and ancient THE PEAK AMONG S John Stark, general manager, and supernatural driven by lust and the capacious winds of seasonal the KNAU staff for collaborating change. He is fecundity incarnate and a capricious trickster in his AUDIO LINKS INSIDE with Sojourns to offer this additional games of seducing and enticing the unwary.
    [Show full text]
  • Predators As Agents of Selection and Diversification
    diversity Review Predators as Agents of Selection and Diversification Jerald B. Johnson * and Mark C. Belk Evolutionary Ecology Laboratories, Department of Biology, Brigham Young University, Provo, UT 84602, USA; [email protected] * Correspondence: [email protected]; Tel.: +1-801-422-4502 Received: 6 October 2020; Accepted: 29 October 2020; Published: 31 October 2020 Abstract: Predation is ubiquitous in nature and can be an important component of both ecological and evolutionary interactions. One of the most striking features of predators is how often they cause evolutionary diversification in natural systems. Here, we review several ways that this can occur, exploring empirical evidence and suggesting promising areas for future work. We also introduce several papers recently accepted in Diversity that demonstrate just how important and varied predation can be as an agent of natural selection. We conclude that there is still much to be done in this field, especially in areas where multiple predator species prey upon common prey, in certain taxonomic groups where we still know very little, and in an overall effort to actually quantify mortality rates and the strength of natural selection in the wild. Keywords: adaptation; mortality rates; natural selection; predation; prey 1. Introduction In the history of life, a key evolutionary innovation was the ability of some organisms to acquire energy and nutrients by killing and consuming other organisms [1–3]. This phenomenon of predation has evolved independently, multiple times across all known major lineages of life, both extinct and extant [1,2,4]. Quite simply, predators are ubiquitous agents of natural selection. Not surprisingly, prey species have evolved a variety of traits to avoid predation, including traits to avoid detection [4–6], to escape from predators [4,7], to withstand harm from attack [4], to deter predators [4,8], and to confuse or deceive predators [4,8].
    [Show full text]
  • ALIEN Ripley Et Les Figures De L'altérité Depuis Bientôt Quarante
    ALIEN Ripley et les figures de l’altérité Depuis bientôt quarante ans, l’influence d’Alien (Ridley Scott, 1979) sur la culture populaire ne s’est jamais démentie, comme en témoignent ses trois suites (Aliens, James Cameron, 1986 ; Alien3, David Fincher, 1992 ; Alien, la résurrection, Jean-Pierre Jeunet, 1997), ses deux prequels (Prometheus, 2012 ; Alien : Covenant, 2017), réalisés par Ridley Scott lui- même, ses crossovers (Alien vs. Predator, Paul W. S. Anderson, 2004 ; Aliens vs. Predator : Requiem, Colin et Greg Strause, 2007), mais aussi les nombreuses novélisations, bandes dessinées et autres jeux vidéos qui en ont été tirés. Or, ce modèle de réussite hollywoodienne, fruit d’un véritable travail collectif et d’une exceptionnelle adjonction de talents – Dan O’Bannon, Walter Hill et David Giler au scénario, Jerry Goldsmith à la musique, Hans Ruedi Giger pour le design de la créature, ou encore Jean Giraud (Mœbius) pour celui des combinaisons spatiales –, dont l’ambition initiale était de tirer bénéfice du regain d’intérêt pour le cinéma de genre provoqué par les succès des Dents de la mer (Steven Spielberg, 1975) et de Star Wars (George Lucas, 1977), a également suscité, au fil des décennies, de multiples lectures savantes : mythologiques, psychanalytiques, politiques ou féministes… Sans doute est-ce parce que cette formidable machine à faire peur, à l’image de son monstre composite, mêle inextricablement les genres (science-fiction, horreur gothique, thriller conspirationniste) et les thèmes (la biologie évolutive, l’intelligence artificielle, le néolibéralisme, la condition féminine dans une société masculiniste, la sexualité et la maternité) pour mieux confronter les pauvres représentants d’une humanité ordinaire à une altérité radicale et surhumaine – laquelle ne prend d’ailleurs pas seulement le « visage » de l’extraterrestre, mais aussi ceux d’un androïde (Ash) et d’un ordinateur de bord (Mother) – et pour faire naître de cette confrontation l’un des personnages féminins les plus intéressants du cinéma américain postmoderne : Ellen L.
    [Show full text]
  • The Retriever, Issue 1, Volume 39
    18 Features August 31, 2004 THE RETRIEVER Alien vs. Predator: as usual, humans screwed it up Courtesy of 20th Century Fox DOUGLAS MILLER After some groundbreaking discoveries on Retriever Weekly Editorial Staff the part of the humans, three Predators show up and it is revealed that the temple functions as prov- Many of the staple genre franchises that chil- ing ground for young Predator warriors. As the dren of the 1980’s grew up with like Nightmare on first alien warriors are born, chaos ensues – with Elm street or Halloween are now over twenty years Weyland’s team stuck right in the middle. Of old and are beginning to loose appeal, both with course, lots of people and monsters die. their original audience and the next generation of Observant fans will notice that Anderson’s filmgoers. One technique Hollywood has been story is very similar his own Resident Evil, but it exploiting recently to breath life into dying fran- works much better here. His premise is actually chises is to combine the keystone character from sort of interesting – especially ideas like Predator one’s with another’s – usually ending up with a involvement in our own development. Anderson “versus” film. Freddy vs. Jason was the first, and tries to allow his story to unfold and build in the now we have Alien vs. Predator, which certainly style of Alien, withholding the monsters almost will not be the last. Already, the studios have toyed altogether until the second half of the film. This around with making Superman vs. Batman, does not exactly work.
    [Show full text]
  • When the Pot Plays Potter: •Œisaiahâ•Š, Toy Story And
    Journal of Religion & Film Volume 14 Issue 2 October 2010 Article 10 October 2010 When the Pot Plays Potter: “Isaiah”, Toy Story and Religious Socialization Paul Tremblay Long Island University, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Tremblay, Paul (2010) "When the Pot Plays Potter: “Isaiah”, Toy Story and Religious Socialization," Journal of Religion & Film: Vol. 14 : Iss. 2 , Article 10. Available at: https://digitalcommons.unomaha.edu/jrf/vol14/iss2/10 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. When the Pot Plays Potter: “Isaiah”, Toy Story and Religious Socialization Abstract Biblical verses mentioning the “pot and the potter” entail a God/creation relationship in which the creation is warned not to turn against, or even criticize, the Creator; humankind is advised humility for fear of Yahweh’s punishment. This is a comparative study of three films with a strong emphasis on a children’s film, Toy Story (1995); the movies to be examined are treated as allegories of the concept of potter/pot lesson with a twist as the humans are playing God/potter. The movies geared more to an adult or mature audience (The Matrix [1999] and Terminator [1986]) feature the creation (robots) turned against the creator (humankind) with deadly consequences for humans. In Toy Story, an animated film, the creators (humans) are not threatened and the “pots” even agree to their condition.The film, I suggest, is an excellent example of the process of religious socialization as played out in a modern fairy tale.
    [Show full text]
  • [Japan] SALA GIOCHI ARCADE 1000 Miglia
    SCHEDA NEW PLATINUM PI4 EDITION La seguente lista elenca la maggior parte dei titoli emulati dalla scheda NEW PLATINUM Pi4 (20.000). - I giochi per computer (Amiga, Commodore, Pc, etc) richiedono una tastiera per computer e talvolta un mouse USB da collegare alla console (in quanto tali sistemi funzionavano con mouse e tastiera). - I giochi che richiedono spinner (es. Arkanoid), volanti (giochi di corse), pistole (es. Duck Hunt) potrebbero non essere controllabili con joystick, ma richiedono periferiche ad hoc, al momento non configurabili. - I giochi che richiedono controller analogici (Playstation, Nintendo 64, etc etc) potrebbero non essere controllabili con plance a levetta singola, ma richiedono, appunto, un joypad con analogici (venduto separatamente). - Questo elenco è relativo alla scheda NEW PLATINUM EDITION basata su Raspberry Pi4. - Gli emulatori di sistemi 3D (Playstation, Nintendo64, Dreamcast) e PC (Amiga, Commodore) sono presenti SOLO nella NEW PLATINUM Pi4 e non sulle versioni Pi3 Plus e Gold. - Gli emulatori Atomiswave, Sega Naomi (Virtua Tennis, Virtua Striker, etc.) sono presenti SOLO nelle schede Pi4. - La versione PLUS Pi3B+ emula solo 550 titoli ARCADE, generati casualmente al momento dell'acquisto e non modificabile. Ultimo aggiornamento 2 Settembre 2020 NOME GIOCO EMULATORE 005 SALA GIOCHI ARCADE 1 On 1 Government [Japan] SALA GIOCHI ARCADE 1000 Miglia: Great 1000 Miles Rally SALA GIOCHI ARCADE 10-Yard Fight SALA GIOCHI ARCADE 18 Holes Pro Golf SALA GIOCHI ARCADE 1941: Counter Attack SALA GIOCHI ARCADE 1942 SALA GIOCHI ARCADE 1943 Kai: Midway Kaisen SALA GIOCHI ARCADE 1943: The Battle of Midway [Europe] SALA GIOCHI ARCADE 1944 : The Loop Master [USA] SALA GIOCHI ARCADE 1945k III SALA GIOCHI ARCADE 19XX : The War Against Destiny [USA] SALA GIOCHI ARCADE 2 On 2 Open Ice Challenge SALA GIOCHI ARCADE 4-D Warriors SALA GIOCHI ARCADE 64th.
    [Show full text]
  • STEVEN WOLFF Production Designer Wolffsteven.Com
    STEVEN WOLFF Production Designer wolffsteven.com PROJECTS DIRECTORS PRODUCERS/STUDIOS THE PURGE Various Directors Alissa Kantrow / Blumhouse Television Season 2 USA THE FINEST Regina King Linda Berman, Pam Veasey Pilot Lincoln Square Productions / ABC TAKEN Various Directors Lena Cordina, Matthew Gross, Greg Plageman Season 2 Universal TV / NBC ONCE UPON A TIME Various Directors Edward Kitsis, Adam Horowitz, Steve Pearlman Season 5-6 Kathy Gilroy / Disney / ABC GRIMM Various Directors Jim Kouf, David Greenwalt, Norberto Barba Season 2-6 Steve Oster / NBC RINGER Various Directors Pam Veasey, Eric Charmelo, Nicole Snyder Season 1 CBS GCB Alan Poul Darren Star, Alan Poul, Rob Harling Pilot ABC BODY OF PROOF Various Directors Matt Gross, Christopher Murphy Season 1-2 ABC DEADLY HONEYMOON Paul Shapiro Stanton W. Kamens, Angela Laprete MOW Lifetime / Island Film Group DARK BLUE Various Directors Jerry Bruckheimer, Danny Cannon, Kelly Van Horn Season 1 - 5 Episodes TNT DIRTY SEXY MONEY Various Directors Greg Berlanti, Craig Wright, Matt Gross Season 1-2 ABC / Berlanti Television 52 FIGHTS Luke Greenfield Alex Taub, Peter Traugott MOW ABC WATERFRONT Ed Bianchi Jack Orman, Peter R. McIntosh, Gregori J. Martin Series Warner Bros. / CBS RELATED Various Directors Marta Kauffman, Steve Pearlman Season 1 Warner Bros. DR. VEGAS Various Directors Jack Orman / Warner Bros. Season 1 CBS BOSTON PUBLIC Various Directors David E. Kelley / Fox Series FREAKYLINKS Various Directors David Simkins / Fox Season 1 GET REAL Various Directors Clyde Phillips / Fox Season 1 ACTION Ted Demme Chris Thompson, Robert Lloyd Lewis Pilot Fox PARTY OF FIVE Various Directors Amy Lippman, Chris Keyser / Fox Season 1 PLAYERS Various Directros Dick Wolf / NBC Season 1 TALES FROM THE CRYPT Various Directors Joel Silver, Dick Donner, David Giler, Walter Hill Season 1 HBO SLEDGE HAMMER! Various Directors Alan Spencer, Thomas John Kane Season 1 ABC .
    [Show full text]
  • Westminsterresearch the Artist Biopic
    WestminsterResearch http://www.westminster.ac.uk/westminsterresearch The artist biopic: a historical analysis of narrative cinema, 1934- 2010 Bovey, D. This is an electronic version of a PhD thesis awarded by the University of Westminster. © Mr David Bovey, 2015. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 1 THE ARTIST BIOPIC: A HISTORICAL ANALYSIS OF NARRATIVE CINEMA, 1934-2010 DAVID ALLAN BOVEY A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Master of Philosophy December 2015 2 ABSTRACT The thesis provides an historical overview of the artist biopic that has emerged as a distinct sub-genre of the biopic as a whole, totalling some ninety films from Europe and America alone since the first talking artist biopic in 1934. Their making usually reflects a determination on the part of the director or star to see the artist as an alter-ego. Many of them were adaptations of successful literary works, which tempted financial backers by having a ready-made audience based on a pre-established reputation. The sub-genre’s development is explored via the grouping of films with associated themes and the use of case studies.
    [Show full text]
  • WITH OUR DEMONS a Thesis Submitted By
    1 MONSTROSITIES MADE IN THE INTERFACE: THE IDEOLOGICAL RAMIFICATIONS OF ‘PLAYING’ WITH OUR DEMONS A Thesis submitted by Jesse J Warren, BLM Student ID: u1060927 For the award of Master of Arts (Humanities and Communication) 2020 Thesis Certification Page This thesis is entirely the work of Jesse Warren except where otherwise acknowledged. This work is original and has not previously been submitted for any other award, except where acknowledged. Signed by the candidate: __________________________________________________________________ Principal Supervisor: _________________________________________________________________ Abstract Using procedural rhetoric to critique the role of the monster in survival horror video games, this dissertation will discuss the potential for such monsters to embody ideological antagonism in the ‘game’ world which is symptomatic of the desire to simulate the ideological antagonism existing in the ‘real’ world. Survival video games explore ideology by offering a space in which to fantasise about society's fears and desires in which the sum of all fears and object of greatest desire (the monster) is so terrifying as it embodies everything 'other' than acceptable, enculturated social and political behaviour. Video games rely on ideology to create believable game worlds as well as simulate believable behaviours, and in the case of survival horror video games, to simulate fear. This dissertation will critique how the games Alien:Isolation, Until Dawn, and The Walking Dead Season 1 construct and themselves critique representations of the ‘real’ world, specifically the way these games position the player to see the monster as an embodiment of everything wrong and evil in life - everything 'other' than an ideal, peaceful existence, and challenge the player to recognise that the very actions required to combat or survive this force potentially serve as both extensions of existing cultural ideology and harbingers of ideological resistance across two worlds – the ‘real’ and the ‘game’.
    [Show full text]
  • Brief for Petitioners
    No. 20-315 In the Supreme Court of the United States JOSE SANTOS SANCHEZ AND SONIA GONZALEZ, PETITIONERS, v. ALEJANDRO N. MAYORKAS, SECRETARY, UNITED STATES DEPARTMENT OF HOMELAND SECURITY, ET AL., RESPONDENTS. ON WRIT OF CERTIORARI TO THE UNITED STATES COURT OF APPEALS FOR THE THIRD CIRCUIT BRIEF FOR PETITIONERS LISA S. BLATT JAIME W. APARISI AMY MASON SAHARIA Counsel of Record A. JOSHUA PODOLL YUSUF R. AHMAD MICHAEL J. MESTITZ DANIELA RAAYMAKERS ALEXANDER GAZIKAS APARISI LAW DANIELLE J. SOCHACZEVSKI 819 Silver Spring Avenue WILLIAMS & CONNOLLY LLP Silver Spring, MD 20910 725 Twelfth Street, N.W. (301) 562-1416 Washington, DC 20005 [email protected] (202) 434-5000 QUESTION PRESENTED Whether, under 8 U.S.C. § 1254a(f)(4), a grant of Temporary Protected Status authorizes eligible nonciti- zens to obtain lawful-permanent-resident status under 8 U.S.C. § 1255. (I) II PARTIES TO THE PROCEEDINGS Petitioners are Jose Santos Sanchez and Sonia Gon- zalez. Respondents are Alejandro N. Mayorkas, Secre- tary, United States Department of Homeland Security; Director, United States Citizenship & Immigration Ser- vices; Director, United States Citizenship & Immigration Services Nebraska Service Center; and District Director, United States Citizenship & Immigration Services New- ark. III TABLE OF CONTENTS Page OPINIONS BELOW ........................................................... 1 JURISDICTION ................................................................. 2 STATUTORY PROVISIONS INVOLVED ..................... 2 STATEMENT .....................................................................
    [Show full text]
  • List Or Manifest of Alien Passengers for the United States, 1917
    Port: ________________________________ Microfilm Publication Number: __________ February 1917 to March 1924 Roll Number: ________________________ Page or Group: _______________________ Line or List: __________________________ List or Manifest of Alien Passengers For the United States ALL ALIENS arriving at a port of continental United States from a foreign port or a port of the insular possessions of the United States, and all aliens arriving at a port of said insular possession from a foreign port, a port of continental United States, S.S._________________ passengers sailing from ___________________, ________________, 19__ 1 2 3 4 5 6 7 8 9 10 11 12 13 Last Permanent Name in Full Age Able to - The name and Final Destination HEAD- Residence TAX complete No. Nationality address of STATUS Calling or Read What on (Country of which Race or People nearest relative Sex (This column Occupation Language City List citizen or subject) City or or friend in for use of Family Name Given Name (or if Country State or Yrs. Mos. Government Read exemption Write Town country whence Town officials only) Married or Single claimed on the alien came what ground) National Archives and Records Administration NARA’s website is www.archives.gov NA Form 14132d (3/05) Immigration Officer at Port of Arrival or a port of another insular possession, in whatsoever class they travel, MUST be fully listed and the master or commanding officer of each vessel carrying such passengers must upon arrival deliver lists thereof to the immigration officer. Arriving at Port of _________________________, _____________________, 19__ 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 nt (See Whether ever before By Whom was in the United States; Purpose of Coming to United Color the Passage Height Place of birth and if so, when and Whether going States of - Paid? ? to join a relative by supported Deformed where? (Whether alien or paid his own or friend; and if Condition or No.
    [Show full text]
  • Complicated Views: Mainstream Cinema's Representation of Non
    University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data 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 and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. Data: Author (Year) Title. URI [dataset] University of Southampton Faculty of Arts and Humanities Film Studies Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. DOI: by Eliot W. Blades Thesis for the degree of Doctor of Philosophy May 2020 University of Southampton Abstract Faculty of Arts and Humanities Department of Film Studies Thesis for the degree of Doctor of Philosophy Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. by Eliot W. Blades This thesis examines a number of mainstream fiction feature films which incorporate imagery from non-cinematic moving image technologies. The period examined ranges from the era of the widespread success of television (i.e.
    [Show full text]