Korra Bend Or Break Guide
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Avatar the Last Air Bender Powerpoint
Ashley Williams, Ginny Nordeng, and Mayela Milian-Hernandez Overview of Presentation ● Anthropology ○ Confucius ○ Filial Piety ● Psychodynamic Theory ○ The younger years of Katara/Sokka, Aang, and Zuko/Azul ● Social Learning Theory ○ The Journey of Sokka, Zuko/Azula and Aang Anthropology is how different cultures view gender(Wood & Fixmer-Oraiz, 2017) https://www.biography.com/scholar/confucius Four nations: Earth, Fire, Water, and Air http://avatar-the-last-airbender-online.blogspot.com/2010/08/avatar-last-airbender-airbender-world.html Filial Piety is the confucius belief of respecting one’s parents, elders and ancestors.(Bedford et al 2019) https://www.bookofdaystales.com/confucius/ https://www.pinterest.com/pin/346495765052132139/ https://avatar.fandom.com/wiki/Iroh https://avatar.fandom.com/wiki/Oza Filial Piety Favoring the intimate, the people closest to you and Respecting the superior; the people with higher authority to you. (Bedford et al 2019) Men and Women represent Yin and Yang In order to keep balance men and women must have separate roles. Men Lead, Women Follow…(Ebry 2019) https://www.deviantart.com/karinart8/art/Ying-and-Yang-283381659 Yin and Yang In the Northern Tribe, the master/teacher refuses to teach women how to bend. It is not their place.. In the southern tribe, All the Men left to fight a war with the fire nation. Women only allowance of leadership Psychodynamic is the first relationship one has to define their gender identity (Wood & Fixmer-Oraiz, 2017) http://thatanimatedotaku. blogspot.com/2013/07/a nimated-role-models-girl s.html http://audreymgonzalez.com/2012/book-three-fire-chapter-twelve-the-w estern-air-temple/ Katara and Sokka Katara has a close relationship with her grandmother. -
Davis Model United Nations Conference Xvii Crisis: Avatar
Crisis: Avatar Davis Model United Nations Conference XVII May 18-19, 2019 University of California, Davis DAVIS MODEL UNITED NATIONS CONFERENCE XVII CRISIS: AVATAR The following content was developed by members of the Davis Model United Nations conference planning team for the sole purpose of framing delegate discussions and debate at the conference and does not represent any official position of the University or anyone engaged in preparing the materials. Delegates should use this information to guide their research and preparation for the conference but should not assume that it represents a complete analysis of the issues under discussion. The materials should not be reproduced, circulated or distributed for any purpose other than as may be required in order to prepare for the conference. MAY 18-19, 2019 1 DAVIS MODEL UNITED NATIONS CONFERENCE XVII CRISIS: AVATAR Letter from the Chair and Crisis Director Esteemed Delegates, Welcome to the 2019 Davis Model United Conference (DMUNC)! We have the pleasure to introduce you to the Avatar the Last Airbender Crisis Committee. My name is Aislinn Matagulay and I will be your Head Chair for this year’s DMUNC. I am a freshman here at UC Davis. I have found a great sense of community in Davis’ MUN club. I was the Chief of Staff at AggieMUN, our collegiate conference and had a wonderful time working with the staff and competitors to make it a fun conference. I am looking forward to the rest of the year to compete in conferences across California and to host you all at DMUNC in May! My name is Thais Terrien and I will be your Crisis Director for this year’s DMUNC. -
Video Games and the Mobilization of Anxiety and Desire
PLAYING THE CRISIS: VIDEO GAMES AND THE MOBILIZATION OF ANXIETY AND DESIRE BY ROBERT MEJIA DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Communications in the Graduate College of the University of Illinois at Urbana-Champaign, 2012 Urbana, Illinois Doctoral Committee: Professor Kent A. Ono, Chair Professor John Nerone Professor Clifford Christians Professor Robert A. Brookey, Northern Illinois University ABSTRACT This is a critical cultural and political economic analysis of the video game as an engine of global anxiety and desire. Attempting to move beyond conventional studies of the video game as a thing-in-itself, relatively self-contained as a textual, ludic, or even technological (in the narrow sense of the word) phenomenon, I propose that gaming has come to operate as an epistemological imperative that extends beyond the site of gaming in itself. Play and pleasure have come to affect sites of culture and the structural formation of various populations beyond those conceived of as belonging to conventional gaming populations: the workplace, consumer experiences, education, warfare, and even the practice of politics itself, amongst other domains. Indeed, the central claim of this dissertation is that the video game operates with the same political and cultural gravity as that ascribed to the prison by Michel Foucault. That is, just as the prison operated as the discursive site wherein the disciplinary imaginary was honed, so too does digital play operate as that discursive site wherein the ludic imperative has emerged. To make this claim, I have had to move beyond the conventional theoretical frameworks utilized in the analysis of video games. -
Avatar: the Last Airbender
S H U M U N X X I I / / A P R I L 1 0 - 1 1 , 2 0 2 1 AVATAR: THE LAST AIRBENDER B A C K G R O U N D G U I D E D I R E C T E D B Y T I M D Z I E K A N A N D G E O R G E S C H M I D T Avatar: The Last Airbender 1 LETTER FROM THE CHAIR, KACIE Hello Delegates, Welcome to SHUMUN XXI! My name is Kacie Wright (She/Her/Hers), and I will be your chair for the Avatar: The Last Airbender committee. I am currently a sophomore at Seton Hall University, majoring in both Diplomacy and Italian Studies. I am originally from San Diego, California. In high school, I studied Italian for four years and I was able to participate in my high school’s exchange program twice. Here at Seton Hall, I am a part of Seton Hall United Nations Association (SHUNA), our Model United Nations team, I am a member of the Alpha Omicron Pi fraternity, and I am part of the Italian Student Union. I plan to finish my degree at Seton Hall, join the Peace Corps after graduation, and then work for a non-profit organization abroad. Eventually, I want to start my own non-profit organization abroad that helps with community development in communities that are often devastated by conflict and destruction. This committee takes place in the Avatar: The Last Airbender universe, one month after the end of the Hundred Year War. -
The Legend of Korra: Book Five — Part One
Table of Contents TENZIN’S LETTER 1 THE DELIVERY �������������������������������������������������������������������������������3 THE ALL IS AFLAME 10 TALES OF ZAOFU ������������������������������������������������������������������������� 19 THE AVADHOOT ��������������������������������������������������������������������������� 34 THE LIVES OF THE AIRBENDERS ��������������������������������������������������� 45 HARMONIC TRINE 61 i The Legend of Korra: Book Five — Part One The following book is a fan-based derivative work (fan fiction). This book may be copied or reprinted for free distribution without permission from the author. Otherwise all rights reserved. The Legend of Korra and Avatar: The Last Airbender are all owned by Nickelodeon Animation Studios, Michael Dante DiMartino, Bryan Konietzko, and all pertinent parties. Please support the official release. ii ACKNOWLEDGEMENTS I would like to extend my thanks to: My family, for providing me the imaginative support I needed growing up. The numerous editing volunteers, who provided initial critiques, corrections, and feedback. Michael Dante DiMartino and Bryan Konietzko for creating the Avatar universe in the first place. Venerable Ajaan Geoff, whose translations and teachings appear throughout this text and have changed my life for the better. Colleen, for providing the creative spark needed for the reinvention of this endeavour. Makanidotdot, whose illustrations inspired this fanfiction in the first place. And PipReyes, who provided the illustrations and was an excellent partner in this project. May this work both captivate your imagination and be a cause for goodness and creativity. iii Tenzin’s Letter PROLOGUE TENZIN’S LETTER Rohan, I know you have a long journey in front of you as you travel to the Eastern Air Temple. This is an important mark of passage: turning fifteen was the typical age when airbenders undertook this pilgrimage into adulthood. -
Nickelodeon Masters the Elements with the Legend of Korra
For Immediate Release NICKELODEON MASTERS THE ELEMENTS WITH THE LEGEND OF KORRA London, UK – 29th April, 2013 – From the creators of the Hit Series Avatar: The Last Airbender, The Legend of Korra is set to premiere on Nickelodeon on Sunday, 7th July at 9:00am. The mythology from the critically acclaimed Avatar series continues in the new animation which follows a new Avatar named Korra, a 17-year-old headstrong and rebellious girl who continually challenges tradition on her quest to become a fully realized Avatar. New episodes of The Legend of Korra will premiere each Sunday at 9:00am. The Legend of Korra takes place 70 years after the events of Avatar: The Last Airbender and follows the next Avatar after Aang – a girl named Korra (Janet Varney) who is from the Southern Water Tribe. With three of the four elements under her belt (Earth, Water and Fire), Korra seeks to master Air. Her quest leads her to Republic City, the modern “Avatar” world that is a virtual melting pot where individuals from all nations live and thrive. Korra quickly discovers that the metropolis is plagued by crime as well as a revolution that threatens to rip the city apart. Under the tutelage of Aang’s son, Tenzin (J.K. Simmons), Korra begins her airbending training while dealing with the dangers at large. In the premiere episode, “Welcome to Republic City,” Korra leaves the safety of her home and travels to bustling Republic City to begin her airbending training. Once there, she is shocked to find a big city full of dangers. -
Animating Race the Production and Ascription of Asian-Ness in the Animation of Avatar: the Last Airbender and the Legend of Korra
Animating Race The Production and Ascription of Asian-ness in the Animation of Avatar: The Last Airbender and The Legend of Korra Francis M. Agnoli Submitted for the degree of Doctor of Philosophy (PhD) University of East Anglia School of Art, Media and American Studies April 2020 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. 2 Abstract How and by what means is race ascribed to an animated body? My thesis addresses this question by reconstructing the production narratives around the Nickelodeon television series Avatar: The Last Airbender (2005-08) and its sequel The Legend of Korra (2012-14). Through original and preexisting interviews, I determine how the ascription of race occurs at every stage of production. To do so, I triangulate theories related to race as a social construct, using a definition composed by sociologists Matthew Desmond and Mustafa Emirbayer; re-presentations of the body in animation, drawing upon art historian Nicholas Mirzoeff’s concept of the bodyscape; and the cinematic voice as described by film scholars Rick Altman, Mary Ann Doane, Michel Chion, and Gianluca Sergi. Even production processes not directly related to character design, animation, or performance contribute to the ascription of race. Therefore, this thesis also references writings on culture, such as those on cultural appropriation, cultural flow/traffic, and transculturation; fantasy, an impulse to break away from mimesis; and realist animation conventions, which relates to Paul Wells’ concept of hyper-realism. -
Nicole Lawrence Thesis
The Pennsylvania State University The Graduate School College of Communications SASSY COWS AND MAGICAL JUJU: REPRESENTATIONS OF RACE AND ETHNICITY ON THREE NICKTOONS PROGRAMS A Thesis in Media Studies by Nicole M. Lawrence © 2012 Nicole M. Lawrence Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts December 2012 ii The thesis of Nicole M. Lawrence was reviewed and approved* by the following: Matthew P. McAllister Professor of Communications Thesis Adviser Matthew F. Jordan Associate Professor of Communications Michael Elavsky Associate Professor of Communications Marie Hardin Associate Dean for Graduate Studies and Research *Signatures are on file in the Graduate School. iii ABSTRACT This thesis critiques programming on the children’s media channel Nicktoons for patterns of racial representation -- including the presence of stereotyping -- in characters. As research has shown that representation of ethnicity may be especially influential to children viewers, and that there are precedents for problematic racial representations in popular media, including children's media, the continued examination of patterns of racial-ethnic group member representation and stereotyping in character depictions has significant implications. Utilizing textual analysis, three Nicktoons’ programs are examined for racialized constructions of characters, including constructions with hegemonic and ethnocentric implications. The thesis argues that three programs, Back at the Barnyard, Avatar: The Last Airbender, and Tak and the Power of JuJu problematically construct analogies of African Americans, Asians, and native peoples, respectively. The constructions in these Nicktoons programs typically “other” these groups when contrasted to dominant white culture -- or at least the animated stand-ins for dominant white culture -- and imply cultural hierarchies in which white culture is superior and/or the norm. -
1 — Aijaz Ansari at Nscoderchicago, 10/25/2016 Mythical Creatures
Slide the First 1 — Aijaz Ansari at NSCoderChicago, 10/25/2016 Mythical Creatures 2 — Aijaz Ansari at NSCoderChicago, 10/25/2016 http://weknowyourdreams.com/images/unicorn/unicorn-04.jpg 3 — Aijaz Ansari at NSCoderChicago, 10/25/2016 https://shellback0608.files.wordpress.com/2016/07/bird-phoenix-flight-art-drawing.jpg 4 — Aijaz Ansari at NSCoderChicago, 10/25/2016 https://i.ytimg.com/vi/kKJQESF0qqk/maxresdefault.jpg 5 — Aijaz Ansari at NSCoderChicago, 10/25/2016 API Docs6 — Aijaz Ansari at NSCoderChicago, 10/25/2016 Exploring JSON With jq Aijaz Ansari @_aijaz_ 7 — Aijaz Ansari at NSCoderChicago, 10/25/2016 What is JSON? JavaScript Object Notation [ { "name": "Alice", "age": 20}, { "name": "Bob", "age": 30} ] 8 — Aijaz Ansari at NSCoderChicago, 10/25/2016 Reading JSON returned by remote servers @interface AAAJSONResponseSerializer : AFJSONResponseSerializer @end @implementation AAAJSONResponseSerializer - (id)responseObjectForResponse:(NSURLResponse *)response data:(NSData *)data error:(NSError *__autoreleasing *)error { #ifdef DEBUG NSHTTPURLResponse * httpResponse = (NSHTTPURLResponse *) response; NSString *body = [[NSString alloc] initWithData:data encoding:NSUTF8StringEncoding]; DDLogInfo(@"RESPONSE BODY: %@", response.URL, body); DDLogInfo(@"RESPONSE: (%ld) %@ ", httpResponse.statusCode, response.URL); #endif // ... } @end 9 — Aijaz Ansari at NSCoderChicago, 10/25/2016 JSON Looks Like This [{"name":"Aang","sex":"M","born":-12,"died":153,"bending":["Air","Water","Earth","Fire","Energy"],"identity":{"nationality":"Southern Air Temple", -
From Girlfriend to Gamer: Negotiating Place in the Hardcore/Casual Divide of Online Video Game Communities
FROM GIRLFRIEND TO GAMER: NEGOTIATING PLACE IN THE HARDCORE/CASUAL DIVIDE OF ONLINE VIDEO GAME COMMUNITIES Erica Kubik A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2010 Committee: Radhika Gajjala, Advisor Amy Robinson Graduate Faculty Representative Kristine Blair Donald McQuarie ii ABSTRACT Radhika Gajjala, Advisor The stereotypical video gamer has traditionally been seen as a young, white, male; even though female gamers have also always been part of video game cultures. Recent changes in the landscape of video games, especially game marketers’ increasing interest in expanding the market, have made the subject of women in gaming more noticeable than ever. This dissertation asked how gender, especially females as a troubling demographic marking difference, shaped video game cultures in the recent past. This dissertation focused primarily on cultures found on the Internet as they related to video game consoles as they took shape during the beginning of the seventh generation of consoles, between 2005 and 2009. Using discourse analysis, this dissertation analyzed the ways gendered speech was used by cultural members to define not only the limits and values of a generalizable video game culture, but also to define the idealized gamer. This dissertation found that video game cultures exhibited the same biases against women that many other cyber/digital cultures employed, as evidenced by feminist scholars of technology. Specifically, female gamers were often perceived as less authoritative of technology than male gamers. This was especially true when the concept “hardcore” was employed to describe the ideals of gaming culture. -
Hit Cartoon: Avatar: the Last Airbender
Bowens 1 Emily Bowens ([email protected]) Dr. O’Donnell Engl. 3130 12/2/20 More Than a Kid’s Show: A Review of Nickelodeon’s Hit Cartoon: Avatar: The Last Airbender Gene, Yang Avatar: The Last Airbender - The Promise Part 1 Cover) Fifteen years after its original air date, Avatar: The Last Airbender has succeeded in becoming ingrained in pop culture with a recent revival just earlier this year. Put your misjudgments about kid’s shows aside and become captivated by a powerful and mesmerizing story about war, violence, and the power of redemption. Bowens 2 A Reintroduction Show Title: Avatar: The Last At a time when all seemed wrong with the world, and anxiety was Airbender setting in after being in lockdown for two months in a Covid-ridden world, a Premiere Date: February 21, 2005 End Date: July,19 2008 guardian angel in the form of Netflix released the news that its streaming Rating: TV-7 service would be releasing Nickelodeon’s Avatar: The Last Airbender on Genre: Animation, Adventure, and May, 15 2020. So my boyfriend and I prepared to binge watch one of the Action most important shows from our childhood to bring back memories and cure Episodes: 61 our quarantine boredom. You may be wondering to yourself, why would Seasons: 3 you guys be so excited about a kid’s show that premiered fifteen years ago? Total Airtime: 1464 minutes You see, Avatar: The Last Airbender is a show that you can keep watching Creators: Michael Dante over and over again and keep finding new meaning every time. -
Hotline Miami Soundtrack Download for Pc Crack
Hotline Miami Soundtrack Download For Pc [crack] Download >>> http://bit.ly/2NRdnVE About This Content The Hotline Miami Soundtrack is a collection of over 20 different tracks from 9 outstanding artists. These selections are just a sampling of these fantastic musicians' work and Dennaton Games and Devolver Digital encourage you to explore more of their amazing music. All Tracks Are Presented In Mp3 Format. Sun Araw - Horse Steppin Sun Araw - Deep Cover Coconuts - Silver Lights M|O|O|N - Crystals M|O|O|N - Hydrogen 1 / 9 M|O|O|N - Release Jasper Byrne - Hotline Jasper Byrne - Miami El Huervo feat. Shelby Cinca - Daisuke El Huervo - Crush El Huervo - Turf Perturbator - Miami Disco Perturbator - Electric Dreams Perturbator - Vengance Scattle - Knock Knock Scattle - Inner Animal Scattle - It's Safe Now Scattle - Flatline Scattle - To The Top Eliott Berlin - Musikk Per Automatikk Eirik Suhrke - A New Morning Songs will be placed in your Hotline Miami folder in the Steam Directory: ...Steam\steamapps\common\hotline_miami\sound track 2 / 9 Title: Hotline Miami Soundtrack Genre: Action, Indie Developer: Dennaton Games Publisher: Devolver Digital Release Date: 24 Jan, 2013 b4d347fde0 Minimum: OS:Microsoft® Windows® XP / Vista / 7 Processor:1.2GHz processor Memory:512 MB RAM Graphics:DirectX 8-compatible graphics card with at least 32MB of video memory DirectX®:9.0c Hard Drive:250 MB HD space Additional:Microsoft Xbox 360 Controller or Direct Input compatible controller English 3 / 9 4 / 9 5 / 9 6 / 9 I've never really been enthusiastic about videogame soundtracks. I usually find them boring, stock and simply uninteresting. The soundtrack Hotline Miami has to offer however really made me turn my head.