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Doctor Extraño: Marvel Lo Ha Vuelto a Lograr ¡Por Fin! Por Fin Marvel
FILMHISTORIA Online Vol. 26, nº2 (2016) · ISSN: 2014-668X altura de Iron Man o Los Vengadores — véase los casos de Vengadores: La era de Ultrón o Capitán América: Civil War, y un Ant-Man, que aunque muy divertido, se notaba que estaba hecho a medias—, y ahora ha cogido un personaje nuevo para el Universo Cinematográfico, tan desconocido para el gran público como lo fueron los Guardianes de la Galaxia, y han conseguido hacer un auténtico peliculón… Bueno, un auténtico peliculón dentro de los cánones de Marvel. Sin entrar en demasiados detalles, ya que esta es una película para descubrir en las salas, la historia gira en torno al Dr. Stephen Strange, un neurocirujano obsesionado en su ego como gran médico, y que solo se preocupa por los casos que le pueden reportar un éxito tan tangible como su Doctor Extraño: Marvel lo ha vuelto a ático, su colección de relojes o sus lograr deportivos. Pero todo cambia cuando sufre un terrible accidente que le Por FRANCESC MARÍ COMPANY destroza sus manos y, aunque trata por todos los medios recuperar sus preciadas ¡Por fin! Por fin Marvel Studios herramientas de trabajo, descubre que ha hecho lo que tenía que hacer. nunca más volverá a operar. Salvando todas las diferencias Desesperado decide seguir la misteriosa argumentales, Doctor Extraño es como pista de Kamar-Taj, en Nepal, un lugar Guardianes de la Galaxia. Me explico: en el que alguien supuestamente puede después de unas cuantas películas, que si recuperarse mágicamente de durísimas bien no eran malas, tampoco estaban a la lesiones. Sin embargo, descubrirá un 98 FILMHISTORIA Online Vol. -
Robert Wise's the Day the Earth Stood Still Part I
Robert Wise’s The Day the Earth Stood Still Part I: A Religious Film? By Anton Karl Kozlovic Fall 2013 Issue of KINEMA ROBERT WISE’S THE DAY THE EARTH STOOD STILL Part I: A RELIGIOUS FILM? Abstract Science fiction (SF) films have frequently been the home for subtextual biblical characters, particularly Christ-figures. Crafting these sacred subtexts can make the difference between an ordinary filmandan exceptional one. This investigation intends to explore the religious and other dimensions of the 1951 SF cult classic The Day the Earth Stood Still directed by Robert Wise. In Part 1 of this analytical triptych, the film’s reception as a UFO film with political, artificial intelligence (AI), police and philosophical dimensions was canvassed. It was argued that Wise’s film contains all of the above genre dimensions; however, it can bemore fully appreciated as a profoundly religious film wrapped in contemporary scientific garb. The forthcoming parts will explore the factual elements of this proposition in far greater analytical detail. Introduction: SF and Sacred Storytelling Historically speaking, science fiction (SF) films(1) have harboured numerous hidden biblical characters in typically covert forms. For example, Barry McMillan described many an SF alien as ”a ’transcendent’ being - a benign entity who brings wisdom and knowledge, the imparting of which brings resolution, insight and the beginnings of personal or political harmony” (360). Whilst Bonnie Brain argued that: ”The ascendancy of the aliens derives strongly from their aura of religious authority. Teachers, mystics, priests, or prophets, capable of ”miracles” and, in some cases, ”resurrection,” these aliens flirt with divinity” (226). -
The Characters and Conflicts in Marvel Studios “Doctor Strange” Movie
DOI: 10.24843/JH.2018.v22.i03.p30 ISSN: 2302-920X Jurnal Humanis, Fakultas Ilmu Budaya Unud Vol 22.3 Agustus 2018: 771-780 The Characters and Conflicts in Marvel Studios “Doctor Strange” Movie Ni Putu Ayu Mitha Hapsari1*, I Nyoman Tri Ediwan2, Ni Luh Nyoman Seri Malini3 [123]English Department - Faculty of Arts - Udayana University 1[[email protected]] 2[[email protected]] 3[[email protected]] *Corresponding Author Abstract The title of this paper is The Characters and Conflicts in Marvel Studios “Doctor Strange” Movie. This study focuses on categorization and function of the characters in the movie and conflicts in the main character (external and internal conflicts). The data of this study were taken from a movie entitled Doctor Strange. The data were collected through documentation method. In analyzing the data, the study used qualitative method. The categorization and function were analyzed based on the theory proposed by Wellek and Warren (1955:227), supported by the theory of literature proposed by Kathleen Morner (1991:31). The conflict was analyzed based on the theory of literature proposed by Kenney (1966:5). The findings show that the categorization and function of the characters in the movie are as follows: Stephen Strange (dynamic protagonist character), Kaecilius (static antagonist character). Secondary characters are The Ancient One (static protagonist character), Mordo (static protagonist character) and Christine (dynamic protagonist character). The supporting character is Wong (static protagonist character). Then there are two types of conflicts found in this movie, internal and external conflicts. Keywords: Character, Conflict, Doctor Strange. Abstrak Judul penelitian ini adalah The Characters and Conflicts in Marvel Studios “Doctor Strange” Movie. -
Ēarty Siö Skoţczyäy
14 INFORMATOR PÓâKA Z DVD ēarty siö skoþczyäy Na ten temat juĪ tyle napisano, Īe moĪna spokojnie dodaü jeszcze trochĊ. Chodzi o remake filmu Roberta Wise The Day the Earth Stood Still (1951), który przez minione póáwiecze zyskaá status obrazu kultowego (numer 5 na liĞcie najlepszych filmów SF i numer 67 wĞród najbardziej inspirujących filmów wszechczasów AmerykaĔskego Instytutu Filmowego). Nie byá on nigdy wyĞwietlany w polskich kinach, choü parĊ lat temu pokazaáa go nasza telewizja jako DzieĔ, w którym stanĊáa Ziemia. Jak by nie byáo, film jest oceniany w Polsce niemal tak wysoko, jak w USA (FilmWeb - 7,77/10, IMDb - 8,1/10). Jest rzeczą niezwykle sporną, czy remake takiego klasyka powinien w ogóle powstaü – jednak bardziej sáuszne pytanie brzmi, czy moĪna to byáo zrobiü lepiej niĪ zrobiono. Twórcy filmu najwyraĨniej byli Ğwiadomi problemu zmierzenia siĊ z legendą, co przejawiáo siĊ w postawie umiarkowanej pokory wobec pierwowzoru. Interesujące jest to, Īe niektórych rzeczy nie potrafili zmieniü, mimo intensywnych wysiáków. W dodatkach na páycie DVD moĪna obejrzeü na przykáad caáą kolekcjĊ róĪnych pomysáów wyglądu robota Gorta, jeden bardziej wyrafinowany od drugiego. Po wielu miesiącach ciĊĪkiej pracy koncepcyjnej ktoĞ wreszcie nieĞmiaáo zaproponowaá, Īeby moĪe jednak powróciü do oryginalnego wizerunku, co wszyscy przyjĊli z ulgą. W rezultacie Gort jest czáekoksztaátny, tyle Īe wielokrotnie wyĪszy od swojego poprzednika, a jego struktura skrywa (do czasu) záowrogą niespodziankĊ. JeĞli chodzi o aktorstwo, to najwiĊcej ciĊgów zebraá Keanu Reeves za rolĊ Klaatu, którą odegraá z kamienną twarzą. Powiedzcie mi jednak, jaką mimiką powinien posáugiwaü siĊ obcy w ludzkiej skórze, aby film nie zeĞlizgnąá siĊ w groteskĊ? Dla mnie jest raczej oczywiste, Īe taki przybysz, w przeciwieĔstwie do czáowieka, nie powinien odczuwaü przymusu poruszania caákowicie nieuĪytecznymi miĊĞniami twarzy. -
Negotiating the Non-Narrative, Aesthetic and Erotic in New Extreme Gore
NEGOTIATING THE NON-NARRATIVE, AESTHETIC AND EROTIC IN NEW EXTREME GORE. A Thesis submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Master of Arts in Communication, Culture, and Technology By Colva Weissenstein, B.A. Washington, DC April 18, 2011 Copyright 2011 by Colva Weissenstein All Rights Reserved ii NEGOTIATING THE NON-NARRATIVE, AESTHETIC AND EROTIC IN NEW EXTREME GORE. Colva O. Weissenstein, B.A. Thesis Advisor: Garrison LeMasters, Ph.D. ABSTRACT This thesis is about the economic and aesthetic elements of New Extreme Gore films produced in the 2000s. The thesis seeks to evaluate film in terms of its aesthetic project rather than a traditional reading of horror as a cathartic genre. The aesthetic project of these films manifests in terms of an erotic and visually constructed affective experience. It examines the films from a thick descriptive and scene analysis methodology in order to express the aesthetic over narrative elements of the films. The thesis is organized in terms of the economic location of the New Extreme Gore films in terms of the film industry at large. It then negotiates a move to define and analyze the aesthetic and stylistic elements of the images of bodily destruction and gore present in these productions. Finally, to consider the erotic manifestations of New Extreme Gore it explores the relationship between the real and the artificial in horror and hardcore pornography. New Extreme Gore operates in terms of a kind of aesthetic, gore-driven pornography. Further, the films in question are inherently tied to their economic circumstances as a result of the significant visual effects technology and the unstable financial success of hyper- violent films. -
JJ Makaro 2Nd Unit Director / Stunt Coordinator / Stunt Performer
JJ Makaro 2nd Unit Director / Stunt Coordinator / Stunt Performer Office: 604-299-7050 Cel: 604-880-4478 Website: www.stuntscanada.com DGC/UBCP/ACTRA Member Height: 5’10 Weight: 175 Hair: Silver Eyes: Blue Waist: 32 Inseam: 32 Sleeve: 33 Shoe: 9 ½ Hat: 7 1/8 Neck: 16 Jacket: 40 MED LEO AWARDS NOMINEE – BEST STUNT COORDINATION IN A FEATURE FILM – “NIGHT AT THE MUSEUM: BATTLE OF THE SMITHSONIAN - 2009 TAURUS WORLD STUNT AWARD NOMINEE – BEST STUNT COORDINATOR/2ND UNIT DIRECTOR – “3000 MILES TO GRACELAND” – 2001 2ND UNIT DIRECTING SHOW PRODUCER/PM DIRECTOR The Guest (Miramax) Paddy Cullen/Fran Rosati David Zucker Out Cold (Spyglass) Lee R. Mayes/Fran Rosati Brendan & Emmett Malloy Freedom (Silver Pictures/WB TV) Simon Abbott Various Saving Silverman (Columbia/Tristar) Neil Moritz/Warren Carr Dennis Dugan A Winter’s Tale (Mandeville) Preston Fisher/Gran Rosati Michael Switzer Scary Movie (Miramax) Lee R. Mayes/Fran Rosati Keenan Ivory Wayans Max Q (Disney/Bruckheimer) David Roessel/Andrew Maclean Michael Shapiro Nightman (Crescent Entertainment) Allen Eastman, Ted Bauman/Bob Simmonds Various Suspect Behavior (Disney) Salli Newman/Rose Lam Rusty Cundieff Three (Warner Brothers TV) Brooke Kennedy, Charles S. Carrol/Ted Various Bauman, Fran Rosati Police Academy – The Series (Warner Brothers TV Paul Maslansky/James Margellos Various Sleepwalkers (Columbia/Tristar) David Nutter, Tim Iacofano/Wendy Williams Various Intensity (Mandalay Productions) Preston Fisher/Wendy Williams Yves Simoneau Bounty Hunters II (Cine-Vu) Jeff Barmash, George Erschbamer/John -
Alternate Americas: Science Fiction Film and American Culture
Alternate Americas: Science Fiction Film and American Culture M. Keith Booker PRAEGER Alternate Americas Science Fiction Film and American Culture F M. Keith Booker Library of Congress Cataloging-in-Publication Data Booker, M. Keith. Alternate Americas : science fiction film and American culture / M. Keith Booker. p. cm. Includes bibliographical references and index. ISBN 0–275–98395–1 (alk. paper) 1. Science fiction films—United States—History and criticism. I. Title. PN1995.9.S26B56 2006 791.43'615—dc22 2005032303 British Library Cataloguing in Publication Data is available. Copyright # 2006 by M. Keith Booker All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2005032303 ISBN: 0–275–98395–1 First published in 2006 Praeger Publishers, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.praeger.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10987654321 For Benjamin Booker Contents Introduction 1 1 F The Day the Earth Stood Still 27 2 F Forbidden Planet 43 3 F Invasion of the Body Snatchers 59 4 F 2001: A Space Odyssey 75 5 F Planet of the Apes 91 6 F Star Wars 109 7 F Close Encounters of the Third Kind 125 8 F Alien 141 9 F E.T. the Extra-Terrestrial 157 10 F Blade Runner 171 11 F The Terminator 187 12 F Robocop 203 13 F The Abyss 219 viii u Contents 14 F Independence Day 233 15 F The Matrix 247 Conclusion: Science Fiction Film and American Culture 265 Index 269 Photo essay follows chapter 7. -
Some Popular Culture Images of AI in Humanity's
S avannah Law Review VOLUME 5 │ NUMBER 1 “I Am the Master”∇ Some Popular Culture Images of AI in Humanity’s Courtroom Christine A. Corcos* Introduction Both serious literature and popular culture are flooding us with discussions of the rise of artificial intelligence (AI).1 As we note the rise of the subject of robot ∇ Gnut, in Harry Bates, Farewell to the Master, Astounding Science Fiction (Oct. 1940), reprinted in Isaac Asimov Presents the Golden Years of Science Fiction (1988). * Richard C. Cadwallader Associate Professor of Law, Louisiana State University Law Center, Associate Professor of Law, Louisiana State University A&M. I presented the paper on which I based this article at Savannah Law Review’s Annual Colloquium, Rise of the Automatons, September 15, 2017, and I thank the other panelists, the faculty, staff, students, and other attendees at the Colloquium for their helpful comments. 1 Some recent important non-fiction works published on the subject include Luke Dormehl, Thinking Machines: The Quest for Artificial Intelligence (2017), Amir Husain, The Sentient Machine: The Coming Age of Artificial Intelligence (2017), and Max Tegmark, Life 3.0: Being Human in the Age of Artificial Intelligence (2017). Popular articles intended for the non-specialist include Gary Shteyngart, Thinking Outside the Bots, Smithsonian, June 2017, at 66. We can pinpoint the first appearance of the word “robot” in popular culture to Karl Capek’s play R.U.R. (Rossum’s Universal Robots, Prague: Aventinum, 1920) (Claudia Novack-Jones trans., reprint Penguin 2004). The word “robot” derives from Old Slavonic (and Czech words) “robota” meaning “forced labor” or “work.” See Science Diction: The Origin of the Word “Robot”, NPR (Apr. -
Some Popular Culture Images of AI in Humanity's Courtroom
Louisiana State University Law Center LSU Law Digital Commons Journal Articles Faculty Scholarship 2017 "I Am the Master": Some Popular Culture Images of AI in Humanity's Courtroom Christine Corcos Louisiana State University Law Center, [email protected] Follow this and additional works at: https://digitalcommons.law.lsu.edu/faculty_scholarship Part of the Law Commons Repository Citation Corcos, Christine, ""I Am the Master": Some Popular Culture Images of AI in Humanity's Courtroom" (2017). Journal Articles. 418. https://digitalcommons.law.lsu.edu/faculty_scholarship/418 This Article is brought to you for free and open access by the Faculty Scholarship at LSU Law Digital Commons. It has been accepted for inclusion in Journal Articles by an authorized administrator of LSU Law Digital Commons. For more information, please contact [email protected]. +(,121/,1( Citation: Christine A. Corcos, I Am the Master: Some Popular Culture Images of AI in Humanity's Courtroom, 5 Savannah L. Rev. 45 (2018) Provided by: LSU Law Library Content downloaded/printed from HeinOnline Wed Feb 20 08:53:10 2019 -- Your use of this HeinOnline PDF indicates your acceptance of HeinOnline's Terms and Conditions of the license agreement available at https://heinonline.org/HOL/License -- The search text of this PDF is generated from uncorrected OCR text. Use QR Code reader to send PDF to your smartphone or tablet device AVANNAH VOLUME 5 NUMBER 1 "I AM THE MASTER", SOME POPULAR CULTURE IMAGES OF AT IN HUMANITY'S COURTROOM ChristineA. Corcos* Introduction Both serious literature and popular culture are flooding us with discussions of the rise of artificial intelligence (AI).' As we note the rise of the subject of robot ,Gnut, in Harry Bates, Farewell to theMaster, ASTOUNDING SCIENCE FICTION (Oct. -
The Characters and Conflicts in Marvel Studios “Doctor Strange” Movie
DOI: 10.24843/JH.2018.v22.i03.p30 ISSN: 2302-920X Jurnal Humanis, Fakultas Ilmu Budaya Unud Vol 22.3 Agustus 2018: 771-780 The Characters and Conflicts in Marvel Studios “Doctor Strange” Movie Ni Putu Ayu Mitha Hapsari English Department - Faculty of Arts - Udayana University [[email protected]] Abstract The title of this paper is The Characters and Conflicts in Marvel Studios “Doctor Strange” Movie. This study focuses on categorization and function of the characters in the movie and conflicts in the main character (external and internal conflicts). The data of this study were taken from a movie entitled Doctor Strange. The data were collected through documentation method. In analyzing the data, the study used qualitative method. The categorization and function were analyzed based on the theory proposed by Wellek and Warren (1955:227), supported by the theory of literature proposed by Kathleen Morner (1991:31). The conflict was analyzed based on the theory of literature proposed by Kenney (1966:5). The findings show that the categorization and function of the characters in the movie are as follows: Stephen Strange (dynamic protagonist character), Kaecilius (static antagonist character). Secondary characters are The Ancient One (static protagonist character), Mordo (static protagonist character) and Christine (dynamic protagonist character). The supporting character is Wong (static protagonist character). Then there are two types of conflicts found in this movie, internal and external conflicts. Keywords: Character, Conflict, Doctor Strange. Abstrak Judul penelitian ini adalah The Characters and Conflicts in Marvel Studios “Doctor Strange” Movie. Penelitian ini fokus pada kategori dan fungsi dari karakter dalam film dan konflik karakter utama (konflik internal dan eksternal). -
Mccarthyism and the Id: "Forbidden Planet" (1956) As a Veiled Criticism of Mccarthyism in 1950S America
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 6-2016 McCarthyism and the Id: "Forbidden Planet" (1956) as a Veiled Criticism of McCarthyism in 1950s America William Lorenzo Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1358 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] McCarthyism and the Id: Forbidden Planet as a Veiled Criticism of McCarthyism in 1950s America by William Lorenzo A Master’s thesis submitted to the Graduate Faculty in Liberal Studies in partial fulfillment of the requirements for the degree of Master of Arts, The City University of New York 2016 © 2016 WILLIAM LORENZO All Rights Reserved ii McCarthyism and the Id: Forbidden Planet as a Veiled Criticism of McCarthyism in 1950s America by William Lorenzo This manuscript has been read and accepted for the Graduate Faculty in Liberal Studies in satisfaction of the thesis requirement for the degree of Master of Arts. ____________________ ________________________________________________ Date Robert Singer Thesis Advisor ____________________ ________________________________________________ Date Matthew K. Gold Executive Officer THE CITY UNIVERSITY OF NEW YORK iii Abstract McCarthyism and the Id: Forbidden Planet as a Veiled Criticism of McCarthyism in 1950s America by William Lorenzo Advisor: Robert Singer Many American science fiction films of the 1950s served as political allegories commenting on the post-war fears of the nation. -
Indiana Movie Poster Collection, 1925-2005
Collection # P 0626 FF 22-A INDIANA MOVIE POSTER COLLECTION, 1925-2005 Collection Information Historical Sketch Scope and Content Note Series Contents Processed by Maire Gurevitz November 2017 Manuscript and Visual Collections Department William Henry Smith Memorial Library Indiana Historical Society 450 West Ohio Street Indianapolis, IN 46202-3269 www.indianahistory.org COLLECTION INFORMATION VOLUME OF 1 manuscripts folder, 1 box (half size) of OVA graphics, 1 COLLECTION: folder OVB graphics, 22 flat file folders COLLECTION 1925-2005 DATES: PROVENANCE: Barbara Bradway, Warsaw, IN; Christie’s Los Angeles; The Separate Cinema Archive; Hollywood Poster Exchange; Indiana Historical Society Exhibition Department; John A. Herbst RESTRICTIONS: None COPYRIGHT: REPRODUCTION Permission to reproduce or publish material in this collection RIGHTS: must be obtained from the Indiana Historical Society. ALTERNATE FORMATS: RELATED P0568 David L. Smith Collection; Hoosiers In Hollywood HOLDINGS: PN1993.5.U7415 S65 2006; M1235 Gene Stratton Porter Collection ACCESSION 1949.0523; 1989.0045; 1990.0795X; 1996.0277; 2000.0312; NUMBER: 2006.0171; 2006.0172; 2006.0446; 2007.0337v0001; 2007.0337v0002; 2007.0337v0003; 2007.0337v0004; 2007.0337v0005; 2007.0337v0006; 2007.0337v0007; 2007.0337v0008; 2007.0337v0009; 2007.0337v0010; 2007.0337v0011; 2007.0337v0012; 2007.0337v0013; 2007.0337v0014; 2007.0337v0015; 2007.0337v0016; 2007.0337v0017; 2012.0307 NOTES: HISTORICAL SKETCH Graustark (1925) is a silent film based on a novel of the same name that was written by Indiana author George Barr McCutcheon in 1901. The film was directed by Dimitri Buchowetzki and starred Norma Talmadge as Princess Yetive of Graustark who is betrothed to another but falls in love with American commoner Grenfall Lorry, played by Eugene O’Brien.