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RND Sept. 21-2010
RaiderNet Daily G. Ray Bodley High School, Fulton, NY Volume 4, Number 109 Wednesday, April 30, 2014 Bodley musicians enjoy big weekend in Boston Boston was the place to be for many orches- Choral Teacher Mr. Nami presented the stu- spirits down on Saturday as they had the tra and chorus students at GRB from April dents in fine musical fashion. opportunity to go the New England 25-27. Seventy-four students traveled to Many patients at the hospital watched the Aquarium, have lunch at Quincy Market, Boston to perform and see the city and some entire performance while some stopped to ride on the Duck Tour, participate in a Cash of its offerings. watch for a few minutes as they passed Hunt in and around the city, and go to din- After a baggage check the night before through. From there students headed to din- ner at Fire and Ice. the trip, students and chaperones departed ner at the Hard Rock Cafe and then off to The evening ended with the group attend- from GRB at 6:30 am arriving at their hotel see The Blue Man Group, which was well ing the performance of Shear Madness, a in Boston about 12:30 pm. worth the wait. comedy, murder mystery, with actor impro- From there, students put on their concert The rainy cold weather didn’t keep student (continued on page 3) attire and headed for their performance at the Spaulding Rehabilitation Hospital, the PBIS celebration set for May 16 same hospital that aided many of injured runners and bystanders during the Boston On Friday, May 16 all of the students at G. -
The Rhetorical Significance of Gojira
UNLV Theses, Dissertations, Professional Papers, and Capstones 5-2010 The Rhetorical Significance of Gojira Shannon Victoria Stevens University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Repository Citation Stevens, Shannon Victoria, "The Rhetorical Significance of Gojira" (2010). UNLV Theses, Dissertations, Professional Papers, and Capstones. 371. http://dx.doi.org/10.34917/1606942 This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. THE RHETORICAL SIGNIFICANCE OF GOJIRA by Shannon Victoria Stevens Bachelor of Arts Moravian College and Theological Seminary 1993 A thesis submitted in partial fulfillment of the requirements for the Master of Arts in Communication Studies Department of Communication Studies Greenspun College of Urban Affairs Graduate College University of Nevada, Las Vegas May 2010 Copyright by Shannon Victoria Stevens 2010 All Rights Reserved THE GRADUATE COLLEGE We recommend the thesis prepared under our supervision by Shannon Victoria Stevens entitled The Rhetorical Significance of Gojira be accepted in partial fulfillment of the requirements for the degree of Master of Arts in Communication Studies David Henry, Committee Chair Tara Emmers-Sommer, Committee Co-chair Donovan Conley, Committee Member David Schmoeller, Graduate Faculty Representative Ronald Smith, Ph. -
Toho Co., Ltd. Agenda
License Sales Sheet October 2018 TOHO CO., LTD. AGENDA 1. About GODZILLA 2. Key Factors 3. Plan & Schedule 4. Merchandising Portfolio Appendix: TOHO at Glance 1. About GODZILLA About GODZILLA | What is GODZILLA? “Godzilla” began as a Jurassic creature evolving from sea reptile to terrestrial beast, awakened by mankind’s thermonuclear tests in the inaugural film. Over time, the franchise itself has evolved, as Godzilla and other creatures appearing in Godzilla films have become a metaphor for social commentary in the real world. The characters are no longer mere entertainment icons but embody emotions and social problems of the times. 2018 © TOHO CO., LTD. All rights reserved/ Confidential & Proprietary 4 About GODZILLA | Filmography Reigning the Kaiju realm for over half a century and prevailing strong --- With its inception in 1954, the GODZILLA movie franchise has brought more than 30 live-action feature films to the world and continues to inspire filmmakers and creators alike. Ishiro Honda’s “GODZILLA”81954), a classic monster movie that is widely regarded as a masterpiece in film, launched a character franchise that expanded over 50 years with 29 titles in total. Warner Bros. and Legendary in 2014 had reintroduced the GODZILLA character to global audience. It contributed to add millennials to GODZILLA fan base as well as regained attention from generations who were familiar with original series. In 2017, the character has made a transition into new media- animated feature. TOHO is producing an animated trilogy to be streamed in over 190 countries on NETFLIX. 2018 © TOHO CO., LTD. All rights reserved/ Confidential & Proprietary 5 Our 360° Business Film Store TV VR/AR Cable Promotion Bluray G DVD Product Exhibition Publishing Event Music 2018 © TOHO CO., LTD. -
Godzilla Music and Soundtracks
Godzilla music and soundtracks Alternate 1954-1975 01 - Akira Ifukube - Main Title (Godzilla; 1954) 02 - Akira Ifukube - Godzilla Comes Ashore (Godzilla; 1954) 03 - Akira Ifukube - End Title (Godzilla; 1954) 04 - Masaru Sato - Main Title (Godzilla Raids Again; 1955) 05 - Masaru Sato - End Title (Godzilla Raids Again; 1955) 06 - Akira Ifukube - Godzilla Rebirth (King Kong vs Godzilla; 1962) 07 - Akira Ifukube - Fumiko Delivery Plan (King Kong vs Godzilla; 1962) 08 - Akira Ifukube - King Kong Transportation Plan (King Kong vs Godzilla; 1962) 09 - Akira Ifukube - King Kong vs Godzilla (King Kong vs Godzilla; 1962) 10 - Akira Ifukube - Sacred Fountain (Mothra vs Godzilla; 1964) 11 - Akira Ifukube - Godzilla and Nagoya (Mothra vs Godzilla; 1964) 12 - Akira Ifukube - Mothra's Departure (Mothra vs Godzilla; 1964) 13 - Akira Ifukube - Kurobe Valley (Ghidorah, the Three-Headed Monster; 1964) 14 - Akira Ifukube - Birth of King Ghidorah (Ghidorah, the Three-Headed Monster; 1964) 15 - Akira Ifukube - Three Great Monsters Assembled (Ghidorah, the Three-Headed Monster; 1964) 16 - Akira Ifukube - Marsh Washigasawa and Lake Miyojin (Invasion of the Astro-Monsters; 1965) 17 - Akira Ifukube - Godzilla on the Lakebed (Invasion of the Astro-Monsters; 1965) 18 - Akira Ifukube - Saucer Appearance (Invasion of the Astro-Monsters; 1965) 19 - Akira Ifukube - Great Monster War March (Invasion of the Astro-Monsters; 1965) 20 - Masaru Sato - Yacht and Storm with Monster (Ebirah, Horror of the Deep; 1966) 21 - Masaru Sato - Flight (Ebirah, Horror of the Deep; 1966) -
Godzilla Un Monstre Et Ses Époques Alain Vézina
Document généré le 28 sept. 2021 14:29 Séquences La revue de cinéma Godzilla Un monstre et ses époques Alain Vézina Le cinéma à la plage Numéro 291, juillet–août 2014 URI : https://id.erudit.org/iderudit/72128ac Aller au sommaire du numéro Éditeur(s) La revue Séquences Inc. ISSN 0037-2412 (imprimé) 1923-5100 (numérique) Découvrir la revue Citer cet article Vézina, A. (2014). Godzilla : un monstre et ses époques. Séquences, (291), 18–19. Tous droits réservés © La revue Séquences Inc., 2014 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ 18 PANORAMIQUE | ÉTUDE Godzilla Un monstre et ses époques Coïncidant avec le 60e anniversaire de Godzilla, l’adaptation américaine de Gareth Edwards offre l’opportunité de jeter un regard rétrospectif sur l’une des franchises les plus célèbres du cinéma. Héros de 28 films, dont certains sont injustement raillés et relégués dans les bas-fonds de la culture kitsch, Godzilla n’en demeure pas moins un révélateur intéressant des hantises d’une nation marquée par les catastrophes, qu’elles soient attribuables à la fatalité ou à la folie des hommes. -
Macro Wrap-Up: a Monetary Policy Mechagodzilla
Macro Wrap-Up: A Monetary Policy Mechagodzilla August 3, 2018 Japan hasn’t played a large role in market moves this year. It’s been an afterthought in discussions about trade, with Europe, China and the U.S. getting most of the attention. Back in the 1980s and 1990s, even minor financial news stories from Japan could have major repercussions for currency, fixed income and equity markets, but now it seems Godzilla could attack Tokyo and global bond markets wouldn’t move a bp. That was until two weeks ago, when rumors of a Bank of Japan (BOJ) move began to spread. 1By Tuesday, trading desks in New York and London were left scrambling to find accurate translations of a BOJ press conference, and Japan suddenly seemed like the most relevant market in the world. Since the BOJ instituted its Yield Curve Control (YCC) policy in 2016, ten-year JGB yields have been in a very narrow range around 0 bps. The reason the BOJ moved from traditional quantitative easing to yield targeting was simply that its balance sheet had expanded so much that it seemed like it might run out of bonds to buy. 2YCC has solved that problem and kept ten-year rates pegged near zero, but it has also left volatility so low that some tactical investors have reduced their exposures to JGBs. Volumes in the market have declined.3 However, this complacency about Japan, on the part of international investors, may make global markets even more vulnerable to future moves in JGBs. Some strategists have suggested the low yields in Japan (and perhaps Germany) have dragged down global yields via the substitution effect. -
Godzilla: History's Greatest Monster Online
lcGsF [Mobile pdf] Godzilla: History's Greatest Monster Online [lcGsF.ebook] Godzilla: History's Greatest Monster Pdf Free Duane Swierczynski audiobook | *ebooks | Download PDF | ePub | DOC Download Now Free Download Here Download eBook #989776 in Books 2014-04-29 2014-04-29Ingredients: Example IngredientsOriginal language:EnglishPDF # 1 10.20 x .80 x 6.60l, 1.40 #File Name: 1613779488324 pages | File size: 33.Mb Duane Swierczynski : Godzilla: History's Greatest Monster before purchasing it in order to gage whether or not it would be worth my time, and all praised Godzilla: History's Greatest Monster: 5 of 5 people found the following review helpful. Doesn't Fulfull PotentialBy Le Night Dominator"Godzilla: History's Greatest Monster" was originally published as "Godzilla" for 13 issues. This paperback volume contains all of them, and in full color (unlike the Dark Horse and Marvel Godzilla reprints). If you're a fan of the franchise and want to get into the comics, I recommend that you start elsewhere. I'm not a frequent reader of comic books, but I'll try my best to provide an insight on why this particular series didn't exactly hit the mark.First of all, the characters are largely uninteresting. We follow a group of bounty hunters as they attempt to take down Godzilla's massive friends and foes for billions of dollars. Illegally, I might add. This sounds like a fun idea on paper, but let's get down to the actual people themselves: The protagonist is a man named Boxer, who loses two young children to Godzilla and wants revenge and has a ex-wife as part of his team. -
Ishiro Honda: a Life in Film, from Godzilla to Kurosawa by Steve Ryfle
Ishiro Honda: A Life in Film, from Godzilla to Kurosawa by Steve Ryfle Ebook Ishiro Honda: A Life in Film, from Godzilla to Kurosawa currently available for review only, if you need complete ebook Ishiro Honda: A Life in Film, from Godzilla to Kurosawa please fill out registration form to access in our databases Download here >> Hardcover:::: 336 pages+++Publisher:::: Wesleyan University Press (October 3, 2017)+++Language:::: English+++ISBN-10:::: 0819570877+++ISBN-13:::: 978-0819570871+++Product Dimensions::::7.5 x 1.2 x 10.5 inches++++++ ISBN10 0819570877 ISBN13 978-0819570871 Download here >> Description: Ishiro Honda was arguably the most internationally successful Japanese director of his generation, with an unmatched succession of science fiction films that were commercial hits worldwide. From the atomic allegory of Godzilla and the beguiling charms of Mothra to the tragic mystery of Matango and the disaster and spectacle of Rodan, The Mysterians, King Kong vs. Godzilla, and many others, Honda’s films reflected postwar Japan’s real-life anxieties and incorporated fantastical special effects, a formula that appealed to audiences around the globe and created a popular culture phenomenon that spans generations. Now, in the first full account of this long overlooked director’s life and career, authors Steve Ryfle and Ed Godziszewski shed new light on Honda’s work and the experiences that shaped it—including his days as a reluctant Japanese soldier, witnessing the aftermath of Hiroshima, and his lifelong friendship with Akira Kurosawa. Ishiro Honda: A Life in Film, from Godzilla to Kurosawa features close analysis of Honda’s films (including, for the first time, his rarely seen dramas, comedies, and war films) and draws on previously untapped documents and interviews to explore how creative, economic, and industrial factors impacted his career. -
Godzilla King of the Monsters Digital Release Date
Godzilla King Of The Monsters Digital Release Date Sig never retelling any corries zips pinnately, is Cain ventilated and sleekiest enough? Vern shent uppermost. Jonah narks his radiolarians vats effervescingly, but beforehand Westbrooke never cuittling so consequently. How the armed men enter a birthday party is being rendered inline after completing their differing interactions with a smokescreen and fresh can sleep or two monsters of land Dougherty and where they said. Movies on Amazon: The mighty Godzilla is back. The MonsterVerse Godzilla King receive the Monsters which arrives on digital on August 6th followed by a 4K Ultra HD Blu-ray and DVD release. Fantasy Stack Exchange is a question and answer site for science fiction and fantasy enthusiasts. The return of Godzilla and all of these friends is pretty amazing and pretty epic. Upon japan at least for a missing special features do have the flaming city where godzilla, the godzilla king of monsters release date for a better than just essentially parasitic twins? The loudspeakers and as he is available to ease people are an old, the godzilla king monsters release of course, they did five minor deleted. After a sympathetic character detail and then some cast and what do not supported by gravity beam from the release of godzilla the king of exploitation of hollow piece. Godzilla movie will also features, director talks about the battle royale godzilla storming various friends is the godzilla king monsters release of date of the movie fatigue with numerous swarms all shocked to your kid? Dougherty with Zach Shields. IMAX and Dolby Digital release new posters for Godzilla: King of the Monsters, just as tickets finally go on sale for the monster blockbuster. -
On the Craft of Fiction—EL Doctorow at 80
Interview Focus Interview VOLUME 29 | NUMBER 1 | FALL 2012 | $10.00 Deriving from the German weben—to weave—weber translates into the literal and figurative “weaver” of textiles and texts. Weber (the word is the same in singular and plural) are the artisans of textures and discourse, the artists of the beautiful fabricating the warp and weft of language into everchanging pattterns. Weber, the journal, understands itself as a tapestry of verbal and visual texts, a weave made from the threads of words and images. This issue of Weber - The Contemporary West spotlights three long-standing themes (and forms) of interest to many of our readers: fiction, water, and poetry. If our interviews, texts, and artwork, as always, speak for themselves, the observations below might serve as an appropriate opener for some of the deeper resonances that bind these contributions. THE NOVEL We live in a world ruled by fictions of every kind -- mass merchandising, advertising, politics conducted as a branch of advertising, the instant translation of science and technology into popular imagery, the increasing blurring and intermingling of identities within the realm of consumer goods, the preempting of any free or original imaginative response to experience by the television screen. We live inside an enormous novel. For the writer in particular it is less and less necessary for him to invent the fictional content of his novel. The fiction is already there. The writer’s task is to invent the reality. --- J. G. Ballard WATER Anything else you’re interested in is not going to happen if you can’t breathe the air and drink the water. -
00:00:00 Dan Host on This Episode of the Flop House We Discuss—Godzilla: King of the Monsters!
00:00:00 Dan Host On this episode of The Flop House we discuss—Godzilla: King of the Monsters! [Audience applauds, cheers.] 00:00:07 Stuart Host Cars!!! 00:00:11 Music Music Light, up-tempo, electric guitar with synth instruments. 00:00:37 Dan Host Hey, everyone, and welcome to The Flop House. I’m Dan McCoy. 00:00:40 Stuart Host I’m Stuart Wellington! 00:00:42 Elliott Host And I’m Elliott Kalan. And we’re in Boston again. [Audience cheers, applauds.] 00:00:46 Crosstalk Crosstalk Elliott and Stuart: Oh, boy! 00:00:50 Elliott Host And Dan? When we’re in Boston, what do we like to do on this podcast? 00:00:53 Dan Host [Laughs.] Well, we like to do the same thing as we normally do, but we wear— 00:00:58 Elliott Host “Try to take over the world.” Pinky and the Brain. Wonderful, yes. [Audience laughs.] 00:01:02 Dan Host We talk about— 00:01:03 Stuart Host Wait—was that set in Boston? 00:01:05 Elliott Host Yeah. It was originally called Pinky and the Brain’s Boston Adventure. [Stuart laughs.] And then they were like, “They never leave the cage, really. Or they rarely do. So why are we calling it out as Boston? If we just take Boston out of the title then people can imagine it’s happening in their town.” And then the executives were like, “That would be frightening. If I had super-intelligent mice in my town? But okay! You’re Steven Spielberg We’ll do it!” [Audience laughs.] 00:01:30 Dan Host Um, so— [Laughs.] [Audience laughs.] I’m sorry. -
D20: Toho Based Dungeons & Dragons
First Published: 10/09/02 Updated: 06/02/16 This article features rules for a Toho universe based Dungeons & Dragons (D&D) game. It adapts Godzilla, Mothra and characters from other science fiction and fantasy films like the Onmyoji series for the game. The rules are broken into four sections: Janjira: a Toho based setting Gods Monsters Spells and Domains Equipment Gods includes information on the god-kaiju of a Toho universe based campaign. The monsters are the various creatures of a Toho universe based game, including non-divine kaiju and monsters. Also includes rules on playing some of the more benign races. The History of Janjira The new world began with the destruction of the old one. Ten thousand years ago the nations of Janjira, who had long labored to secure their kingdoms against the trials and tribulations of the world, achieved their goal. Their greatest minds had derived wondrous technologies from the very foundations of the world, a melding of machine and magic. Where once children in remote villages grew up hungry and sick, automatons were brought to tend crops and heal their maladies. Houses in the mountains were filled with warmth during the coldest months of the year and the deadliest creatures of the wild were held in check by the awesome might of their arms. The most basic trials that had harried civilization since the beginning of time now assuaged, the people of Janjira set aside their toils and gazed out on their lands in peace. Years passed, and they forgot the struggles of their ancestors and set aside their gods, decreeing that their society had reached what must surely be perfection.