Alien: the Terror Begins When the Crew of the Spaceship Nostromo
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The Top 101 Inspirational Movies –
The Top 101 Inspirational Movies – http://www.SelfGrowth.com The Top 101 Inspirational Movies Ever Made – by David Riklan Published by Self Improvement Online, Inc. http://www.SelfGrowth.com 20 Arie Drive, Marlboro, NJ 07746 ©Copyright by David Riklan Manufactured in the United States No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without the prior written permission of the Publisher. Limit of Liability / Disclaimer of Warranty: While the authors have used their best efforts in preparing this book, they make no representations or warranties with respect to the accuracy or completeness of the contents and specifically disclaim any implied warranties. The advice and strategies contained herein may not be suitable for your situation. You should consult with a professional where appropriate. The author shall not be liable for any loss of profit or any other commercial damages, including but not limited to special, incidental, consequential, or other damages. The Top 101 Inspirational Movies – http://www.SelfGrowth.com The Top 101 Inspirational Movies Ever Made – by David Riklan TABLE OF CONTENTS Introduction 6 Spiritual Cinema 8 About SelfGrowth.com 10 Newer Inspirational Movies 11 Ranking Movie Title # 1 It’s a Wonderful Life 13 # 2 Forrest Gump 16 # 3 Field of Dreams 19 # 4 Rudy 22 # 5 Rocky 24 # 6 Chariots of -
Digital Dialectics: the Paradox of Cinema in a Studio Without Walls', Historical Journal of Film, Radio and Television , Vol
Scott McQuire, ‘Digital dialectics: the paradox of cinema in a studio without walls', Historical Journal of Film, Radio and Television , vol. 19, no. 3 (1999), pp. 379 – 397. This is an electronic, pre-publication version of an article published in Historical Journal of Film, Radio and Television. Historical Journal of Film, Radio and Television is available online at http://www.informaworld.com/smpp/title~content=g713423963~db=all. Digital dialectics: the paradox of cinema in a studio without walls Scott McQuire There’s a scene in Forrest Gump (Robert Zemeckis, Paramount Pictures; USA, 1994) which encapsulates the novel potential of the digital threshold. The scene itself is nothing spectacular. It involves neither exploding spaceships, marauding dinosaurs, nor even the apocalyptic destruction of a postmodern cityscape. Rather, it depends entirely on what has been made invisible within the image. The scene, in which actor Gary Sinise is shown in hospital after having his legs blown off in battle, is noteworthy partly because of the way that director Robert Zemeckis handles it. Sinise has been clearly established as a full-bodied character in earlier scenes. When we first see him in hospital, he is seated on a bed with the stumps of his legs resting at its edge. The assumption made by most spectators, whether consciously or unconsciously, is that the shot is tricked up; that Sinise’s legs are hidden beneath the bed, concealed by a hole cut through the mattress. This would follow a long line of film practice in faking amputations, inaugurated by the famous stop-motion beheading in the Edison Company’s Death of Mary Queen of Scots (aka The Execution of Mary Stuart, Thomas A. -
Tv Pg 4B 01-04.Indd
4b The Goodland Star-News / Friday, January 4, 2008 Like puzzles? Then you’ll love sudoku. This mind-bending puzzle FUN BY THE NUM B ERS will have you hooked from the moment you square off, so sharpen your pencil and put your sudoku savvy to the test! Here’s How It Works: Sudoku puzzles are formatted as a 9x9 grid, broken down into nine 3x3 boxes. To solve a sudoku, the numbers 1 through 9 must fill each row, column and box. Each number can appear only once in each row, column and box. You can figure out the order in which the numbers will appear by using the numeric clues already provided in the boxes. The more numbers you name, the easier it gets to solve the puzzle! ANSWER TO TUESD A Y ’S SATURDAY EVENING DECEMBER 29, 2007 SUNDAY EVENING DECEMBER 30, 2007 6PM 6:30 7PM 7:30 8PM 8:30 9PM 9:30 10PM 10:30 6PM 6:30 7PM 7:30 8PM 8:30 9PM 9:30 10PM 10:30 ES E = Eagle Cable S = S&T Telephone ES E = Eagle Cable S = S&T Telephone aaac The First 48: Houdini; Inno- The First 48: Blood Trail; “Jesus Camp” (‘07, Documentary) Religious sum- The First 48: Houdini; Inno- “GoodFellas” (‘90, Drama) Robert De Niro, Ray Liotta. A young man Flip This House: Little “GoodFellas” (‘90) 36 47 A&E 36 47 A&E confronts suspicion and violence within the New York Mafia. (R) House of Horrors (R) aaac Man in the Mafia. cence Lost (R) 50G Murder (R) mer camp for children. -
One Two Films / Blackbird Pictures
www.triciagray.com FILM THE TALE, HBO/A Luminous Mind Production/ One Two Films / Blackbird Pictures- Drama/ Period 1973 Producers: Lawrence Inglee, Laura Rister, Reka Posta, Oren Moverman Director: Jennifer Fox With: Laura Dern, Ellen Burstyn, Elizabeth Debicki, Isabelle Nelisse, Sebastian Koch KID VS MONSTERS, Dark Dunes Productions Producers: Lawrie Brewster, Adamo P. Cultrano, Kenneth Burke Director: Sultan Saeed Al Darmaki with Malcolm McDowell, Armand Assante, Lance Henriksen, Francesca Eastwood THE BABYMAKERS, Duck Attack Films, Blumhouse Productions Producers: Jason Blum, Jay Chandrasekhar, Brian Kavanaugh-Jones, Bill Gerber, Jeanette Brill, Gerard DiNardi Director: Jay Chandrasekhar with Olivia Munn, Paul Schneider, Jay Chandrasekhar, Kevin Heffernan, Nat Faxon, MC Gainey OPEN HOUSE, Stonebrook Entertainment Producers: Mitchell Goldman, Jack Schuster, Randy Wayne Director: Andrew Paquin with Anna Paquin, Stephen Moyer, Brian Geraghty, Rachel Blanchard, Tricia Helfer FREELOADERS, Broken Lizard Industries, ATG Productions Producers: Adam Duritz, Richard Perello, Matthew Pritzger Director: Dan Rosen with Clifton Collins Jr, Jane Seymour, Jay Chandrasekhar, Kevin Heffernan, Steve Lemme, Paul Soter, Erik Stolhanske, Adam Duritz, Sir Richard Branson THE SLAMMIN’ SALMON, Broken Lizard Industries Producers: Peter Lengyel, Richard Perello Director: Kevin Heffernan with Jay Chandrasekhar, Kevin Heffernan, Steve Lemme, Paul Soter, Erik Stolhanske, Michael Clarke Duncan, Morgan Fairchild, Lance Henriksen DUKES OF HAZZARD 2: The Beginning, -
Models of Time Travel
MODELS OF TIME TRAVEL A COMPARATIVE STUDY USING FILMS Guy Roland Micklethwait A thesis submitted for the degree of Doctor of Philosophy of The Australian National University July 2012 National Centre for the Public Awareness of Science ANU College of Physical and Mathematical Sciences APPENDIX I: FILMS REVIEWED Each of the following film reviews has been reduced to two pages. The first page of each of each review is objective; it includes factual information about the film and a synopsis not of the plot, but of how temporal phenomena were treated in the plot. The second page of the review is subjective; it includes the genre where I placed the film, my general comments and then a brief discussion about which model of time I felt was being used and why. It finishes with a diagrammatic representation of the timeline used in the film. Note that if a film has only one diagram, it is because the different journeys are using the same model of time in the same way. Sometimes several journeys are made. The present moment on any timeline is always taken at the start point of the first time travel journey, which is placed at the origin of the graph. The blue lines with arrows show where the time traveller’s trip began and ended. They can also be used to show how information is transmitted from one point on the timeline to another. When choosing a model of time for a particular film, I am not looking at what happened in the plot, but rather the type of timeline used in the film to describe the possible outcomes, as opposed to what happened. -
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. -
Jun 18 Customer Order Form
#369 | JUN19 PREVIEWS world.com Name: ORDERS DUE JUN 18 THE COMIC SHOP’S CATALOG PREVIEWSPREVIEWS CUSTOMER ORDER FORM Jun19 Cover ROF and COF.indd 1 5/9/2019 3:08:57 PM June19 Humanoids Ad.indd 1 5/9/2019 3:15:02 PM SPAWN #300 MARVEL ACTION: IMAGE COMICS CAPTAIN MARVEL #1 IDW PUBLISHING BATMAN/SUPERMAN #1 DC COMICS COFFIN BOUND #1 GLOW VERSUS IMAGE COMICS THE STAR PRIMAS TP IDW PUBLISHING BATMAN VS. RA’S AL GHUL #1 DC COMICS BERSERKER UNBOUND #1 DARK HORSE COMICS THE DEATH-DEFYING DEVIL #1 DYNAMITE ENTERTAINMENT MARVEL COMICS #1000 MARVEL COMICS HELLBOY AND THE B.P.R.D.: SATURN RETURNS #1 ONCE & FUTURE #1 DARK HORSE COMICS BOOM! STUDIOS Jun19 Gem Page.indd 1 5/9/2019 3:24:56 PM FEATURED ITEMS COMIC BOOKS & GRAPHIC NOVELS Bad Reception #1 l AFTERSHOCK COMICS The Flash: Crossover Crisis Book 1: Green Arrow’s Perfect Shot HC l AMULET BOOKS Archie: The Married Life 10 Years Later #1 l ARCHIE COMICS Warrior Nun: Dora #1 l AVATAR PRESS INC Star Wars: Rey and Pals HC l CHRONICLE BOOKS 1 Lady Death Masterpieces: The Art of Lady Death HC l COFFIN COMICS 1 Oswald the Lucky Rabbit: The Search for the Lost Disney Cartoons l DISNEY EDITIONS Moomin: The Lars Jansson Edition Deluxe Slipcase l DRAWN & QUARTERLY The Poe Clan Volume 1 HC l FANTAGRAPHICS BOOKS Cycle of the Werewolf SC l GALLERY 13 Ranx HC l HEAVY METAL MAGAZINE Superman and Wonder Woman With Collectibles HC l HERO COLLECTOR Omni #1 l HUMANOIDS The Black Mage GN l ONI PRESS The Rot Volume 1 TP l SOURCE POINT PRESS Snowpiercer Hc Vol 04 Extinction l TITAN COMICS Lenore #1 l TITAN COMICS Disney’s The Lion King: The Official Movie Special l TITAN COMICS The Art and Making of The Expance HC l TITAN BOOKS Doctor Mirage #1 l VALIANT ENTERTAINMENT The Mall #1 l VAULT COMICS MANGA 2 2 World’s End Harem: Fantasia Volume 1 GN l GHOST SHIP My Hero Academia Smash! Volume 1 GN l VIZ MEDIA Kingdom Hearts: Re:Coded SC l YEN ON Overlord a la Carte Volume 1 GN l YEN PRESS Arifureta: Commonplace to the World’s Strongest Zero Vol. -
ASC History Timeline 1919-2019
American Society of Cinematographers Historical Timeline DRAFT 8/31/2018 Compiled by David E. Williams February, 1913 — The Cinema Camera Club of New York and the Static Camera Club of America in Hollywood are organized. Each consists of cinematographers who shared ideas about advancing the art and craft of moviemaking. By 1916, the two organizations exchange membership reciprocity. They both disband in February of 1918, after five years of struggle. January 8, 1919 — The American Society of Cinematographers is chartered by the state of California. Founded by 15 members, it is dedicated to “advancing the art through artistry and technological progress … to help perpetuate what has become the most important medium the world has known.” Members of the ASC subsequently play a seminal role in virtually every technological advance that has affects the art of telling stories with moving images. June 20, 1920 — The first documented appearance of the “ASC” credential for a cinematographer in a theatrical film’s titles is the silent western Sand, produced by and starring William S. Hart and shot by Joe August, ASC. November 1, 1920 — The first issue of American Cinematographer magazine is published. Volume One, #1, consists of four pages and mostly reports news and assignments of ASC members. It is published twice monthly. 1922 — Guided by ASC members, Kodak introduced panchromatic film, which “sees” all of the colors of the rainbow, and recorded images’ subtly nuanced shades of gray, ranging from the darkest black to the purest white. The Headless Horseman is the first motion picture shot with the new negative. The cinematographer is Ned Van Buren, ASC. -
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. -
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’. -
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 ..................................................................... -
From Jeunet's Alien: Resurrection
ACTA UNIV. SAPIENTIAE, FILM AND MEDIA STUDIES, 8 (2014) 149–166 DOI: 10.2478/ausfm-2014-0031 Embodied Genetics in Science-Fiction, Big-Budget to Low-Budget: from Jeunet’s Alien: Resurrection (1997) to Piccinini’s Workshop (2011) Andrea Virginás Sapientia Hungarian University of Transylvania (Cluj-Napoca, Romania) E-mail: [email protected] Abstract. The article uses and revises to some extent Vivian Sobchack’s categorization of (basically) American science-l ction output as “optimistic big-budget,” “wondrous middle-ground” and “pessimistic low-budget” seen as such in relation to what Sobchack calls the “double view” of alien beings in l lmic diegesis (Screening Space, 2001). The argument is advanced that based on how diegetic encounters are constructed between “genetically classical” human agents and beings only partially “genetically classical” and/or human (due to genetic diseases, mutations, splicing, and cloning), we may differentiate between various methods of visualization (nicknamed “the museum,” “the lookalike,” and “incest”) that are correlated to Sobchack’s mentioned categories, while also displaying changes in tone. Possibilities of revision appear thanks to the later timeframe (the late 1990s/2000s) and the different national-canonical belongings (American, Icelandic-German- Danish, Hungarian-German, Canadian-French-American, and Australian) that characterize l lmic and artistic examples chosen for analysis as compared to Sobchack’s work in Screening Space.1 Keywords: science-l ction, genetic mutations, aliens, Vivian Sobchack. Hero(ines) Facing Genetic Aliens In her exceptional monograph about modern American science-l ction cinema, Screening Space (2001), Vivian Sobchack writes in detail about “the alien’s perspective,” the creature that not only is different from us, but, as a matter of fact, cannot be conceived of from the standpoint we, humans, occupy, neither 1 This work was supported by a grant of the Romanian Ministry of Education, CNCS – UEFISCDI, project number PN-II-RU-PD-2012-3 – 0199.