Semi-Finals RING 2

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Games of Texas Boxing Tournament Corpus Christi, Texas Saturday, July 31, 2021 12:00 AM 2:00 PM Semi Finals***RING 2***Championships Weighins 8AM BOUT # RED CORNER RED CLUB LBC DIVISION Column1BLUE CORNER BLUE CLUB 1 Christopher Medrano CCPOA BC 1 min IM Novice 119lbs Z SF Giovanni Gars Unattached 2 Carnellyes Parker Mo Better BC 1 min YM Novice 123lbs Z SF John Wallace Ramos BC 3 Devionne White Mo Better BC 1 min IM Novice 110lbs SF Kamauri Johnson Vo BlindSider BC 4 Eassin Carrillo A.O.A. BC 1 min IM Novice 110lbs SF Jaelin Moreno Guerrero's BC 5 Caleb Perkins Franco's Pride BC 1 min IM Novice 114lbs SF Luis Garza Unattached 6 Andrew Gonzalez Kingsville BC 1 min JM Novice 132lbsY WO Joshua Garza San Fernando BC 7 Edward Hernandez Robert Garcia BC 1 min IM Novice 176+lbs SF Jesus Garcia Wolf Pack BC 8 Charlie Hernandez Robert Garcia BC 1 min IM Novice 176+lbs SF Joseph Alfaro CCPOA BC 9 Logan Nava Rock Squad BC 1 min PWM 8 55lbs Y SF Robert Rosenbaum NCCC BC 10 Jose Luis Garza Elite Fitness 361 1 min PWM 8 55lbs Z SF Maximiliana Montiel Alamo City BC 11 Amorist Munguia Franco's Pride BC 1 min PWF Novice 65lbs SF Danyell Taylor CCPOA BC 12 Roy Salas Hive City BC 1 min PWM Novice 55lbs SF Elijah Vasquez Young Gunz BC 13 Cesar Juarez Buffalo BC 1 min PWM Novice 65lbs Z SF Zyler Pellat CCPOA BC 14 Adrian Paez Alamo City BC 1 min PWM Open 65lbs SF Jandel Adame Elite Fitness 361 15 Benicio Garza BlindSider BC 1 min PWM Open 75lbs SF Romeo Hernandez ChampLyfe BC 16 Brandon Soto Wolf Pack BC 1 min PWM Open 75lbs SF Julian Salinas Fighter Nation BC 17 Isiah Busby-Tapia Uncommon BC 1 min PWM Novice 70lbs C Juan Valadez Elite Fitness 361 18 No Bout 19 Edgar Perez Guerrero's BC 1 min JM Novice 138lbs C Jairo Recheverri A.O.A. BC 20 Santiago Vazquez Unattached 1 min YM Novice 114lbs C Tomas Iruegas Jr. CCPOA BC 21 Zian Saenz Franco's Pride BC 1 min YM Novice 123lbs Y WO Eric Lopez Unattached 22 Josiah Ybanez Heart of a Champion 1 min YM Novice 141lbs C Rigoberto Rivera Diaz Warriors BC 23 Sebastian Montiel Alamo City BC 1 min YM Novice 152lbs C Sebastian Reina Aftermath BC 24 Sean Benavidez Baltazar's BC 1 min YM Novice 201+lbs C Mark Contreras CCPOA BC 25 Antonio Rico Buffalo BC 1 min BM Open 85lbs C Raul Perez LCM Gladiators BC 26 Sergio Resendiz Arzola A.O.A. BC 1 min JM Novice 132lbs Z WO Travon Carrier Mo Better BC 27 Camille Shaffer Wolf Pack BC 1 min JM Novice 106lbs WO Nathan Landeros San Fernando BC 28 Ramiro Huerta McAllen Combative 1 min JM Novice 125lbs Z C Yael Fraire Castillo's BC 29 Jocelyn Quiroga Angel's BC 1 min IF Novice 110lbs C Monique Cervantes Ramos BC 30 Jewels Gomez Franco's Pride BC 1 min IF Novice 125lbs C Diamond Navejar NCCC BC 31 Damacio Cosme RockSquad BC 1 min JM Novice 176+lbs C Ryan Cirlos CCPOA BC 32 Jose Gutierrez Unattached 1 min JM Novice 145lbs WO Andres Martinez CCPOA BC 33 Matthew Simpson Prince BC 1 min BM Novice 95lbs C Renato Quintanilla Diaz Warriors BC 34 Shawn Lowery Unattached 1 min SM Novice 201+lbs Z WO Lorenzo Martinez CCPOA BC Must Maintain Weight Throughout The Tournament Schedule is subject to changeWeigh-ins @ 8AM Sharp SF=Semi Final Bout C=Championship Bout.

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Notes for Chapter Re-Drafts
Making Markets for Japanese Cinema: A Study of Distribution Practices for Japanese Films on DVD in the UK from 2008 to 2010 Jonathan Wroot PhD Thesis Submitted to the University of East Anglia For the qualification of PhD in Film Studies 2013 1 Making Markets for Japanese Cinema: A Study of Distribution Practices for Japanese Films on DVD in the UK from 2008 to 2010 2 Acknowledgements Thanks needed to be expressed to a number of people over the last three years – and I apologise if I forget anyone here. First of all, thank you to Rayna Denison and Keith Johnston for agreeing to oversee this research – which required reining in my enthusiasm as much as attempting to tease it out of me and turn it into coherent writing. Thanks to Mark Jancovich, who helped me get started with the PhD at UEA. A big thank you also to Andrew Kirkham and Adam Torel for doing what they do at 4Digital Asia, Third Window, and their other ventures – if they did not do it, this thesis would not exist. Also, a big thank you to my numerous other friends and family – whose support was invaluable, despite the distance between most of them and Norwich. And finally, the biggest thank you of all goes to Christina, for constantly being there with her support and encouragement. 3 Abstract The thesis will examine how DVD distribution can affect Japanese film dissemination in the UK. The media discourse concerning 4Digital Asia and Third Window proposes that this is the principal factor influencing their films’ presence in the UK from 2008 to 2010.
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The Monster-Child in Japanese Horror Film of the Lost Decade, Jessica
The Asian Conference on Film and Documentary 2013 Official Conference Proceedings Osaka, Japan “Our Fear Has Taken on a Life of its Own”: The Monster-Child in Japanese Horror Film of The Lost Decade, Jessica Balanzategui University of Melbourne, Australia 0168 The Asian Conference on Film and Documentary 2013 Official Conference Proceedings 2013 Abstract The monstrous child of Japanese horror film has become perhaps the most transnationally recognisable and influential horror trope of the past decade following the release of “Ring” (Hideo Nakata, 1999), Japan’s most commercially successful horror film. Through an analysis of “Ring”, “The Grudge” (Takashi Shimizu, 2002), “Dark Water” (Nakata, 2002), and “One Missed Call” (Takashi Miike, 2003), I argue that the monstrous children central to J-horror film of the millenial transition function as anomalies within the symbolic framework of Japan’s national identity. These films were released in the aftermath of the collapse of Japan’s bubble economy in the early 1990s — a period known in Japan as ‘The Lost Decade’— and also at the liminal juncture represented by the turn of the millennium. At this cultural moment when the unity of national meaning seems to waver, the monstrous child embodies the threat of symbolic collapse. In alignment with Noël Carroll’s definition of the monster, these children are categorically interstitial and formless: Sadako, Toshio, Mitsuko and Mimiko invoke the wholesale destruction of the boundaries which separate victim/villain, past/present and corporeal/spectral. Through their disturbance to ontological categories, these children function as monstrous incarnations of the Lacanian gaze. As opposed to allowing the viewer a sense of illusory mastery, the J- horror monster-child figures a disruption to the spectator’s sense of power over the films’ diegetic worlds.
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J-Horror and the Ring Cycle
Media students/03/c 3/2/06 8:16 am Page 94 CASECASE STUDY:STUDY: J-HORROR J-HORROR AND AND THE THE RING RINGCYCLECYCLE 1 2 3 4 5 6 7 • Horror cycles • Industry exploitation and circulation 8 • The beginnings of the Ring cycle • Fandom and the global concept of genre 9 • Replenishing the repertoire through repetition and • Summary: generic elements and classification 10 difference • References and further reading 11 • Building on the cycle 12 13 14 Horror cycles references to Carol Clover’s work in Chapter 3). The 15 ‘knowingness’ about horror, and cinema generally, 16 Chapter 3 emphasises the fluidity of genre as a in these films was often developed as comedy (e.g. in 17 concept, the constantly changing repertoires of Scream 2 (1998), the classroom discussion about film 18 elements and the possibility of different forms of sequels). The success of the cycle was exploited 19 ‘classification’ by producers, critics and audiences. further with a ‘spoof’ of the ‘spoof’ in the Scary Movie 20 Horror is a genre with some special characteristics series. 21 in cinema: At the end of the decade, a rather different kind of 22 consistently popular since the 1930s in Hollywood • film, a ‘ghost story with a twist’, The Sixth Sense (1999), 23 and earlier in some other national cinemas was a massive worldwide hit. It was followed by the 24 attracting predominantly youth audiences • Spanish film The Others (2001) and several other ghost 25 until the late 1960s, not given the status of a major • stories, some of which looked back to gothic traditions 26 studio release (the isolated country house shrouded in fog in The 27 ‘open’ to the influence of changes in society – in • Others), while others were more contemporary in 28 both ‘metaphorical’ (i.e.
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United States District Court District of Oregon Eugene
UNITED STATES DISTRICT COURT DISTRICT OF OREGON EUGENE DIVISION UNITED STATES OF AMERICA, 11-CR-60044-AA v. FINAL ORDER OF FORFEITURE Fed. R. Crim. P. 32.2(c)(2) SHAWNA LEIMOMI SAIA, Defendant. On June 3, 2011, this Court entered a Preliminary Order of Forfeiture, ordering defendant Shawna Leimomi Saia, to forfeit all of her right, title, and interest in: 1. VEHICLE A. One 2009 Dodge Charger, VIN 2B3KA33V79H540504. 2. FIREARMS A. One Springfield Armory HS Products Model XD .45 caliber pistol bearing serial number MG503583; PAGE 1 FINAL ORDER OF FORFEITURE United States v. Saia, 11-CR-60044-AA B. One Sig Sauer Model P229.9 mm pistol bearing serial number AAU05634; C. One Remington Arms Model 870 .12 caliber gauge shotgun bearing serial number RS26632A; D. One Bushmaster Firearms rifle bearing serial number L438578; E. One SAKO rifle bearing serial number A56805. 3. MISCELLANEOUS COINS AND COLLECTIBLES A. 799 various precious coins; B. One Ziplock bag with “Proof” of Duk Kahanamoke, two 37 cent U.S. Stamps; C. One 23 karat gold “Jigglypuff” Pokemon trading card with certificate of authenticity; D. One 23 karat gold “Mewtwo” Pokemon trading card with certificate of authenticity. E. 36 $2,00 bills in U.S. currency from Kawailau family dated 8/22/1978. 4. MISCELLANEOUS HANDBAGS, WALLETS AND ACCESSORIES A. Four Dooney & Bourke Wallets; B. Three Tommy Hilfiger wallets; C. Four Coach wallets; D. One Dooney & Bourke duffle bag; E. One Louis Vuitton luggage; F. One Dooney & Bourke agenda; PAGE 2 FINAL ORDER OF FORFEITURE United States v. Saia, 11-CR-60044-AA G.
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Reviews of the Ring Series the Ring Series, Also Known As “Ringu
Reviews of The Ring Series The Ring series, also known as “Ringu” or just “Ring”, is considered the founding factor in the west’s interest in Japanese horror and helped bridge the gap between international films. Based on a series of novels written by Koji Suzuki, the films revolve around a cursed videotape that kills anyone who watches it after seven days. Though the first book is a horrormystery, its two sequels Spiral and Loop are a medical mystery and a science fiction mystery respectively, all having intriguing storylines and plot twists that explore the sinister virus that originates from the videotape rather than a haunting curse. The Ring series has spawned a TV movie, two TV series, a fantastic Japanese film series, a crumby Korean film, and a respectible American movies too. And we’re gonna review all of them in this megareview. The franchise reflects a lot of modern fears in society – a fear of technology, urban legends, deadly illnesses (the AIDS scare in the 1980s and 1990s), unexpected pregnancy (as seen in Spiral), and the more traditional scares of evil and monsters. The main antagonist, Sadako Yamamura, takes a lot of inspiration from Japanese mythology and traditions. She is an “onryō”, or a vengeful female spirit, sporting the traditional long stringy hair and wears a white dress. Her origin is based on several folktales, most notably about a woman who is chucked down a well, where she dies and rises as a ghost. Obviously, there will be spoilers for the books and films throughout these minireviews, so be weary.
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2021 AAU TKD Winter Virtual Nationals Ring 2
2021 AAU TKD Winter Virtual Nationals Ring 2 Last First Instructor Age Div Division Description Time Ring Almanza Giana Zampino, Les 9 1920 Traditional Forms: ITF F Novice 8 & 9 09:00 AM 2 Gellar Feilin Sharma, Parshotam 9 1920 Traditional Forms: ITF F Novice 8 & 9 09:00 AM 2 Hasan Melissa Hasan, Joe 42 1982 Traditional Forms: ITF F Novice 33-42 09:03 AM 2 Poole Tiffany Kanaar, Mark 33 1982 Traditional Forms: ITF F Novice 33-42 09:03 AM 2 Lanjewar Akshant Nguyen, Thac 18 1979 Traditional Forms: ITF M Black 3 18-32 09:07 AM 2 Woodard Charles Zampino, Les 20 1979 Traditional Forms: ITF M Black 3 18-32 09:07 AM 2 Arends Maxwell Andrachik, Ryan 9 1927 Traditional Forms: ITF M Black 8 & 9 09:12 AM 2 Choe Ethan Um, Gi Woo 9 1927 Traditional Forms: ITF M Black 8 & 9 09:12 AM 2 Kim Levin Um, Gi 9 1927 Traditional Forms: ITF M Black 8 & 9 09:12 AM 2 Kang Lawrence Um, Gi Woo 13 1947 Traditional Forms: ITF M Black 2 & Up 12 & 13 09:25 AM 2 Kim Joshua Um, Gi 12 1947 Traditional Forms: ITF M Black 2 & Up 12 & 13 09:25 AM 2 Sanchez Angel Rinker, Michael 13 1947 Traditional Forms: ITF M Black 2 & Up 12 & 13 09:25 AM 2 Wang John Hasan, Joe 13 1947 Traditional Forms: ITF M Black 2 & Up 12 & 13 09:25 AM 2 Yang Noah Um, Giwoo 13 1947 Traditional Forms: ITF M Black 2 & Up 12 & 13 09:25 AM 2 Felber Mia Andrachik, Ryan 13 2946 Weapons Forms: Traditional F Black 2 & Up 12 & 13 09:53 AM 2 Seiler Kayla Andrachik, Ryan 13 2946 Weapons Forms: Traditional F Black 2 & Up 12 & 13 09:53 AM 2 Sokaris Xrysanthi Hasan, Joe 13 2946 Weapons Forms: Traditional F Black 2
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The Ring Press Release.Indd
PRESS RELEASE RING (15) Fast Sell: Celebrate the 20th anniversary of the icon that taught western audiences to fear J-Horror with the newly restored cinematic return of Hideo Nakata’s classic Ring. Then, RELEASE DATE experience the terrifying Sadako through your own screen with the feature-packed first ever UK Blu-ray release! In Cinemas 1st March 2019 Synopsis: On SteelBook, Blu-ray, DVD & Digital HD A group of teenage friends are found dead, their bodies 18th March 2019 grotesquely contorted, their faces twisted in terror. Reiko *Also available, Ring Limited Edition Collection (Nanako Matsushima, When Marnie Was There), a journalist featuring Ring, Ring 2, Ring 0 and Spiral and the aunt of one of the victims, sets out to investigate the shocking phenomenon, and in the process uncovers a creepy 18th March 2019 urban legend about a supposedly cursed videotape, the contents of which causes anyone who views it to die within a KEY TALENT INFORMATION week – unless they can persuade someone else to watch it, and, in so doing, pass on the curse…. Directed by • Hideo Nakata (“Dark Water”, “Ring 2”) We like it because: Composer: • Kenji Kawai (“Ghost in the Shell”) Before the sequels, remakes and crossovers, audiences Based on the novel by were first introduced to a future horror icon amidst an era • Koji Suzuki (“Dark Water”) of ultra-violent slashers from the ‘80s and ‘90s, where its more sombre march towards terror taught audiences and Stars: filmmakers alike that the dread of the unknown can be more frightening than the horrors we know. • Nanako Matsushima (Ring 2, When Marnie Was There) Ring, initially released to worldwide acclaim, sparking a global • Miki Nakatani (Memories of Matsuko, Chaos) genre renaissance and a western love-affair with “J-Horror” • Yūko Takeuchi (Miss Sherlock, Creepy) that endures to this day.
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Holy Horror: a Quantitative Analysis of the Use of Religion in the Yearly Top Grossing Horror Films from 2000 to 2009
Holy Horror: A Quantitative Analysis of the Use of Religion in the Yearly Top Grossing Horror Films From 2000 to 2009 Jason Wheeler Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Masters of Arts in the Department of Communications, Liberty University May 2011 1 Acknowledgments To my Mom and Dad, thank you for all of your support, both physically and financially, throughout the process of writing this thesis. Without your help this accomplishment would not have been possible. To my brother, thank you for everything you did that allowed me to be able to accomplish this thesis. Without your help, I could never have made it. While these past two years were difficult, you brother made it easier, and that is something that will always be very special to me. I would also like to thank the rest of my family for your support throughout this process. 2 Abstract The yearly top-grossing films from 2000 to 2009 were analyzed to see if correlation exists between overt religious content and box office success. Also, the films were analyzed to see if correlation exists between overt religious content and IMDb.com user ratings. Neither box office success nor IMDb.com user ratings were found to be correlated with over religious content. 3 Table of Contents Acknowledgments…………………………………………………………………………1 Abstract……………………………………………………………………………………2 Chapter 1: Introduction……………………………………………………………………4 Chapter 2: Literature Review……………………………………………………………...7 Chapter 3: Methodology …………………………………………………………………20 Chapter 4: Study………………………………………………………………………….25 Chapter 5: Discussion……………………………………………………………………49 Bibliography.……………………………………………………………………………..53 4 Holy Horror: A Quantitative Analysis of the Use of Religion in the Yearly Top Grossing Horror Films From 2000 to 2009 Introduction The popularity of the horror genre has risen significantly over the past few decades, but opinions on what makes these films so popular is widely varied.
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Traumatic Origins in Hart and Ringu
Traumatic Origins in Hart and Ringu Penny Crofts and Honni van Rijswijk Introduction Popular culture is a domain for legal thinking: a domain in which we can explore how law is ‘made up’, as Elaine Scarry says, before it is ‘made real’.1 It is productive to think of certain horror films as exercises in legal thinking because rules and authority are integral to both law and the horror genre. Accordingly, in this piece, we explore a popular horror film for what it reveals about the nature of legal authority and how the origins of law are ‘made up’. The primary focus of our analysis in this chapter is on the cult Japanese movie Ringu rather than the cult American remake,2 The Ring, that it inspired.3 The premise of Ringu is that anyone who watches a video of subliminal and abstract images is fated to die one week after the viewing. The video states: ‘If you do not wish to die, you must follow these instructions exactly…’ and then the video cuts to static. In the horror genre, monsters are subject to rules that are both the source of their horror and the means by which they can be defeated: zombies eat brains and need to be decapitated. Ringu is devoted to discovering the means of defeating a curse; the plot initially appears to obey the internal rules that attach to the monster, Sadako—but these rules are ultimately shown to be irrelevant. This paper explores the ways in which the genres of both law and horror construct and communicate stories of origins that are integral to power and authority.
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The Ring Goes to Different Cultures: a Call for Cross Cultural Studies of Religious Horror Films Seung Min Hong University of Iowa, [email protected]
Journal of Religion & Film Volume 16 Article 2 Issue 2 October 2012 10-1-2012 The Ring Goes to Different Cultures: A Call for Cross Cultural Studies of Religious Horror Films Seung Min Hong University of Iowa, [email protected] Recommended Citation Hong, Seung Min (2012) "The Ring Goes to Different Cultures: A Call for Cross Cultural Studies of Religious Horror Films," Journal of Religion & Film: Vol. 16 : Iss. 2 , Article 2. Available at: https://digitalcommons.unomaha.edu/jrf/vol16/iss2/2 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]. The Ring Goes to Different Cultures: A Call for Cross Cultural Studies of Religious Horror Films Abstract Within the field of religion and media, the study of horror films has always been treated as a minor topic, and cross-cultural comparative studies of such films are even rarer. Furthermore, such comparative projects that involve East Asian contexts, despite their influence on the genre of horror, are yet more difficult to find. By attempting a brief American & East Asian comparative analysis of the Ring series as an example and also proposing an empirical comparative audience research, I call for more cross cultural studies of religious horror films. Keywords Horror, Asian cinema, cross-cultural study Author Notes Seung Min Hong is currently a doctoral student in Communication Studies at the University of Iowa with a focus on Media Studies. He has also completed one year of Ph.D.
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Japanese Film Industry
(C) JETRO Japan Economic Monthly, May Japanese Film Industry Japanese Economy Division Summary ・ The Japanese film industry entered a steady recovery phase in 2004. ・ The three major producers — Shochiku, Toei and Toho — have an overwhelming share of the market because they control everything, from upstream to downstream, by combining production, distribution and exhibition. ・ Japanese film exports are concentrated on animations because they have a good reputation for the quality of their artwork and stories. Japanese films have also attracted Hollywood’s interest in the rights to remakes, primarily for Japanese horror films. 1. Market Overview Favorable trends in 2004 The Japanese film industry entered a steady recovery phase in 2004. Movie attendance increased 4.8% to surpass 170 million for the first time since 1983 and box office revenues were up 3.8% to 210.9 billion yen (Fig. 1）. Both figures have been on the upswing since 2000 (figs. 2 and 3), indicating that a full-fledged recovery is under way. Box office revenues were split 62.5% for foreign films and 37.5% for Japanese films. The release of productions such as Studio Ghibli’s “Howl’s Moving Castle” (20 billion yen gross) and “Sekai no Chushin de Ai wo Sakebu” (8.5 billion yen) helped to boost the Japanese share. Fig. 1 Japanese Film Market (2001-04) Category2004 Annual change 2003 2002 2001 Attendance (mil. people)17.009 4.8% 16.235 16.077 16.328 Box office revenues (bil. yen)21.091 3.8% 20.326 19.678 20.015 Ratio Ratio Ratio Ratio Japanese films (bil.
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ABSTRACT BALL, SARAH KELLY VIRGINIA MCKAY. the Uncanny in Japanese and American Horror Film: Hideo Nakata’S Ringu and Gore Verbinski’S Ring
ABSTRACT BALL, SARAH KELLY VIRGINIA MCKAY. The Uncanny in Japanese and American Horror Film: Hideo Nakata’s Ringu and Gore Verbinski’s Ring. (Under the direction of Maria Pramaggiore.) In the last few decades, interest in the uncanny in the body of literary theory has surged. The uncanny is a ubiquitous presence 21st century American and abroad, and it provides a useful metaphor for understanding the implications of some of the conventions of post-modernism. This thesis explores a contemporary definition of the uncanny as manifested through two film interpretations (Ringu and Ring) of the same source material, a novel titled Ringu by Koji Suzuki. Through a brief exploration of the historical evolution of the idea of the uncanny and the various critical cruxes surrounding it, I have developed six working characteristics of the uncanny as a base for my analysis of Ringu and Ring. Furthermore, I have explored the social, historical, and cultural underpinnings of Suzuki’s original novel and its path to Japanese and eventually American theatres. Within the narrative of both films, the uncanny is manifested through extended use of the doppelganger and repetition. There is no significant difference in the films’ rendering of the uncanny through narrative. The films differ slightly in their presentation of uncanny sound and visual elements: Ringu relies primarily on sound and characters’ internal experience to produce the uncanny, whereas Ring focuses on the visual and characters’ external experience. The films unify their internal rendering of the uncanny with their metatextual (and commercial) behavior with the gaze, an aspect of both films that implicates the viewer in their propagation of the uncanny and the film franchise.
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