Plural Subjectivity in Stargate SG-1
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Area/State Colby Free Press Monday, October 4, 2010 Page 3 Weather Gun rights, mental health on 2010 ballot Corner From “BALLOT,” Page 1 tional guarantees to the individual right to section of the law in the 1970s when the paign to let voters know why the revision bear arms, the federal constitution does, Constitution was last updated on a grand is needed. The U.S. Supreme Court ruled in a Dis- providing protection for citizens. scale, but left the mental health exception. “A voter with mental illness doesn’t trict Columbia case that individuals have “The federal constitutional right sets the Sweeney said had the changes been made mean someone who is in a state hospital,” the right to bear arms, striking down a ban minimum,” Levy said. “States might give later in the decade, the mental health excep- Sweeney said, “but someone with anxiety, on handguns. But the case was not viewed greater rights than the federal constitu- tion also would have been nixed. Mental depression, a soldier coming back with as far-reaching because of D.C.’s unique tion.” illness was just beginning to be understood, (post traumatic stress disorder). It’s our federal status. Then this June, the high For example, states may specify greater leading to changes in treatment and diagno- grandparents and our neighbors.” court struck down a Chicago handgun law, rights for carrying concealed weapons, li- sis that otherwise would have led to a “hos- Sweeney said Kansas isn’t the only state declaring that Americans have the right to censing of fi rearms or necessary training. -
Simgate: Full-System, Cycle-Close Simulation of the Stargate Sensor Network Intermediate Node
SimGate: Full-System, Cycle-Close Simulation of the Stargate Sensor Network Intermediate Node Ye Wen, Selim Gurun, Navraj Chohan, Rich Wolski, and Chandra Krintz Department of Computer Science University of California, Santa Barbara Abstract— We present SimGate – a full-system simulator of most Stargate components including the processor, memory for the Stargate intermediate-level, resource-constrained, sen- hierarchy, communications (serial and radio), and peripherals. sor network device. We empirically evaluate the accuracy and As the result, SimGate boots and runs the Familiar Linux performance of the system in isolation as well as coupled with simulated Mica2 motes. Our system is functionally correct and operating system and any program binary that executes over achieves accurate cycle estimation (i.e. cycle-close). Moreover, it, without modification. the overhead of simulated execution is modest with respect to Our system is also unique in that we use it to simulate the previously published work. ensemble of both intermediate and base level sensor devices, i.e. Stargate and motes (e.g. Mica2). We do so by coupling I. INTRODUCTION SimGate with SimMote, a cycle-accurate full-system simulator Sensor networks have emerged as a technology for transpar- of motes [17]. This interoperability reveals the potential of ently interconnecting our physical world with more powerful simulating a complete sensor network setting including both computational environments, and ultimately, global informa- basic nodes, gateway nodes, and their interactivity. tion systems. In a typical sensor network, computationally We evaluate the accuracy of our system by comparing simple, low-power, sensor elements take physical readings the simulated clock cycles to measured clock cycles using a and may perform minor processing of these readings before range of stressmarks and community benchmarks. -
The Nominees for Best Feature Length Drama
2012 LEO AWARDS NOMINEES & WINNERS BEST FEATURE LENGTH DRAMA WINNER Sisters&Brothers Carl Bessai, James Brown, Emily Alden - Producers NOMINEES Daydream Nation Christine Haebler, Trish Dolman - Producers Doppleganger Paul Katherine Hazon, Oliver Linsley, Dylan Akio Smith, Kris Elgstrand - Producers Marilyn Christopher Petry, Kaleena Kiff, Bruce Borland - Producers The Odds Simon Davidson, Kirsten Newlands, Oliver Linsley - Producers Page 1 of 78 2012 LEO AWARDS NOMINEES & WINNERS BEST DIRECTION FEATURE LENGTH DRAMA WINNER Carl Bessai Sisters&Brothers NOMINEES Dylan Akio Smith, Kris Elgstrand Doppleganger Paul Paul A. Kaufman Magic Beyond Words: The J.K. Rowling Story Christopher Petry Marilyn Simon Davidson The Odds Page 2 of 78 2012 LEO AWARDS NOMINEES & WINNERS BEST SCREENWRITING FEATURE LENGTH DRAMA WINNER Kris Elgstrand Doppleganger Paul NOMINEES Melodie Krieger, Jim Cliffe Donovan's Echo Christopher Petry Marilyn Aaron Houston Sunflower Hour Simon Davidson The Odds Page 3 of 78 2012 LEO AWARDS NOMINEES & WINNERS BEST CINEMATOGRAPHY FEATURE LENGTH DRAMA WINNER Jon Joffin Daydream Nation NOMINEES Michael C. Blundell Hamlet Pieter Stathis Hit 'n Strum Mathias Herndl Magic Beyond Words: The J.K. Rowling Story Norm Li The Odds Page 4 of 78 2012 LEO AWARDS NOMINEES & WINNERS BEST PICTURE EDITING FEATURE LENGTH DRAMA WINNER Sabrina Pitre Sisters&Brothers NOMINEES Jamie Alain Daydream Nation Mark Shearer Donovan's Echo Kirby Jinnah Marilyn Greg Ng Sunflower Hour Page 5 of 78 2012 LEO AWARDS NOMINEES & WINNERS BEST OVERALL SOUND FEATURE LENGTH -
Television Sharknados and Twitter Storms
Television Sharknados and Twitter Storms: Cult Film Fan Practices in the Age of Social Media Branding Stephen William Hay A thesis submitted to Victoria University of Wellington in fulfilment of the regulations for the degree of Master of Arts in Media Studies Victoria University of Wellington 2016 Abstract This thesis examines the Syfy channel’s broadcast of the television movie Sharknado and the large number of tweets that were sent about it. Sharknado’s audience engaged in cult film viewing practices that can be understood using paracinema theory. Paracinema engagement with cult films has traditionally taken place in midnight screenings in independent movie theatres and private homes. Syfy’s audience was able to engage in paracinematic activity that included making jokes about Sharknado’s low quality of production and interacting with others who were doing the same through the affordances of Twitter. In an age where branding has become increasingly important, Syfy clearly benefited from all the fan activity around its programming. Critical branding theory argues that the value generated by a business’s brand comes from the labour of consumers. Brand management is mostly about encouraging and managing consumer labour. The online shift of fan practices has created new opportunities for brand managers to subsume the activities of consumers. Cult film audience practices often have an emphasis on creatively and collectively engaging in rituals and activities around a text. These are the precise qualities that brands require from their consumers. Sharknado was produced and marketed by Syfy to invoke the cult film subculture as part of Syfy’s branding strategy. -
Stargate Sg1 "Flesh and Blood" Episode #1001 Dialogue Continuity Script
STARGATE SG1 "FLESH AND BLOOD" EPISODE #1001 DIALOGUE CONTINUITY SCRIPT June 5, 2006 Prepared by: Line 21 Media Services Ltd. #122 - 1058 Mainland Street Vancouver, B.C. V6B 2T4 Phone: (604) 662-4600 [email protected] 1 STARGATE SG-1 - "Flesh and Blood" - Episode #1001 TIMECODE DIALOGUE START TIMECODE 01:00:00:00 AT FIRST FRAME OF PICTURE RECAP 01:00:00:05 TEAL'C: Previously on Stargate SG-1... 01:00:03:08 DOCI: In the name of the gods, ships shall be built to carry our warriors out amongst the stars. 01:00:08:22 ORLIN: Everything Origins followers devote themselves to is a lie. 01:00:12:16 MITCHELL: Whose baby is it? 01:00:13:21 VALA: I don't know. 01:00:14:19 PRIOR (V/O):The child is the will of the Ori. 01:00:18:10 VALA (V/O): The ships are planning to leave. 01:00:19:28 VALA (CONT'D): Somewhere out there, the Ori have a working supergate. 01:00:22:11 CARTER (V/O): We've managed to locate the dialing control crystals on one particular section of the gate. 2 STARGATE SG-1 - "Flesh and Blood" - Episode #1001 01:00:26:10 CARTER (CONT'D): We dial out before they can dial in. 01:00:28:20 CARTER (CONT'D INTO RADIO): Something's happening. 01:00:31:09 (EXPLOSION) 01:00:35:19 CARTER (CONT'D): My god... 01:00:36:27 NETAN: I didn't think you were that stupid. 01:00:38:14 TEAL'C: I have come to seek the assistance of the Lucian Alliance. -
Interfacing STARGATE-IP to UPB Networks
Interfacing STARGATE-IP to UPB Networks INTRODUCTION This Application Note describes Stargate-IP and Stargate-Lite support for controlling UPB Powerline devices. These control- lers, when connected to the powerline by a UPB Powerline Interface Module, can control a network of up to 250 UPB lighting dimmers and other UPB devices. This application note assumes a working knowledge of UPB and that the UPB devices have been installed and properly configured using the UPStart program (available from PCS or Simply Automated websites). Support for UPB requires a UPB Powerline Interface Module (PIM), also called a Computer Interface Module (CIM) and a UPB serial adapter and cable. The PIM connects to COM2 or COM3 of the Stargate via the UPB serial adapter cable. Once configured, the UPB devices are fully integrated into Stargate and can be controlled in the same manor as X10 or ALC lighting devices. Stargate Controllers NEW Controllers Stargate-IP and Stargate-Lite controllers shipped with firmware 4.0.0 or later are modified and ready for UPB support. These units are shipped with a UPB serial adapter and cable for connection to a UPB Powerline Interface Module. The UPB Powerline Interface Module is not supplied. The UPB Powerline Interface Module (PCS PIM) or Computer Interface Module (Simply Automated CIM) are available from various distributors. NOTE: Your PIM or CIM must be in MESSAGE mode, not PULSE mode, in order for this module to behave correctly. If you are experiencing problems when the PIM or CIM is connected to Stargate, your interface is likely in PULSE mode and needs to be changed to MESSAGE mode. -
Andy Mikita Ç”Μå½± ĸ²È¡Œ (Ť§Å…¨)
Andy Mikita 电影 串行 (大全) 2010 https://zh.listvote.com/lists/film/movies/2010-1489273/actors Air https://zh.listvote.com/lists/film/movies/air-862245/actors Enemy at the Gate https://zh.listvote.com/lists/film/movies/enemy-at-the-gate-3204945/actors Threads https://zh.listvote.com/lists/film/movies/threads-7797182/actors Heroes https://zh.listvote.com/lists/film/movies/heroes-3145055/actors New Order https://zh.listvote.com/lists/film/movies/new-order-3333359/actors Gauntlet https://zh.listvote.com/lists/film/movies/gauntlet-3549438/actors Citizen Joe https://zh.listvote.com/lists/film/movies/citizen-joe-5122561/actors Blockade https://zh.listvote.com/lists/film/movies/blockade-3230420/actors Proving Ground https://zh.listvote.com/lists/film/movies/proving-ground-6089046/actors Heroes: Part 1 https://zh.listvote.com/lists/film/movies/heroes%3A-part-1-5896352/actors Cure https://zh.listvote.com/lists/film/movies/cure-1030075/actors Heroes: Part 2 https://zh.listvote.com/lists/film/movies/heroes%3A-part-2-5896348/actors New Order: Part 1 https://zh.listvote.com/lists/film/movies/new-order%3A-part-1-6041518/actors New Order: Part 2 https://zh.listvote.com/lists/film/movies/new-order%3A-part-2-6041516/actors Morning Show Mysteries: Murder https://zh.listvote.com/lists/film/movies/morning-show-mysteries%3A-murder-ever-after-107033028/actors Ever After Morpheus https://zh.listvote.com/lists/film/movies/morpheus-1179209/actors Lifeline https://zh.listvote.com/lists/film/movies/lifeline-3023880/actors Avalon https://zh.listvote.com/lists/film/movies/avalon-3497445/actors -
Callum Blue Photo: CB2020
191 Wardour Street London W1F 8ZE Phone: 020 7439 3270 Email: [email protected] Website: www.olivia-bell.co.uk Callum Blue Photo: CB2020 Green Card Appearance: White Greater London, England, United Location: Other: SAG Kingdom Eye Colour: Green Height: 6'1" (185cm) Hair Colour: Light/Mid Brown Weight: 12st. 7lb. (79kg) Hair Length: Short Playing Age: 35 - 45 years Television 2019, Television, Owen Booth, BLINDSPOT (SEASON 4), NBC, Christoper Place 2018, Television, George Farmer, RANSOM, CBS, James Genn 2015, Television, Peter Van Owen, PROOF (Series Regular), TNT, Alex Graves, Allison Anders 2015, Television, Rainer, THE RED DRESS, Entertainment One TV, Leif Bristow 2013, Television, Milos Kuester Ratenicz, ROYAL PAINS (SEASON 5), Universal, Various 2012, Television, Pastor Dan, SECRET LIVES OF WIVES, Warner Bros., Liz Freilander 2011, Television, Alex, SECRET DIARY OF A CALL GIRL (regular - series 2), ITV/Showtime, Various Directors 2011, Television, General Zod, SMALLVILLE (Season Regular), Warner Bros., Various Directors 2011, Television, Carlo Fagioli, ZEN, BBC TV, Jon Jones 2010, Television, Edward Forsythe, SANCTUARY: KALI (PART 1, 2 & 3), SyFy, Martin Wood 2010, Television, General Zod, SMALLVILLE (Series Regular), Warner Bros., Various Directors 2009, Television, Jack, BOOK CLUB, Novel Ruby Productions, Katey Wheelhouse 2009, Television, Lord Marchwood, THE SARAH JANE ADVENTURES, BBC TV, Alice Troughton 2008, Television, Graham Duncan, DIRT, ABC Studios, David Arquette 2008, Television, Anthony Knivert, THE TUDORS (Series -
Apocalypse As Religious and Secular Discourse in Battlestar Galactica
Volume 6 2014-15 APOCALYPSE & GHOSTS Apocalypse as Religious and Secular Discourse in Battlestar Galactica and its Prequel Caprica Diane Langlumé University of Paris VIII Saint-Denis Abstract he concept of the end of the world is inherent in religious discourse. Illustratively, in T Medieval Christianity, a divine power was held responsible for cataclysmic events. In the post-Hiroshima era, the concept of apocalypse has taken on secular meaning. Not surprisingly, given recent history, the apocalypse has become a prominent component of popular television epics; broadcast narratives, such as Battlestar Galactica and Caprica, entwine both Biblical and secular versions of the apocalypse, thereby creating a novel apocalyptic discourse which, instead of establishing the apocalypse as an end, uses it as a foundation, as a thought-provoking means of conveying a political message of tolerance and acceptance of otherness, of encouraging self-reflectiveness; and as a way of denouncing the empty rhetoric of religious extremism. Keywords: Television series, Battlestar Galactica, Caprica, religion, Book of Mormon, Bible, Book of Revelation, John of Patmos, Genesis, Adam, Garden of Eden, Heaven, God, fall of man, the beast, false prophet, angel, Second Coming, resuscitation, apocalypse, end of the world, nuclear apocalypse, Hiroshima, post-apocalyptic, genocide, intertextuality, parody, pastiche, religious satire, 9/11, America, religious terrorism, suicide bombing, cyborg, robot, humanity, monotheism, polytheism. he television series Battlestar Galactica1 establishes its chronology between a nuclear T apocalypse that has just taken place and the threat of a potential future apocalypse,2 both at the hands of human-looking cyborgs called Cylons. Caprica, its prequel series, set fifty- eight years before the nuclear detonation, unfolds the events leading up to the apocalypse in Battlestar Galactica. -
This Is a Test
‘GOODNIGHT FOR JUSTICE: QUEEN OF HEARTS’ PRODUCTION BIOS LUKE PERRY (Executive Producer) – In 1989, Luke Perry was chosen for a starring role on the internationally popular television series “Beverly Hills 90210,” in which he portrayed the brooding but sensitive Dylan McCay. The highly-rated program won a Golden Globe Award for Best Dramatic Television series in 1991. Perry made his feature film debut in a starring role in “8 Seconds,” the remarkable account of champion bull rider Lane Frost, which he co-produced. His serious devotion to the inspirational legend of Lane Frost led him to train vigorously for 18 months in order to master the techniques of bull riding and to be able to perform many of his own stunts during production. Other film credits include Columbia’s “Fifth Element”, directed by Luc Besson, “Riot for Showtime,” “Normal Life,” “American Strays” and “The Florentine,” in which he co-starred with Chris Penn, Jim Belushi, Michael Madsen and Mary Stuart Masterson. Perry made his debut on Broadway in the critically acclaimed musical The Rocky Horror Picture Show, where he portrayed Brad, the character originally played by Barry Bostwick in the cult film classic. In 2004, Perry appeared onstage in London opposite Allyson Hannigan in When Harry Met Sally. Not one to be typecast because of his work on “90210,” Perry’s television credits include a myriad of roles, including a lead in the NBC drama “Windfall,” HBO’s “John From Cincinnati,” starring for two seasons on “Jeremiah,” the Showtime Network sci-fi series, a multi-episode arc on HBO’s critically acclaimed series “Oz,” in which he portrayed a televangelist convicted of fraud, as well as roles in Hallmark Channel productions “Johnson County War,” “Supernova,” “A Gunfighter’s Pledge” and “Angel and the Badman.” Perry starred in “Goodnight for Justice,” Hallmark Movie Channel’s highest rated movie of all time. -
Netflix and the Development of the Internet Television Network
Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation. -
Science Fiction on American Television
TV Sci-Fi 16 + GUIDE This and other bfi National Library 16 + Guides are available from http://www.bfi.org.uk/16+ TV Sci-Fi CONTENTS Page IMPORTANT NOTE................................................................................................................. 1 ACCESSING RESEARCH MATERIALS.................................................................................. 2 APPROACHES TO RESEARCH, by Samantha Bakhurst ....................................................... 4 INTRODUCTION by Sean Delaney ......................................................................................... 6 AMERICAN TELEVISION........................................................................................................ 8 SCIENCE FICTION ON AMERICAN TELEVISION ................................................................. 9 AUDIENCES AND FANS......................................................................................................... 11 ANDROMEDA ......................................................................................................................... 12 BABYLON 5 ............................................................................................................................ 14 BATTLESTAR GALACTICA................................................................................................... 17 FARSCAPE ............................................................................................................................. 19 THE IRWIN ALLEN QUARTET • VOYAGE TO THE BOTTOM OF THE SEA.....................................................................