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How to Die in a Slasher Film: the Impact of Sexualization July, 2021, Vol
Journal of Criminal Justice and Popular Culture How to Die in a Slasher Film: The Impact of Sexualization July, 2021, Vol. 21 (Issue 1): pp. 128 – 146 Wellman, Meitl, & Kinkade Copyright © 2021 Journal of Criminal Justice and Popular Culture All rights reserved. ISSN: 1070-8286 How to Die in a Slasher Film: The Impact of Sexualization, Strength, and Flaws on Characters’ Mortality Ashley Wellman Texas Christian University & Michele Bisaccia Meitl Texas Christian University & Patrick Kinkade Texas Christian University 128 Journal of Criminal Justice and Popular Culture How to Die in a Slasher Film: The Impact of Sexualization July, 2021, Vol. 21 (Issue 1): pp. 128 – 146 Wellman, Meitl, & Kinkade Abstract Popular culture has often referenced formulaic ways to predict a character’s fate in slasher films. The cliché rules have noted only virgins live, black characters die first, and drinking and drugs nearly guarantee your death, but to what extent do characters’ basic demographics and portrayal determine whether a character lives or dies? A content analysis of forty-eight of the most influential slasher films from the 1960s – 2010s was conducted to measure factors related to character mortality. From these films, gender, race, sexualization (measured via specific acts and total sexualization), strength, and flaws were coded for 504 non killer characters. Results indicate that the factors predicting death vary by gender. For male characters, those appearing weak in terms of physical strength or courage and those males who appeared morally flawed were more likely to die than males that were strong and morally sound. Predictors of death for female characters included strength and the presence of sexual behavior (including dress, flirtatious attitude, foreplay/sex, nudity, and total sexualization). -
Gender-Sternchen, Binnen-I Oder Generisches Maskulinum, … (Akademische) Textstile Der Personenreferenz Als Registrierungen?*
Gender-Sternchen, Binnen-I oder generisches Maskulinum, … (Akademische) Textstile der Personenreferenz als Registrierungen?* Helga Kotthoff (Freiburg) Abstract For more than 40 years, a debate on gender-related person references has been taking place in the German-speaking world. My contribution starts with a differentiation of four registers, which are currently practiced in writing and have developed specific reasoning discourses and specific social contexts of usage, as I try to show. I am going to examine these four styles of gendered person reference as “registers” in the sense of anthropological linguistics (Agha 2007). This concept of “enregisterment” implies that the producers connect themselves to a socio-symbolic cosmos and can be perceived with cultural evaluations (in production and re- ception), for example, as conservative, feminist, queer, liberal (Kotthoff 2017). Here I shall explore their (socio)linguistic underpinnings within conceptions of language ideology in order to grasp the communication-reflexive charges of these discourses. 1 Einleitung Seit über 40 Jahren findet im deutschsprachigen Raum eine Debatte um geschlechterbezogene Personenreferenzen statt. Mein Beitrag setzt bei einer Binnendifferenzierung von vier Registern an, die sich inzwischen mit spezifischen sozialen Verortungen herausgebildet haben, was ich zu zeigen versuche. Die traditionelle Schreibpraxis mit einem generisch gemeinten, ge- schlechtsübergreifenden Maskulinum1 (Typ 1), wie sie etwa von Eisenberg (2017), Glück (2018) oder dem Verein für Deutsche -
A Dark New World : Anatomy of Australian Horror Films
A dark new world: Anatomy of Australian horror films Mark David Ryan Faculty of Creative Industries, Queensland University of Technology A thesis submitted in fulfillment of the degree Doctor of Philosophy (PhD), December 2008 The Films (from top left to right): Undead (2003); Cut (2000); Wolf Creek (2005); Rogue (2007); Storm Warning (2006); Black Water (2007); Demons Among Us (2006); Gabriel (2007); Feed (2005). ii KEY WORDS Australian horror films; horror films; horror genre; movie genres; globalisation of film production; internationalisation; Australian film industry; independent film; fan culture iii ABSTRACT After experimental beginnings in the 1970s, a commercial push in the 1980s, and an underground existence in the 1990s, from 2000 to 2007 contemporary Australian horror production has experienced a period of strong growth and relative commercial success unequalled throughout the past three decades of Australian film history. This study explores the rise of contemporary Australian horror production: emerging production and distribution models; the films produced; and the industrial, market and technological forces driving production. Australian horror production is a vibrant production sector comprising mainstream and underground spheres of production. Mainstream horror production is an independent, internationally oriented production sector on the margins of the Australian film industry producing titles such as Wolf Creek (2005) and Rogue (2007), while underground production is a fan-based, indie filmmaking subculture, producing credit-card films such as I know How Many Runs You Scored Last Summer (2006) and The Killbillies (2002). Overlap between these spheres of production, results in ‘high-end indie’ films such as Undead (2003) and Gabriel (2007) emerging from the underground but crossing over into the mainstream. -
Graphemic Methods for Genderneutral
Graphemic Methods for GenderNeutral Writing Yannis Haralambous & Joseph Dichy Abstract. In this paper we present a model and a classification of graphemic genderneutral writing methods, we explore current practices in French, Ger man, Greek, Italian, Portuguese and Spanish languages, and we investigate in teractions between genderneutral writing forms and regular expressions. 1. Introduction: The General Issue of, and behind, Gender Neutral Writing The issue behind genderneutral writing is that of the representation of intergender relations carried by languages. What is at stake is the representation of equality, or not, between genders. The issue is also re ferred to as “inclusive writing,” which apparently refers to human rights, but does not cover all cases, i.e., lesbian, gay, bisexual and transgender persons. The term “GenderNeutral Writing” is, in fact, both clearer and more inclusive. Generally speaking, languages are conservative, if not archaic. A sig nificant example is that of the idea of time, which is traditionally repre sented as a dot sliding along a straight line in a continuous movement. This has been a philosophical image of time since ancient Greek philoso phers and throughout the Middle Ages both in Arabic and European phi losophy, but can no longer be considered as a valid representation after 20th century existentialist philosophers and Heidegger’s Sein und Zeit. Yannis Haralambous 0000-0003-1443-6115 IMT Atlantique & LabSTICC UMR CNRS 6285 Brest, France [email protected] Joseph Dichy Professor of Arabic linguistics Lyon, France [email protected] Y. Haralambous (Ed.), Graphemics in the 21st Century. -
Read an Excerpt
Univer�it y Pre� of Mis �is �ipp � / Jacks o� Contents u Preface: This book could be for you, depending on how you read it . ix. Acknowledgments . .xiii Chapter 1 Meet Jason Voorhees: An Autopsy . 3 Chapter 2 Jason’s Mechanical Eye . 45 Chapter 3 Hearing Cutting . .83 . Chapter 4 Have You Met Jason? . 119. Chapter 5 The Importance of Being Jason . 153 .. Appendix 1 Plot Summaries for the Friday the 13th Films . 179 Appendix 2 List and Description of Characters in the Friday the 13th Films . 185 Works Cited . 199 Index . 217. Chapter 1 u Meet Jason Voorhees: An Autopsy Sometimes the weirdest movies strike you in unexpected ways. In the winter of 1997, I attended a late-night screening of Friday the 13th (1980) at the campus theater at James Madison University in Harrisonburg, Virginia. I’d never seen the film before, but I was aware of its cultural significance. I expected a generic slasher film with extensive violence and nudity. I expected something ultimately forgettable. Having watched it seventeen years after its initial release, I found it generic; it did have violence and nudity, and was entertaining. However, I did not find it forgettable. Walking home with the first flecks of a winter snow weaving around me in the dark, I found myself thinking over it. I continually recalled images, sounds, and narrative moments that were vivid in my mind. Friday the 13th wormed into my brain, with its haunting and atmospheric style. After watching the original film several more times, I started in on the sequels, preparing myself for disappointment each time. -
ABSTRACT Stereotypes of Asians and Asian Americans in the U.S. Media
ABSTRACT Stereotypes of Asians and Asian Americans in the U.S. Media: Appearance, Disappearance, and Assimilation Yueqin Yang, M.A. Mentor: Douglas R. Ferdon, Jr., Ph.D. This thesis commits to highlighting major stereotypes concerning Asians and Asian Americans found in the U.S. media, the “Yellow Peril,” the perpetual foreigner, the model minority, and problematic representations of gender and sexuality. In the U.S. media, Asians and Asian Americans are greatly underrepresented. Acting roles that are granted to them in television series, films, and shows usually consist of stereotyped characters. It is unacceptable to socialize such stereotypes, for the media play a significant role of education and social networking which help people understand themselves and their relation with others. Within the limited pages of the thesis, I devote to exploring such labels as the “Yellow Peril,” perpetual foreigner, the model minority, the emasculated Asian male and the hyper-sexualized Asian female in the U.S. media. In doing so I hope to promote awareness of such typecasts by white dominant culture and society to ethnic minorities in the U.S. Stereotypes of Asians and Asian Americans in the U.S. Media: Appearance, Disappearance, and Assimilation by Yueqin Yang, B.A. A Thesis Approved by the Department of American Studies ___________________________________ Douglas R. Ferdon, Jr., Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Arts Approved by the Thesis Committee ___________________________________ Douglas R. Ferdon, Jr., Ph.D., Chairperson ___________________________________ James M. SoRelle, Ph.D. ___________________________________ Xin Wang, Ph.D. -
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Fontwerk Case Micro™ Type Specimen · © 2020 Fontwerk · fontwerk.com · 1/19 Case Micro Fontwerk Case Micro™ Credits & Details · fontwerk.com · 2/19 Case Micro™ For small print that is supposed to be read. The typographical proof that size does matter. Design Design Contributions Trademarks Licensing, Pricing Modifications, Erik Spiekermann Andreas Frohloff Case Micro™ is a trademark of Trial Free Test license Extensions Anja Meiners Fontwerk GmbH Standard Combined Print, Web, Available on request Ralph du Carrois Mastering, Production App and eBook license, Andreas Frohloff Design Period; Release starting at €50 Recommended Use Christoph Koeberlin 2019–2020; October 12, 2020 ExtendedLarger license Advertising & Packaging volume and additional Broad‐ Editorial & Publishing Marketing Latest Update casting, starting at €500 Small Text Ivo Gabrowitsch(Naming, Version 1.001; October 26, 2020 Further types of license Software & Gaming Conceptual Contribution, available on request Responsive Designs Copywriting, Imagery, Languages Specimen) 94 Latin (see page 8) Formats Contact Lucy Beckley (English otf, woff, woff2; Further Fontwerk GmbH Translation) Glyphs Per Font formats available on request Prenzlauer Allee 186 Loris Olivier(Graphic Design) 789 (see page 9) 10405 Berlin, Germany Variable Fonts [email protected] Styles Included in the Superfamily 8: four upright weights and package at no extra cost. Available exclusively corresponding italics Axis: weight, optical size from fontwerk.com/ (see page 5) fonts/case-micro. File sizes (woff/woff2): 170/136 kb Upright; 172/136 kb Italic Bold 50 pt, Medium 16 pt, Regular 16 pt, Bold 8.5 pt, Regular 8.5 pt Fontwerk Case Micro™ Samples · fontwerk.com · 3/19 End-to-end encryption Berlin Grammar Metoprolol 100–1A SIGNATURE institut pasteur de lille 1899 Freelancer From $29.95/mo. -
The Juggler of Notre Dame and the Medievalizing of Modernity VOLUME 6: WAR and PEACE, SEX and VIOLENCE
The Juggler of Notre Dame and the Medievalizing of Modernity VOLUME 6: WAR AND PEACE, SEX AND VIOLENCE JAN M. ZIOLKOWSKI To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/822 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. THE JUGGLER OF NOTRE DAME VOLUME 6 The Juggler of Notre Dame and the Medievalizing of Modernity Vol. 6: War and Peace, Sex and Violence Jan M. Ziolkowski https://www.openbookpublishers.com © 2018 Jan M. Ziolkowski This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work providing attribution is made to the author (but not in any way that suggests that he endorses you or your use of the work). Attribution should include the following information: Jan M. Ziolkowski, The Juggler of Notre Dame and the Medievalizing of Modernity. Vol. 6: War and Peace, Sex and Violence. Cambridge, UK: Open Book Publishers, 2018, https://doi.org/10.11647/OBP.0149 Copyright and permissions for the reuse of many of the images included in this publication differ from the above. Copyright and permissions information for images is provided separately in the List of Illustrations. Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. -
Wadaiko in Japan and the United States: the Intercultural History of a Musical Genre
Wadaiko in Japan and the United States: The Intercultural History of a Musical Genre by Benjamin Jefferson Pachter Bachelors of Music, Duquesne University, 2002 Master of Music, Southern Methodist University, 2004 Master of Arts, University of Pittsburgh, 2010 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts & Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2013 UNIVERSITY OF PITTSBURGH Dietrich School of Arts & Sciences This dissertation was presented by Benjamin Pachter It was defended on April 8, 2013 and approved by Adriana Helbig Brenda Jordan Andrew Weintraub Deborah Wong Dissertation Advisor: Bell Yung ii Copyright © by Benjamin Pachter 2013 iii Wadaiko in Japan and the United States: The Intercultural History of a Musical Genre Benjamin Pachter, PhD University of Pittsburgh, 2013 This dissertation is a musical history of wadaiko, a genre that emerged in the mid-1950s featuring Japanese taiko drums as the main instruments. Through the analysis of compositions and performances by artists in Japan and the United States, I reveal how Japanese musical forms like hōgaku and matsuri-bayashi have been melded with non-Japanese styles such as jazz. I also demonstrate how the art form first appeared as performed by large ensembles, but later developed into a wide variety of other modes of performance that included small ensembles and soloists. Additionally, I discuss the spread of wadaiko from Japan to the United States, examining the effect of interactions between artists in the two countries on the creation of repertoire; in this way, I reveal how a musical genre develops in an intercultural environment. -
Texas Tech University Office of Communications & Marketing
Texas Tech University Office of Communications & Marketing Writers Style Guide A comprehensive guide for content producers in the Office of Communications & Marketing to enhance writing skills and ensure continuity and clarity of message for Texas Tech University. Chief Marketing & Communications Officer: Matt Dewey Guidelines for Writers June 24, 2021 The student body at Texas Tech University is as diverse as it has ever been, with the university recently reaching the enrollment requirement of Hispanic Serving Institution designation thanks to a Hispanic population that totals more than 25 percent of the overall student body. Just as diverse as the student body is every other aspect of Texas Tech, from the colleges and departments of study to the buildings, student organizations and intricate details encompassing every square inch of the campus that makes it such a unique and rewarding place to study and work. As content producers, we are tasked with telling the story of Texas Tech and its people – the faculty, staff, students, research endeavors, community engagement and so on. Doing so requires a great attention to detail, a task that can be daunting given all the various aspects of the university we encounter each day. In order to tell that story in as clear and concise a manner as possible, a clear set of writing style and grammatical guidelines is necessary. The Associated Press Stylebook is an excellent starting point and should be used in most instances, but it does not get into the intricate details of life on the Texas Tech campus. Therefore, it became necessary to develop an enhanced stylebook specifically detailed for Texas Tech. -
Yasukuni: the Stage for Memory and Oblivion
Volume 6 | Issue 5 | Article ID 2750 | May 03, 2008 The Asia-Pacific Journal | Japan Focus Yasukuni: The Stage for Memory and Oblivion Li Ying, Sai Yoichi Yasukuni: The Stage for Memory and The 123-minute documentary, filmed over the Oblivion. course of decade, focuses on the annual events at the Shinto shrine in central Tokyo on August A Dialogue between Li Ying and Sai Yoichi 15th, the date of Japan’s surrender at the end of World War II in 1945. Interspersed with this Translated by John Junkerman footage are scenes of craftsman Kariya Naoji, the last surviving member of a team of sword Li Ying’s documentary film “Yasukuni” opened smiths who forged 8100 “Yasukuni swords” on in Tokyo on May 3, without incident but under the grounds of the shrine during World War II. heavy police protection. The original launch of The film also documents efforts by indigenous the film, scheduled for April 12, was postponed Taiwanese, Okinawans, Koreans, and non- when four theaters in Tokyo and another in Shinto Japanese to have the souls of their Osaka cancelled their screenings of the film relatives removed from the shrine’s register. It after conservative members of the Japanese ends with an extended sequence of archival Diet raised questions about the film’s political footage, depicting the history of Yasukuni, stance (See also David McNeill and John visits to the shrine by Emperor Hirohito, and Junkerman, Freedom Next Time.Japanese scenes from World War II. Neonationalists Seek to Silence Yasukuni Film. The film premiered at the Pusan International Japanese media and civil liberties organizations Film Festival in October 2007 and is scheduled quickly protested what they considered to be for wide release in South Korea this spring. -
Kim Sujin and the Shinjuku Ryozanpaku
Carleton College Carleton Digital Commons Faculty Work Asian Studies 2009 The Avant-garde and Resident Korean Film-making: Kim Sujin and the Shinjuku Ryozanpaku Noboru Tomonari Carleton College Follow this and additional works at: https://digitalcommons.carleton.edu/asst_faculty Part of the Japanese Studies Commons Recommended Citation Tomonari, Noboru. "The Avant-garde and Resident Korean Film-making: Kim Sujin and the Shinjuku Ryozanpaku." Journal of Japanese & Korean Cinema, Journal of Japanese & Korean Cinema, 1, no.1 (2009): 65-81. Accessed via Faculty Work. Asian Studies. Carleton Digital Commons. https://digitalcommons.carleton.edu/asst_faculty/1 This Article is brought to you for free and open access by the Asian Studies at Carleton Digital Commons. It has been accepted for inclusion in Faculty Work by an authorized administrator of Carleton Digital Commons. For more information, please contact [email protected]. Journal of Japanese and Korean Cinema Volume 1 Number 1 © 2009 Intellect Ltd Article. English language. doi: 10.1386/jjkc.1.1.65/1 The avant-garde and resident Korean film-making: Kim Sujin and the Shinjuku Ryozanpaku Noboru Tomonari Carleton College Abstract Keywords The plays and films of Kim Sujin (1954– ) and his company Shinjuku Koreans in Japan Ryozanpaku attest to the variety of styles employed in recent works by resident Japanese cinema Korean artists in Japanese literature and theatre. The appearance of his plays Japanese theatre and films is connected to the changing identities of resident Koreans, especially Kim Sujin since the 1980s. Kim makes use of political theatre performances of the earlier Shinjuku Ryozanpaku period to magnify and to remake into art the experiences of resident Koreans in Japan.