DOCSLIB.ORG

Tinker Tailor Soldier

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Tinker Tailor Soldier Thriller, Horror, Hacker, Spy: The Hacker Genre in Film and Television from the 1970s to the 2010s Thesis submitted by David Cliffe In partial fulfilment of the requirements for the award of Doctor of Philosophy De Montfort University, March 2018 Table of Contents Abstract P.4 List of Figures P.5 Acknowledgements P.11 1) Introduction: Hacking and surveillance evolving into a genre P.12 1.1 Introduction P.12 1.2 Literature Review P.18 1.2a Defining genre as a concept P.19 1.2b Using genre theory to map out the core components of a genre P.21 1.2c Generic development and evolution – theorising generic evolution P.35 across genre films 1.2d Criticism on technology and hacking P.40 1.3 Using Genre and Adaptation Theory to Map Out the Hacker P.52 Genre 1.3a Proposed generic features P.53 1.3b Chapter Structure P.63 1.4 Conclusion P.69 2) Chapter One: From Eavesdropper to Enemy of the State: The P.70 evolution of hacking between The Conversation (1974) and Enemy of the State (1998) 2.1 Introduction P.70 2.2 The Conversation (Coppola, 1974) P.71 2.3 Enemy of the State (Scott, 1998) P.91 2.4 Conclusion P.111 3) Chapter Two: Tinkering with the Details – the Spy as Hacker in P.113 Adaptations of Tinker Tailor Soldier Spy 3.1 Introduction P.113 3.2 Tinker Tailor Soldier Spy (Irvin, 1979) P.114 3.3 Tinker Tailor Soldier Spy (Alfredson, 2011) P.131 3.4 Conclusion P.143 4) Chapter Three: Evolution of Hacking in the 1980s and 1990s – P.145 WarGames (1983) and Hackers (1995) 4.1 Introduction P.145 4.2 Evolution of Hacker Generic Features P.147 4.3 WarGames (Badham, 1983) P.152 4.4 Hackers (Softley, 1995) P.171 4.5 Conclusion P.189 Page 2 of 363 5) Chapter Four: Hacking on Television in a Post-9/11 World – 24, P.190 Spooks and Person of Interest 5.1 Introduction P.190 5.2 24 (2001-2010) P.193 5.3 Spooks (2002-2011) P.205 5.4 Person of Interest (2011-2016) P.214 5.5 Conclusion P.224 6) Chapter Five: Foregrounding the Media in Adaptations of The Girl P.226 with the Dragon Tattoo 6.1 Introduction P.226 6.2 The Girl with the Dragon Tattoo (Oplev, 2009) P.228 6.3 The Girl with the Dragon Tattoo (Fincher, 2011) P.250 6.4 Conclusion P.263 7) Conclusion – ‘Hack the Planet!’ P.265 7.1 Introduction P.265 7.2 Hacking Genre Features Revisited P.270 7.3 Considering Other Examples of Hacker Genre Films P.276 7.3a) Sneakers (Robinson, 1992) P.276 7.3b) The Matrix (The Wachowksi Brothers, 1999) P.278 7.3c) Swordfish (Sena, 2001) P.281 7.4 The Net (Winkler, 1995) P.282 7.5 Conclusion P.302 Appendix A – List of Potential Hacker Genre Films P.304 Appendix B – List of Potential Hacker Television Series P.316 Appendix C – Transcript of Email Interview with Jonathan Powell P.320 Bibliography P.323 Filmography P.352 Notes P.363 Page 3 of 363 Abstract This thesis argues that hacking and surveillance have formed a ‘hacker’ genre in film and television that begins to emerge from the influences of 1970s films, forming between the 1980s and 1990s and continuing to develop through to the 2010s, grouping together computer hacking, surveillance and espionage as activities striving to achieve order over the ‘electronic frontier’1. In particular, this thesis identifies how hacker genre films foreground and fetishise the technology of hacking and surveillance of the period of production, which inevitably leads to an in-built expiry date and limited shelf-life. Whilst these genre films draw on the crime, horror and thriller traditions to depict the tension and anxiety presented by the capabilities of this hacking and surveillance technology, as technology progresses and becomes more familiar to the audience, these films naturally lose their ability to elicit fear and terror from the viewer; instead these films become virtual parodies of their original intention. Moreover, the thesis maps the evolution and development of the generic features of the hacker film genre, charting the progression from passive observation to active intervention of the hacker figure; as the technology progresses, there is an increased sense of speed and mobility and the hacker emerges from small enclosed spaces to engage with the physical world. Similarly, the thesis considers the role of the ‘hacker figure’ in these films, using the viewer’s human connection to consider how this technology affects the user over time; considering the links to the thriller and horror traditions, this study considers the potential for the hacker to become dehumanised in using this technology. Page 4 of 363 List of Figures 2.2 Figure 1 – The Conversation (Coppola, 1974) promotional poster. P.73 2.2 Figure 2 – Surveillance technology on show at the convention. The P.76 Conversation (Coppola, 1974), film grab. 2.2 Figure 3 – Caul tinkers with the recording. The Conversation (Coppola, P.78 1974), film grab. 2.2 Figure 4 – Caul’s demonstrates his ‘art’ by refining his recording with his P.78 equipment. The Conversation (Coppola, 1974), film grab. 2.2 Figure 5 – Caul physically separates himself from the rest of the group at P.81 the party. The Conversation (Coppola, 1974), film grab. 2.2 Figure 6 – Caul locks away notes and plans during the party scene in his P.82 workspace. The Conversation (Coppola, 1974), film grab. 2.3 Figure 7 – Enemy of the State (Scott, 1998) promotional poster. P.92 2.3 Figure 8 – The extradiegetic camera shows the satellite’s perspective P.95 tracking a target. Enemy of the State (Scott, 1998), film grab. 2.3 Figure 9 – Robert Dean’s interview with NSA agents is observed by P.96 agents at their office. Enemy of the State (Scott, 1998), film grab. 2.3 Figure 10 – Brill pauses to show the bugs to the camera. Enemy of the P.99 State (Scott, 1998), film grab. 2.3 Figure 11 – Robert Dean and Rachel seen through the camera’s P.100 viewfinder as the NSA agents monitor their conversation. Enemy of the State (Scott, 1998), film grab. Page 5 of 363 2.3 Figure 12– Brill’s hacker workspace. Enemy of the State (Scott, 1998), P.102 film grab. 2.3 Figure 13 – PC interface on Zavitz’s computer shows the film’s age. P.109 Enemy of the State (Scott, 1998), film grab. 2.3 Figure 14 – the technology in the film appears dated by today’s standards. P.110 The Conversation (Coppola, 1974), film grab. 3.2 Figure 15 – Screen grab from Tinker Tailor Soldier Spy (Irvin, 1979) P.116 promotion. 3.2 Figure 16 – Control’s ‘Tinker Tailor’ mapping on a wall. Tinker Tailor P.119 Soldier Spy (Irvin, 1979), film grab. 3.2 Figure 17 – The meeting room at the Circus is small and realistic. Tinker P.121 Tailor Soldier Spy (Irvin, 1979), film grab. 3.2 Figure 18 – Peter Guillam has to physically penetrate and ‘hack’ into the P.122 filing system of the Circus. Tinker Tailor Soldier Spy (Irvin, 1979), film grab. 3.2 Figure 19 – Smiley interviews Prideaux in the enclosed space of his car. P.127 Tinker Tailor Soldier Spy (Irvin, 1979), film grab. 3.3 Figure 20 – promotional poster for Tinker Tailor Soldier Spy (Alfredson, P.132 2011). 3.3 Figure 21 – the soundproof meeting room for senior Circus personnel. P.133 Tinker Tailor Soldier Spy (Alfredson, 2011), film grab. 3.3 Figure 22 – Connie’s flashback shows her viewing footage of Polyakov on P.134 period technology. Tinker Tailor Soldier Spy (Alfredson, 2011), film grab. 3.3 Figure 23 – the camera pans out to show the scale of the Circus records P.135 archive. Tinker Tailor Soldier Spy (Alfredson, 2011), film grab. Page 6 of 363 3.3 Figure 24 – Big Ben in the background as Smiley meets Lacon and the P.136 Minister. Tinker Tailor Soldier Spy (Alfredson, 2011), film grab. 3.3 Figure 25 – Smiley and Guillam’s meeting is viewed voyeuristically P.138 through a window. Tinker Tailor Soldier Spy (Alfredson, 2011), film grab. 4.3 Figure 26 – WarGames (Badham, 1983) promotional poster. P.153 4.3 Figure 27 – the giant NORAD Control Room monitors exemplify P.158 spectacle. WarGames, (Badham, 1983), film grab. 4.3 Figure 28 – Lightman’s home computer system in his bedroom. P.158 WarGames, (Badham, 1983), film grab. 4.3 Figure 29 – Lightman conducts research into Falken. WarGames, P.161 (Badham, 1983), film grab. 4.3 Figure 30 – Lightman finds the latest password in his school office. P.162 WarGames, (Badham, 1983), film grab. 4.3 Figure 31 – Lightman’s reflection appears in the technological screen as P.168 he plays video games. WarGames, (Badham, 1983), film grab. 4.3 Figure 32 – Lightman’s image on the computer screen mirrors that on the P.168 game screen. WarGames, (Badham, 1983), film grab. 4.3 Figure 33 – Falken on video. WarGames, (Badham, 1983), film grab. P.171 4.4 Figure 34 – Hackers (Softley, 1995) promotional poster. P.173 4.4 Figure 35 – Plague’s futuristic workstation and hacker workspace. P.175 Hackers, (Softley, 1995) film grab. 4.4 Figure 36 – technological viewpoint takes the viewer into the computer P.176 system. Hackers, (Softley, 1995) film grab. 4.4 Figure 37 – Murphy’s image immersed in data. Hackers, (Softley, 1995) P.177 film grab. Page 7 of 363 4.4 Figure 38 – glare from PC screens on Murphy’s face.
Load more

Recommended publications
  • Ecrits De L'ombre Etudes & Essais Sur Le Roman Et Le Film D'espionnage
    Belphégor Norbert Spehner Ecrits de l'ombre Etudes & essais sur le roman et le film d'espionnage Cette bibliographie de base comprend trois grandes parties : la littérature, le cinéma & la télévision et le mythe James Bond. La littérature sur Ian Fleming et son personnage fétiche est tellement abondante qu'elle mérite une partie distincte. Sauf rares exceptions portant spécifiquement et uniquement sur le genre, cette compilation ne recense pas les thèses et mémoires, ni les monographies de cinéastes comme Hitchcock et cie qui ont tourné toutes sortes de films. Elle est aussi très sélective à propos des écrivains qui, comme Graham Greene ou Joseph Conrad, ont écrit d'autres types de romans. Sommaire : 1. LITTERATURE Etudes générales et ouvrages de référence Choix d'études sur quelques auteurs 2. CINEMA & TELEVISION Etudes sur le film d'espionnage Etudes sur les Séries télévisées 3. A PROPOS DE Ian Fleming ET DE James Bond Biographies de Jan Fleming Sur James Bond 1. LITTERATURE Etudes générales et ouvrages de référence ÄCHTLER, Norman (dir.), Ikonographie des Terrors ? Formen ästhetischer Erinnerung an den Terrorismus in der Bundesrepublik 1987-2008, Heidelberg, Winter Verlag, 2010, 427 pages. AMBROSETTI, Ronald J., A Study of the Spy Genre in Recent Popular Literature, thèse de doctorat, Bowling Green State University, août 1973, 147 pages. ATKINS, John, The British Spy Novel : Styles in Treachery, London, John Calder & New York, Riverrun Press, 1984, 287 pages. BANNER, Classified Maneuvers : Spies and Nationalism in Twentieth-Century Fiction, thèse de doctorat/PhD, University of California, Los Angeles, 2001, 260 pages. BAUBE, Bruno (dir.), "L'espionnage des années 30", dans Rocambole, no 33, hiver 2005, 176 pages.
    [Show full text]
  • The Child As Hacker: Building More Human-Like Models of Learning by Joshua S
    The child as hacker: Building more human-like models of learning by Joshua S. Rule Submitted to the Department of Brain and Cognitive Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cognitive Science at the MASSACHUSETTS INSTITUTE OF TECHNOLOGY September 2020 © Massachusetts Institute of Technology 2020. All rights reserved. Author...................................................................... Department of Brain and Cognitive Sciences September 5, 2020 Certified by. Joshua B. Tenenbaum Professor of Computational Cognitive Science Thesis Supervisor Accepted by................................................................. Rebecca Saxe John W. Jarve (1978) Professor of Brain and Cognitive Sciences Associate Head, Department of Brain and Cognitive Sciences Affiliate, McGovern Institute for Brain Science Chairman, Department Committee on Graduate Theses 2 The child as hacker: Building more human-like models of learning by Joshua S. Rule Submitted to the Department of Brain and Cognitive Sciences on September 5, 2020, in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cognitive Science Abstract Cognitive science faces a radical challenge in explaining the richness of human learning and cognitive development. This thesis proposes that developmental theories can address the challenge by adopting perspectives from computer science. Many of our best models treat learning as analogous to computer programming because symbolic programs provide the most compelling account of sophisticated mental representations. We specifically propose that learning from childhood onward is analogous to a style of programming called hacking— making code better along many dimensions through an open-ended and internally-motivated set of diverse values and activities. This thesis also develops a first attempt to formalize and assess the child as hacker view through an in-depth empirical study of human and machine concept learning.
    [Show full text]
  • Be Sure to MW-Lv/Ilci
    Page 12 The Canadian Statesman. Bowmanville. April 29, 1998 Section Two From page 1 bolic vehicle taking its riders into other promised view from tire window." existences. Fit/.patriek points to a tiny figure peer ­ In the Attic ing out of an upstairs window on an old photograph. He echoes that image in a Gwen MacGregor’s installation in the new photograph, one he took looking out attic uses pink insulation, heavy plastic of the same window with reflection in the and a very slow-motion video of wind­ glass. "I was playing with the idea of mills along with audio of a distant train. absence and presence and putting shifting The effect is to link the physical elements images into the piece." of the mill with the artist’s own memories growing up on the prairies. Train of Thought In her role as curator for the VAC, Toronto area artists Millie Chen and Rodgers attempts to balance the expecta­ Evelyn Michalofski collaborated on the tions of serious artists in the community Millery, millery, dustipoll installation with the demands of the general popula­ which takes its title from an old popular tion. rhyme. “There has to be a cultural and intel ­ TeddyBear Club Holds Workshop It is a five-minute video projected onto lectual feeding," she says, and at the same Embroidered noses, button eyes, fuzzy cars, and adorable faces arc the beginnings of a beautiful teddy bear. three walls in a space where the Soper time, we have to continue to offer the So say the members of the Bowmanville Teddy Bear Club.
    [Show full text]
  • 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.
    [Show full text]
  • FY 2013 Performance and Financial Report (PDF: 5
    MANAGEMENT’S DISCUSSION AND ANALYSIS PERFORMANCE AND ACCOUNTABILITY REPORT Appalachian Regional Commission Fiscal Year 2013 Appalachian Regional Commission 1666 Connecticut Avenue, NW, Suite 700 Washington, DC 20009-1068 www.arc.gov FY 2013 PERFORMANCE AND ACCOUNTABILITY REPORT APPALACHIAN REGIONAL COMMISSION 1 MANAGEMENTMANAGEMENT’S DISCUSSION DISCUSSION AND AND ANALYSIS ANALYSIS APPALACHIAN REGIONAL COMMISSION September 30, 2013 Federal Co-Chair States’ Co-Chair Earl F. Gohl Governor Earl Ray Tomblin GOVERNORS AND STATE ALTERNATES Alabama New York South Carolina Governor Robert Bentley Governor Andrew M. Cuomo Governor Nikki Haley Jim Byard Jr. Dierdre Scozzafava George Patrick Georgia North Carolina Tennessee Governor Nathan Deal Governor Pat McCrory Governor Bill Haslam Gretchen Corbin Tony Almeida Ted Townsend Kentucky Ohio Virginia Governor Steven L. Beshear Governor John Kasich Governor Bob McDonnell Tony Wilder Jason Wilson William C. Shelton Maryland Pennsylvania West Virginia Governor Martin O’Malley Governor Tom Corbett Governor Earl Ray Tomblin Linda Janey Richard Hudic Mary Jo Thompson Mississippi Governor Phil Bryant Chris Champion Executive Director Thomas M. Hunter APPALACHIAN REGION N EW Y ORK The Appalachian Region includes all W ISCONSIN M ICHIGAN of West Virginia and parts of Alabama, P ENNSYLVANIA P ENNSYLVANIA Georgia, Kentucky, Maryland, Missis- I LLINOIS I NDIANA O HIO EW N ERSEY M J ARYLANDAR WARE sippi, New York, North Carolina, Ohio, A YLAND EL ELAWARE D WEST VIRGINIA D Pennsylvania, South Carolina, Ten- WEST VIRGINIA K ENTUCKY V IRGINIA nessee, and Virginia. The Region is HARTHART home to more than 25 million people T ENNESSEE N ORTH C AROLINA and covers 420 counties and almost S OUTHO UTH C AROLINA 205,000 square miles.
    [Show full text]
  • 1 CHAPTER I INTRODUCTION 1.1 Background Movie Has Become A
    1 CHAPTER I INTRODUCTION 1.1 Background Movie has become a large product of popular literary that entertains from time to time. The production of movie itself is extremely big, and many people enjoy watching a movie. As Rochani Adi (2011:70) says that the movie also one forms of popular cultural product that is produced on a massive scale. In movie also contains so much thing, some movie just make people laugh, some other movie make people think and some other may make people cry. In many comedy movie, the content that make us laugh appears from irony that shown up by the characters in the movie itself. Most people are getting more attracted to the movie as the modern media of literary works. But however, movie has same power as well as the other media of literature, such as Jinks (1974) in Rochani Adi (2011:53) said: “No one would argue that film and literature are the same medium or even the same kind of experience. The primary thrust of literature is linguistic, hence indirect, while the impetus of film is imagistic and immediate. And yet, despite the obvious differences separating these two narrative forms, there are some rather startling resemblances between them” Movie is one of the best alternatives for someone to feel consoled. Particularly comedy movies, and now the genre of comedy movie combines with other genres, such as romantic-comedy, action-comedy, and many more. However, the combining genre, 2 particularly humor genre and other genres could take humor genre as the main genre of the movie, or occasionally it is only just the addition genre of the movie.
    [Show full text]
  • HAWK KOCH Producer
    HAWK KOCH Producer Selected Credits: SOURCE CODE (Executive Producer) - Summit Entertainment - Duncan Jones, director UNTRACEABLE (Executive Producer) - Screen Gems/Lakeshore - Greg Hoblit, director FRACTURE (Executive Producer) - New Line - Greg Hoblit, director BLOOD AND CHOCOLATE (Producer) - MGM/Lakeshore - Katja von Garnier, director HOSTAGE (Executive Producer) - Miramax - Florent Emelio Siri, director THE RIVERMAN (Executive Producer) - Fox TV / A & E - Bill Eagles, director COLLATERAL DAMAGE (Executive Producer) - Warner Bros. - Andrew Davis, director FREQUENCY (Producer) - New Line - Greg Hoblit, director KEEPING THE FAITH (Producer) - Spyglass - Ed Norton, director THE BEAUTICIAN AND THE BEAST (Producer) - Paramount - Ken Kwapis, director PRIMAL FEAR (Executive Producer) - Paramount - Greg Hoblit, director VIRTUOSITY (Executive Producer) - Paramount - Brett Leonard, director LOSING ISAIAH (Producer) - Paramount - Stephen Gyllenhaal, director WAYNE’S WORLD 2 (Executive Producer) - Paramount - Stephen Surjik, director SLIVER (Executive Producer) - Paramount - Phillip Noyce, director WAYNE’S WORLD (Executive Producer) - Paramount - Penelope Spheeris, director NECESSARY ROUGHNESS (Executive Producer) - Paramount - Stan Dragoti THE LONG WALK HOME (Producer) - Miramax - Richard Pearce, director ROOFTOPS (Producer) - New Visions - Robert Wise, director THE POPE OF GREENWICH VILLAGE (Producer) - United Artists - Stuart Rosenberg, director THE KEEP (Producer) - Paramount - Michael Mann, director GORKY PARK (Producer) - Orion - Michael Apted, director A NIGHT IN HEAVEN (Producer) - Fox - John G. Avildsen, director HOKY TONK FREEWAY (Producer) - Universal - John Schlesinger, director THE IDOLMAKER (Producer) - United Artists - Taylor Hackford, director THE FRISCO KID (Executive Producer) - Warner Bros. - Robert Aldrich, director HEAVEN CAN WAIT (Executive Producer) - Paramount - Warren Beatty/Buck Henry, directors THE DROWNING POOL (Associate Producer) - Warner Bros. - Stuart Rosenberg, director .
    [Show full text]
  • Communication Arts 2019 Illustration Shortlist
    Communication Arts 110 Constitution Drive Communication Arts 2019 Menlo Park, CA 94025 (650) 326-6040 Illustration Shortlist (650) 326-1648 fax Media contact: These are the finalists in our 2019 Illustration competition. Rachel Whitaker, Competition Coordinator Winners will be notified by February 8, 2019. (650) 326-6040 or e-mail [email protected] Illustrator Company Category Title Sonia Alins Advertising Japanese swimmers A.Richard Allen Editorial Beast from the East Gary Alphonso Advertising Muskoka Cold Brew Florian Althans Brotlos Verlag Books Cello Ugur Altun Books Dancing with the Rain Ugur Altun Self-Promotion Feeling Weird Pablo Amargo Purple Rain Illustrators Editorial Crime Chris Anderson Giant Ant Motion/Animation Kindness Scott Anderson Editorial Pot in Paradise Scott Anderson Self-Promotion Sorolla Daniel Anguiano Unpublished Las Trenzas Mari Araki Self-Promotion Untitled Gabe Armagost Institutional Coffee Tree Tommy Arnold Books The Girl King Juliana Aschwanden-Vilaça Unpublished Freddie Mercury Elham Ataeiazar Self-Promotion Social Justice Kimberly Au Student Work Bedtime Story Dan Augustine For Sale Krampus Dan Augustine Advertising The Sofie Show Dan Augustine Unpublished Mandrill Alexandra S. Badiu Books Freaks Alexandra S. Badiu Student Work The Goat and Her Three Kids Scott Bakal Advertising World Press Freedom Day Poster Scott Bakal Unpublished Smiling Depression Scott Bakal For Sale Plenty! Boaz Balachsan DIGITALBOAZ Advertising Cyclecity Anna and Elena Balbusso ANNA+ELENA=BALBUSSO TWINS For Sale The wall,
    [Show full text]
  • Foundation Annual Report
    ANNUAL REPORT 2 0 1 8 N C C O MM un I T Y C olle G E S F oun D at I on , I nc . INDEX PAGE Mission 4 Foundation & System History 5 About the Chair 6 The North Carolina Community College System President 7 Director’s Corner 7 Board of Directors 8-11 Scholarship Recipients 12-13 Excellence Award Recipients 14 IE Ready Award Recipient 15 Investment Portfolio 16 Statement of Realized Revenues & Expenses 17 Statement of Activities 18 Statement of Financial Position 19 Budget Comparison 20 Academic Excellence Award Recipients 21 Scholars’ Spotlight 22-23 Director’s Pick 24-25 NC Community College System Strategic Plan 26 Thank You 27 Mission The purposes of the Foundation...are to support the mission of the [North Carolina] Community College System and to foster and promote the growth, progress, and general welfare of the community college system; to support programs, services and activities of the community college system which promote its mission; to support and promote excellence in administration and instruction throughout the community college system; to foster quality in programs and to encourage research to support long-range planning in the system; to provide an alternative vehicle for contribu- tions of funds to support programs, services, and activities that are not being funded adequately through traditional resources; to broaden the base of the community college system’s support; to lend support and prestige to fund raising efforts of the institutions within the system; and to communicate to the public the community college system’s mission and responsiveness to local needs.
    [Show full text]
  • 1/1 A.X.L. FAMILY ADVENTURE $8 MILL 1287 SCREENS PG 98 MINUTES DVD/COMBO DIGITAL COPY with the COMBO Thomas Jane
    1/1 A.X.L. FAMILY ADVENTURE $8 MILL 1287 SCREENS PG 98 MINUTES DVD/COMBO DIGITAL COPY WITH THE COMBO Thomas Jane (HBO SERIES-HUNG--- FILM---STANDOFF, BEFORE I WAKE, HOT SUMMER NIGHTS, DRIVE HARD) A teenage Motocross racer finds an escaped robot dog that he bonds with and wants to keep from its owners, who are developing it to be an ultimate military killing machine. A-X-L" is what you get if Number 5 from "Short Circuit" had been designed to look like a dog. This film is written and directed by Oliver Daly and serves as his feature film writing and directorial debut. The story revolves around a young Motocross racer named Miles (Alex Neustaedter), who is an excellent racer despite that his team, which consists of him and his dad Chuck (Thomas Jane), have no money for parts or a better bike. Another racer named Sam (Alex MacNicoll), whose team has tons of money and opportunities, invites Miles to join them on an outing to the desert one day. Miles, Sam and his crew drive out to the middle of nowhere and sabotage Mile's bike, stranding him and forcing him to make it home on his own. In a nearby scrapyard, Miles finds a giant robotic dog called A-X-L. A-X-L has recently escaped from CRAINE Industries, who are developing what they hope will be the ultimate battle-ready war dog for the military. Miles sees that A-X-L is riddled with bullet holes and other damage, so he decides that its owners don't deserve their property back.
    [Show full text]
  • What the Film Fest 2018 Review: the LAPLACE’S DEMON the TWILIGHT ZONE Meets SAW in This Odd, Nerdy Passion Project
    THE LAPLACE’S DEMON REVIEWS FANTASIA 2017, DAY 7: “THE LAPLACE’S DEMON” by Brian Tallerico, RogerEbert.com, July 21, 2017 […] Similarly mindblowing but in a totally different way is Giordano Giulivi’s delightful “The Laplace’s Demon,” a low-budget affair that recalls “Sky Captain and the World of Tomorrow” mixed with Agatha Christie and Guy Maddin. A group of Italian scientists have been summoned to an island in the middle of the ocean by a mad scientist who has discovered their research. The group has been trying to do the impossible—predict the future. They believe they have devised a program that can tell you exactly how many pieces a glass will break into if it hits the floor. Immediately, Giulivi is playing with fate vs. free will and how much we can truly know about the future. And he’s doing so in a style that recalls classic Italian filmmakers like Mario Bava, updated in a world of green-screen backgrounds and CGI effects. When the scientists arrive at this mansion on an island, they discover a scale model of the house in which they’re standing. The model would be interesting enough, but what’s more fascinating are the eight pawns standing in the living room, which soon move in unison with the people in the house. Is someone watching them and moving the pawns to coincide? Not exactly. It turns out that someone has taken their glass experiment a level further, able to predict every human action correctly. And then the house unleashes the Queen.
    [Show full text]
  • Hacker's Handbook Ok Just a Quick Note, This Is a Very Early Version of the Book and Was Later Banned
    Hacker's Handbook Ok just a quick note, this is a very early version of the book and was later banned. We've done our best in converting it to ASCII. It's taken us some time to put it together because of the reformatting, so I hope it's appreciated. We have kept to the original page numbering for so that the index will be correct. Compliments Electronic Images - Gizmo Century Communications - T H E - - H A C K E R ' S - - H A N D B O O K - Copyright (c) Hugo Cornwall All rights reserved First published in Great Britain in 1985 by Century Communications Ltd Portland House, 12-13 Greek Street, London W1V 5LE. Reprinted 1985 (four times) ISBN 0 7126 0650 5 Printed and bound in Great Britain by Billing & Sons Limited, Worcester. CONTENTS Introduction vii First Principles 2 Computer-to-computer communications 7 3 Hackers' Equipment 15 4 Targets: What you can find on mainframes 30 5 Hackers' Intelligence 42 6 Hackers' Techniques 57 7 Networks 69 8 Viewdata systems 86 9 Radio computer data 99 10 Hacking: the future 108 file:///E|/Books/Hackers Handbook.htm (1 of 133) [11/28/2000 5:58:48 AM] Hacker's Handbook Appendices I troubleshooting 112 II Glossary 117 III CCITT and related standards 130 IV Standard computer alphabets 132 V Modems 141 VI Radio Spectrum 144 VII Port-finder flow chart 148 INTRODUCTION The word 'hacker' is used in two different but associated ways: for some, a hacker is merely a computer enthusiast of any kind, who loves working with the beasties for their own sake, as opposed to operating them in order to enrich a company or research project --or to play games.
    [Show full text]