GE NEWS Issue 44 Draft (3).Pub
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Whovians Can Get Their Fix with a 'Doctor Who
Whovians can get their fix with a ‘Doctor Whoʼ class at Syracuse University - The Washington Post 2/17/18, 432 PM The Washington Post Morning Mix Whovians can get their fix with a ‘Doctor Who’ class at Syracuse University By Soraya Nadia McDonald November 4, 2014 A Syracuse professor of digital and social media is offering a class based on the long- running British science fiction series “Doctor Who.” Professor Anthony Rotolo plans to take an exhaustive look at the wildly popular British series, which started in 1963 as a children’s show and was relaunched in 2005. How’s this hypothetical incentive for class participation: At Syracuse, if you answer a trivia question about “Doctor Who” correctly, you could net yourself a 3-D printed TARDIS or a miniature Dalek (one that won’t destroy everything in its path, of course). For non-Whovians: The Dalek are a particularly pernicious alien race set on destroying everything. They hate Doctor Who. The TARDIS is the vehicle, disguised as a 1960s London police call box, the Doctor uses to travel through space and time. Also worth knowing: The Doctor is able to die and regenerate himself in a different body, a detail that’s allowed 12 actors to play him in a 50-year span. The show is currently on its 12th Doctor, Peter Capaldi. ADVERTISING https://www.washingtonpost.com/news/morning-mix/wp/2014/11/04/whov…a-doctor-who-class-at-syracuse-university/?utm_term=.cba40a906a4b Page 1 of 3 Whovians can get their fix with a ‘Doctor Whoʼ class at Syracuse University - The Washington Post 2/17/18, 432 PM According to Rotolo’s course description: Students will consider and reflect on how Doctor Who has reached audiences from children and families to young adults and lifelong viewers through a wide array of broadcast, print and digital media, as well as describe how Doctor Who has applied elements of many media genres — sci-fi, horror, action, comedy and many others — to form a style that is unique to the series. -
Labor Relations, 16Mm Film and Euston Films
Scope: An Online Journal of Film and Television Studies Issue 26 February 2014 Labor Relations, 16mm Film and Euston Films Max Sexton, Birkbeck College, University of London Film as a technology has been used, adapted and implemented in particular ways within television. This article provides examples of this process along with its complexities and demonstrates how a system of regulated labor on British television during the 1970s shaped the aesthetic form that 16mm film was used to develop. The questions of how far the production process was guided by institutionalized conventions, however, is one that the article seeks to answer in its analysis of the function and form of the filmed television series produced by Euston Films, a subsidiary of Thames Television. Charles Barr (1996) has discussed the legacy of live television that seeks to develop analyses of the developing formal systems of early television. For example, the telerecordings of most of the Quatermass serials were only “television films” because they were recorded on film, but were not constructed or edited as film, although they may have used some film inserts. According to Barr, television drama may have been shot on film, but it was different from film. It was only later in the 1960s and 1970s that shooting on film meant that the studio drama was replaced by shooting on location on 16mm. Barr notes that in Britain, unlike in the US, if a growing proportion of drama was shot on film, dramas were still referred to as “plays.” Consequently, the TV plays-on-film were distinct from “films.” However, as this article demonstrates, the development of the 16mm film from the 1970s complicates some of the notions that television drama was either live or continued to be planned, shot and edited as a live play. -
Celluloid Television Culture the Specificity of Film on Television: The
ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Celluloid Television Culture The Specificity of Film on Television: the Action-adventure Text as an Example of a Production and Textual Strategy, 1955 – 1978. https://eprints.bbk.ac.uk/id/eprint/40025/ Version: Full Version Citation: Sexton, Max (2013) Celluloid Television Culture The Speci- ficity of Film on Television: the Action-adventure Text as an Example of a Production and Textual Strategy, 1955 – 1978. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email Celluloid Television Culture The Specificity of Film on Television: the Action-adventure Text as an Example of a Production and Textual Strategy, 1955 – 1978. Max Sexton A thesis submitted for the Degree of Doctor of Philosophy, Birkbeck, University of London, 2012. Declaration I hereby declare that the thesis presented by me for examination of the PhD degree is solely my own work, other than where I have clearly indicated. Birkbeck, University of London Abstract of Thesis (5ST) Notes for Candidate: 1. Type your abstract on the other side of this sheet. 2. Use single-spacing typing. Limit your abstract to one side of the sheet. 3. Please submit this copy of your abstract to the Research Student Unit, Birkbeck, University of London, Registry, Malet Street, London, WC1E 7HX, at the same time as you submit copies of your thesis. 4. This abstract will be forwarded to the University Library, which will send this sheet to the British Library and to ASLIB (Association of Special Libraries and Information Bureaux) for publication to Index to Theses . -
X-Files: Seasons 10 and 11 Trading Cards Checklist
X-Files: Seasons 10 and 11 Trading Cards Checklist Base Cards # Card Title [ ] 01 My Struggle [ ] 02 My Struggle [ ] 03 My Struggle [ ] 04 My Struggle [ ] 05 My Struggle [ ] 06 My Struggle [ ] 07 Founder's Mutation [ ] 08 Founder's Mutation [ ] 09 Founder's Mutation [ ] 10 Founder's Mutation [ ] 11 Founder's Mutation [ ] 12 Founder's Mutation [ ] 13 Mulder & Scully Meet the Were-Monster [ ] 14 Mulder & Scully Meet the Were-Monster [ ] 15 Mulder & Scully Meet the Were-Monster [ ] 16 Mulder & Scully Meet the Were-Monster [ ] 17 Mulder & Scully Meet the Were-Monster [ ] 18 Mulder & Scully Meet the Were-Monster [ ] 19 Home Again [ ] 20 Home Again [ ] 21 Home Again [ ] 22 Home Again [ ] 23 Home Again [ ] 24 Home Again [ ] 25 Babylon [ ] 26 Babylon [ ] 27 Babylon [ ] 28 Babylon [ ] 29 Babylon [ ] 30 Babylon [ ] 31 My Struggle II [ ] 32 My Struggle II [ ] 33 My Struggle II [ ] 34 My Struggle II [ ] 35 My Struggle II [ ] 36 My Struggle II [ ] 37 My Struggle III [ ] 38 My Struggle III [ ] 39 My Struggle III [ ] 40 My Struggle III [ ] 41 My Struggle III [ ] 42 My Struggle III [ ] 43 This [ ] 44 This [ ] 45 This [ ] 46 This [ ] 47 This [ ] 48 This [ ] 49 Plus One [ ] 50 Plus One [ ] 51 Plus One [ ] 52 Plus One [ ] 53 Plus One [ ] 54 Plus One [ ] 55 The Lost Art of Forehead Sweat [ ] 56 The Lost Art of Forehead Sweat [ ] 57 The Lost Art of Forehead Sweat [ ] 58 The Lost Art of Forehead Sweat [ ] 59 The Lost Art of Forehead Sweat [ ] 60 The Lost Art of Forehead Sweat [ ] 61 Ghouli [ ] 62 Ghouli [ ] 63 Ghouli [ ] 64 Ghouli [ ] 65 Ghouli [ ] 66 Ghouli -
I, - Tennant Play Three Incarnations of Gallifrey's Finest in the 50Th "Ibhfl DID THEY KNOW, the Day They Jsi
Steven Moffat, 1 the man behind n r Doctor Who, says the BBC could never kill the Time Lord... AND THEN THERE WERE THREE Doctor Who John Hurt, Matt Smith and David Saturday 7.50pm BBC1 ;•*'•; I, - Tennant play three incarnations of Gallifrey's finest in the 50th "iBHfl DID THEY KNOW, the day they JSi. anniversary special ^ invented Robin Hood, that when he J •* fired his arrow in the air it would ^-> I Ay for ever? When Dr Doyle picked •™«™«™ up his pen to write the very first Sherlock Holmes story, did the paving slabs of Baker Street rattle and heave? When Ian Fleming scanned his bookshelf for a name for his gentle man spy, and settled on James Bond, did that famous music echo faintly from the future? :; Most importantly, 50 years ago, when the Doctor was created in dull grey rooms at the BBC, did a shiver of fear pass through the heart of every evil-doer in the universe? Ah, 50 years. What can one say about 50 years of Doctor Who? Well, first of all, one can be . >' Y pedantic. Doctor Who hasn't been on for 50 years - owing to the outright stupidity and unforgive- able blindness ofthe BBC (sorry guys, it needs to be said), there was a 16-year gap. But seriously, you wouldn't expect the world's most famous time traveller to get here in a straight line, would you? That gap is important, though. It confers "You wouldn't expect something very special on this most special of all shows: immortality. -
Doctor Who 1 Doctor Who
Doctor Who 1 Doctor Who This article is about the television series. For other uses, see Doctor Who (disambiguation). Doctor Who Genre Science fiction drama Created by • Sydney Newman • C. E. Webber • Donald Wilson Written by Various Directed by Various Starring Various Doctors (as of 2014, Peter Capaldi) Various companions (as of 2014, Jenna Coleman) Theme music composer • Ron Grainer • Delia Derbyshire Opening theme Doctor Who theme music Composer(s) Various composers (as of 2005, Murray Gold) Country of origin United Kingdom No. of seasons 26 (1963–89) plus one TV film (1996) No. of series 7 (2005–present) No. of episodes 800 (97 missing) (List of episodes) Production Executive producer(s) Various (as of 2014, Steven Moffat and Brian Minchin) Camera setup Single/multiple-camera hybrid Running time Regular episodes: • 25 minutes (1963–84, 1986–89) • 45 minutes (1985, 2005–present) Specials: Various: 50–75 minutes Broadcast Original channel BBC One (1963–1989, 1996, 2005–present) BBC One HD (2010–present) BBC HD (2007–10) Picture format • 405-line Black-and-white (1963–67) • 625-line Black-and-white (1968–69) • 625-line PAL (1970–89) • 525-line NTSC (1996) • 576i 16:9 DTV (2005–08) • 1080i HDTV (2009–present) Doctor Who 2 Audio format Monaural (1963–87) Stereo (1988–89; 1996; 2005–08) 5.1 Surround Sound (2009–present) Original run Classic series: 23 November 1963 – 6 December 1989 Television film: 12 May 1996 Revived series: 26 March 2005 – present Chronology Related shows • K-9 and Company (1981) • Torchwood (2006–11) • The Sarah Jane Adventures (2007–11) • K-9 (2009–10) • Doctor Who Confidential (2005–11) • Totally Doctor Who (2006–07) External links [1] Doctor Who at the BBC Doctor Who is a British science-fiction television programme produced by the BBC. -
The X-Files 1
Intercom – Sociedade Brasileira de Estudos Interdisciplinares da Comunicação 40º Congresso Brasileiro de Ciências da Comunicação – Curitiba - PR – 04 a 09/09/2017 Feminismo e TV Social: A Repercussão dos Telespectadores Interagentes sobre o Empoderamento de Dana Scully em The X-Files 1 Daiana SIGILIANO 2 Gêsa CAVALCANTI 3 Gabriela BORGES4 Universidade Federal de Pernambuco, UFPE Universidade Federal de Juiz de Fora, Juiz de Fora, MG Resumo Exibida entre janeiro e fevereiro de 2016, a décima temporada de The X-Files marcou o retorno da trama após 14 anos de hiato. Protagonizada pelos agentes do FBI Fox Mulder (David Duchovny) e Dana Scully (Gillian Anderson), a série estadunidense estabeleceu uma dinâmica até então inédita no modo como a mulher era representada na TV. Caracterizada pela racionalidade e o ceticismo, a personagem se opunha aos estereótipos presentes na ficção seriada das décadas de 1970 e 1980. Partindo desse contexto, este artigo tem como objetivo identificar e discutir os principais tópicos conversacionais, relacionados ao empoderamento de Scully (Gillian Anderson), que foram repercutidos pelos telespectadores interagentes na TV social. Palavras-chave: ficção seriada; The X-Files, feminismo; TV social Introdução Não se pode negar o quanto a televisão e o cinema, ou melhor, as imagens e discursos apresentados por esses meios estão vinculados ao modo como interpretamos o mundo. Os produtos dessas industrias possuem impacto no tecido social e embora, como pontua Cuklanz (1999), a relação existente entre televisão e mudança social seja complexa e apenas parcialmente entendida, parece ao menos haver um consenso sobre como a imagem de um personagem ou o modo como uma determinada temática é abordada pode determinar “quem ascende, quem descente, quem é incluído, quem é excluído” (HALL, 2015, p.10), o que é reforçado, o que é desconstruído. -
BFI Fellowship Award to John Boorman
26 March 2013 BFI Fellowship Award to John Boorman Last night, 25th March, Director John Boorman was presented with a BFI Fellowship – the highest accolade that the nation’s leading organisation for film can award. The Fellowship was presented to John on-stage at BFI Southbank in front of a public audience and invited guests by Amanda Nevill, BFI CEO and actress Sinéad Cusack, John was interviewed on-stage by Michel Ciment. This event launches a major retrospective of his work which will continue at BFI Southbank until 30 April. Speaking at the presentation last night at BFI Southbank John Boorman said: ‘I’m very grateful for this, the BFI has meant a great deal in my life. More than 60 years ago I haunted the place. It’s where I saw all the great silent movies and it’s always been an immense part of my life. Sight & Sound has always been my bible and I read it every month, and I’ve written for it too. I’m very, very grateful…I thank the BFI for this Fellowship and for everything that it does and I wish it well.’ Amanda Nevill said: ‘John Boorman is one of the most influential film directors to come out of the UK and we are thrilled to be honouring such a film legend. The presentation of the BFI Fellowship is testament to John’s inspired body of work in television and film and across many genres; it is truly visionary. His legacy to date has rightly brought him international recognition as an independent filmmaker with a rare voice that continues to enthral and delight audiences.’ Presenting John Boorman with his Fellowship, Sinéad Cusack said: ‘When John came to Ireland it meant a huge amount to us because he embraced us and he stayed. -
Ryan Early Photo: Ruth Crafer
59 St. Martin's Lane London WC2N 4JS Phone: 0207 836 7849 Email: [email protected] Website: www.nikiwinterson.com Ryan Early Photo: Ruth Crafer Ryan is currently filming new BBC Comedy Drama Almost Never as regular character Dan and also plays the recurring character Lee on The Archers. Greater London, Appearance: White Location: England, United Other: Equity Kingdom Eye Colour: Blue Height: 5'10" (177cm) Hair Colour: Blond(e)-Medium Playing Age: 31 - 45 years Voice Quality: Warm Television Television, Dan (Series Regular), Almost Never, Saltbeef TV for the BBC, Ben Kellett Television, Reynard (Regular), Knightfall, A&E/History, Douglas McKinnon Television, Ben Francis, Holby City, BBC, Simon Harper Television, Toby (Recurring), The Crown, Netflix, Stephen Daldry Television, Will, The Jason Phillips Show (Pilot), Epic Film Capital, Kye Loren Television, Chris Helfer, Doctors, BBC, Various Directors Television, Stephen The Serbian, Margot and Mez (Pilot), Tantrum Films, Sarah Solemani Television, Tom Read (Lead), Casualty, BBC, Dave Beauchamp Television, Callum Shawcross, Emmerdale, ITV, Various Television, Ben Millgan, Coronation Street, Granada, Laurence Moody Television, Darren, Soup Kitchen, Pig Productions Television, Greg Burns, The Bill (4 Episodes), Thames Television, Various Directors Television, Kenny, Love Soup, BBC Television, Verity Lambert Television, PC Tom Nicholson, Heartbeat Series 11, Granada Television, Various Television, Terry, The Detective, BBC Television Film Feature Film, Simon Adeveret, A NIGHT IN 97, The -
Typologies of Evil in the X-Files
TYPOLOGIES OF EVIL IN THE X-FILES BY MAGNE HÅLAND SUPERVISOR: PAUL LEER SALVESEN AND SOLVEIG AASEN UNIVERSITY OF AGDER 2019 FACULTY OF HUMANITIES AND EDUCATION DEPARTEMENT OF RELIGION, PHILOSOPHY AND HISTORY 0 ACKNOWLEDGEMENTS I would like to express great appreciation to my supervisors, Professor Paul Leer-Salvesen (University of Agder) and Solveig Aasen, PhD in philosophy (University of Oslo), for their valuable and constructive suggestions during the development of this research work. I would also like to express my deep gratitude to my colleagues at Arendal Upper Secondary School, Steinar Tvedt, Inger Johanne Hermansen, Ane Kristine Bruland and Ida Wullum for their patient guidance and useful critique of my writing in English. Finally, I wish to thank my father, a proud working-class man, for his support and encouragement throughout my whole life. Throughout his life, he was never able to read English. Therefore, he “forced” me to translate my work for him. The Nazi-form of evil with Himmler, Mengele and Eichmann concerned him. Often, he asked me, how could a man (Eichmann) be that blinded? Without my father giving me motivation, I would never have come this far in my studies. 1 CONTENTS ABSTRACT …..5 CHAPTER 1, INTRODUCTION 1.1) General introduction of evil in movies …..6-7 1.2) My Research Question ……7 1.3) A short overview on the typologies of evil …..7-9 1.4) Defining evil …..9-10 1.5) A critique and defense of evil ….10-12 1.6) What is The X-files about? ….12-14 1.7) Why explore The X-Files? …..14-15 CHAPTER 2, METHODS 2.1) Theory and applied ethics …..16-18 2.2) Specific evil episodes as subjects for research and constructing analysis chapters ..18-19 2.3) The importance of using scientific work related to movies and evil …..19-21 2.4) Methodological inspiration for my thesis, work done by Dean A. -
Monday, September 17 • Microsoft Theater
MONDAY, SEPTEMBER 17 • MICROSOFT THEATER MESSAGE FROM THE CHAIRMAN/CEO o say that television changed my life is not an exaggeration. In fact, it may be an understatement. This industry has allowed me to travel the world, meet extraordinary people, even win some awards — including seven Emmys. But without question, serving as Television Academy chairman was one of the high Tpoints of my career. It was a privilege to help guide this organization during a period of dynamic change, and I am proud of what our leadership accomplished during that time. Among my priorities as chairman was to increase diversity and inclusion in the television industry. The same is true of my work as a producer, which allows me to advocate in a more immediate and personal way for inclusion by creating opportunities for people from diverse backgrounds to share their talents and advance their own careers. In this respect, as in many others, my personal values are in alignment with those of the Academy, and as I reflect on 2018, I am pleased to note the continuation of many positive steps within the Academy during the Emmy Awards’ 70th anniversary year. One example: When we heard from members and programmers that, with so many shows in the Emmy mix, they wanted additional FYC events to provide voters and creators more opportunities to engage prior to the balloting period, we increased the number of FYC events from sixty-one in 2017 to more than a hundred by opening up weekends and allowing more than one event on a single night. -
Pdfformatsite 3428.Pdf
Palabra Clave ISSN: 0122-8285 ISSN: 2027-534X Universidad de La Sabana Sigiliano, Daiana; Borges, Gabriela Transmedia Literacy: Analyzing the Impact of The X-Files Transmedia Strategies Palabra Clave, vol. 22, no. 2, e2223, 2019, April-June Universidad de La Sabana DOI: https://doi.org/10.5294/pacla.2019.22.2.3 Available in: https://www.redalyc.org/articulo.oa?id=64960594003 How to cite Complete issue Scientific Information System Redalyc More information about this article Network of Scientific Journals from Latin America and the Caribbean, Spain and Journal's webpage in redalyc.org Portugal Project academic non-profit, developed under the open access initiative Transmedia Literacy: Analyzing the Impact of The X-Files Transmedia Strategies Daiana Sigiliano1 Gabriela Borges2 Recibido: 02/02/2018 Enviado a pares: 11/02/2018 Aprobado por pares: 18/04/2018 Aceptado: 31/05/2018 DOI: 10.5294/pacla.2019.22.2.3 To reference this article / para citar este artículo / para citar este artigo Sigiliano, D. & Borges, G. (2019). Film Technique: A Modern Economy of Time, Body and Soul. Palabra Clave, 22(2), e2223. DOI: 10.5294/pacla.2019.22.2.3 Abstract Based on the theoretical framework that transmedia literacy encourages public participation and critical understanding of fictional universes, for ex- ample, when navigating different platforms, correlating to the transmedia strategies with the main media, the interacting agent performs an attentive or polysemic reading of the fictional universe; this paper aims to analyze a number of Twitter posts made by interacting audience members ofThe X-Files during the launch of transmedia actions regarding the show’s 10th season.