DOCSLIB.ORG

Narrative Structure, Virtuality and Fandom in Buffy the Vampire Slayer , Angel and Veronica Mars

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Narrative Structure, Virtuality and Fandom in Buffy the Vampire Slayer , Angel and Veronica Mars FAN-TEXTUAL TELEVISION: NARRATIVE STRUCTURE, VIRTUALITY AND FANDOM IN BUFFY THE VAMPIRE SLAYER , ANGEL AND VERONICA MARS AF ŞAR YEG İN 102603001 İSTANBUL B İLG İ ÜN İVERS İTES İ SOSYAL B İLİMLER ENST İTÜSÜ SİNEMA VE TELEV İZYON YÜKSEK L İSANS PROGRAMI TUNA ERDEM HAZ İRAN 2006 Fan-Textual Television: Narrative Structure, Virtuality and Fandom in Buffy the Vampire Slayer, Angel and Veronica Mars Hayran-Metinsel Televizyon: Buffy the Vampire Slayer, Angel ve Veronica Mars’ta Anlatı Yapısı, Sanalsallık ve Hayranlık Af şar Yegin 102603001 Tez Danı şmanının Adı Soyadı ( İMZASI) : Tuna Erdem Jüri Üyelerinin Adı Soyadı ( İMZASI) : Kaya Özkaracalar Jüri Üyelerinin Adı Soyadı ( İMZASI) : Selim Eyübo ğlu Tezin Onaylandı ğı Tarih : 26/06/2006 Toplam Sayfa Sayısı : 133 Anahtar Kelimeler (Türkçe) Anahtar Kelimeler ( İngilizce) 1) Hayranlık 1) Fandom 2) Sanalsallık 2) Virtuality 3) Anlatı Yapısı 3) Narrative Structure 4) Buffy the Vampire Slayer 4) Buffy the Vampire Slayer 5) Veronica Mars 5) Veronica Mars Abstract This study is concerned with tracing the relationship between the narrative structure of American television and fandom with a specific focus on the texts of Buffy the Vampire Slayer, Angel and Veronica Mars. Television narratives differ from classic narratives in certain key respects. Television narration is characterized by an episodic and fragmented structure that relies on the postponement of closure for its continuation. Viewer interest is further maintained by heavy characterization and the use of multiple concurrent story arcs spanning numerous episodes in addition to one central seasonal arc. These narrative specifics enable the construction of a fabulated universe, ‘virtuality,’ by the fan viewer. Virtuality ensures a safety zone where the fan is able to manipulate the meanings of popular texts and to create new, possibly subversive ones. On the other hand, the self-reflexive nature of the medium and its position within Postmodern popular culture lend television texts a heightened degree of awareness of fannish meanings. Because of this hyperawareness, subversive readings and fannish meanings are increasingly incorporated by industrial texts, simultaneously generating further fan interaction and acting as possible inoculations. iii Özet Bu çalı şma, ba şta Buffy the Vampire Slayer, Angel ve Veronica Mars olmak üzere, Amerikan televizyon dizilerinin anlatımsal yapısı ile hayranlık arasındaki ili şkiyi gözlemlemeyi amaçlamaktadır. Televizyon anlatıları bazı temel noktalarda klasik anlatılardan farklılıklar göstermektedir. Televizyon anlatımlarının yapısı bölümsel ve parçalı olup devamlılıklarının temelinde dramatik sonun sürekli olarak ertelenmesi ve karakterlerin derinli ği yatmaktadır. Seyirci ilgisinin devamlılı ğını sa ğlayan di ğer bir unsur ise tüm bir sezonu kapsayan tek bir ana hikaye yanında birkaç bölüme yayılan ba şka olay dizilerine de yer verilmesidir. Tüm bu anlatımsal özelliklerin de katkısıyla hayran seyirci sanalsallık olarak adlandırılabilecek olan hikayele ştirilmi ş bir evren kurgulayabilir. Bu sanalsallık, hayrana, popüler metinlerin egemen söylemlerinin farklıla ştırılabilece ği veya altüst edilebilece ği güvenli bir bölge sa ğlar. Bununla beraber, Postmodern popüler kültürün içinde yer alan televizyonun kendine dönük yapısı, televizyon metinlerini alternatif anlamların ve okumaların ileri derecede farkında kılmaktadır. Bunun sonucu olarak ise hayranların farklıla şmı ş anlamları ve okumaları giderek sektörün metinlerinin içine dahil edilmektedir. Böylelikle hayranların egemen söyleme alternatif okumalarına ham malzeme olu şturulurken aynı zamanda farklı okumalara ve anlamlara kar şı a şı etkisi de yaratabilmektedir. iv Acknowledgements I would like to express my deep and heartfelt gratitude for Selim Eyubo ğlu for his wisdom, ceaseless moral support and unerring academic guidance. He has, in turns, been a teacher, a sounding board, an inspiration and a friend who shared his knowledge, experience, wisdom and resources unconditionally and without whose assistance the writing of this thesis would not have been possible. I would also like to thank Tuna Erdem for her time and support. I am, as ever, deeply greatful to my parents, Birsen and Kenan Yegin, who have always supported me in all my choices and trials of life. I would have been a lesser person without their love and trust. My dear grandparents Remziye and Mustafa Çezu graciously allowed me the use of their home, prepared me breakfast every morning, scolded me for not getting enough sleep everyday and are the reason I could finish this study on time. I would like to thank my brother Ba şar Yegin who supplied me with endless printer cartridges, coffee, food and understanding. My friends Neslihan Özgül, Lalehan Öcal, Engin Ertan, Didem Çakmaklı, Eda Hayırlıo ğlu, Jaba ğı Kök, and Melis Bilgin were staunch supporters, trustworthy ears and the voices of reason during stressful times, moments of doubt and nervous breakdowns. I will always be in their debt. v Table of Contents Introduction...............................................................................................1 Chapter 1: Narrative Structure in Television..........................................11 1.1. Basic Problems in Discussing Television Narration ..............12 1.1.1. Variety of Programming.............................................13 1.1.1.1. Raymond Williams and Flow .........................13 1.1.1.2. John Ellis and Segmentation...........................15 1.1.2. Classic Narrative Theory and Television ...................18 1.1.3. Counter-acting Tensions.............................................20 1.2. Basic Characteristics and Structural Forms............................22 1.2.1. Five Act Structure.......................................................25 1.2.2. Proairetic and Hermeneutic Codes .............................27 1.2.3. Narrative Closure and the Use of Character...............28 1.2.3.1. The Sit-com: Series Format in Comedy .........29 1.2.3.2. Procedurals: Series Format in Drama.............31 1.2.3.3. The Serial Format ...........................................34 1.2.4. Lack of Suspense, Storylines, Syntagmatic Axis .......37 1.3. Television: The Writerly Text ................................................39 Chapter 2: Serialization and Hybrid Structures......................................47 2.1. Serialization: Blending Forms ................................................47 2.2. Hybrid Structures: Buffy and Veronica Mars .........................49 2.2.1. Types of Story Arcs....................................................50 2.2.2. Buffy the Vampire Slayer : Season 5 ...........................51 2.2.3. Veronica Mars : Season 1............................................54 Chapter 3: Fandom and Virtuality..........................................................62 3.1. The Fan: Problems in Defining a Concept .............................66 3.1.1. Fandom as Deviance...................................................67 3.1.2. Fandom as a Superior Form of Reading.....................69 3.2. Speak (For) Me! Authorizing the Text ...................................72 vi 3.3. How Does Television Speak (For) Me? .................................74 3.3.1. Too Much of Something is a Good Thing: Excess.....74 3.3.2. The More, the Merrier: A Fan Must Contribute.........76 3.3.2.1. Joss Isn’t Always Perfect: “If I Owned Them, We Would See More Nekkid!Spike”......................78 3.4. Embroiling the Viewer: Television as a Producerly Text ......81 3.5. Making Fans: Structural Origins in Buffy , Angel, Veronica Mars .................................82 3.5.1. A World is Not Enough, We Need a Universe...........83 3.5.2. Filling the Blanks: Syntagmatic Gaps, Cliffhangers ..84 3.6. This Is Your Subtext: Enjoy and Subvert At Will..................87 Chapter 4: Hyperawareness of Fan Meanings......................................100 4.1. Return of Spike.....................................................................102 4.2. Used To Be a Wallflower: Willow the Witch ......................105 4.3. Love to See Him Suffer: Logan the Woobie ........................107 4.4. Subverting the Formula in Procedurals ................................111 Conclusion ............................................................................................118 Bibliography .........................................................................................121 Appendix...............................................................................................125 vii Introduction For the past 50 years, television has accompanied people in their daily lives, supplying them with information, news, entertainment and consumable products. It has been a persistent companion of domestic life, binding people together since the early days of its birth. Even today, with the Internet casting a menacing shadow over it, television remains the most effective medium of mass communication. Nonetheless, like everything else in our lives, the medium has evolved through time as the world transformed itself from Modernity to something else. Popularly categorized as a postmodern medium, television has embraced this evolution and reveled in the self-reflexivity, intertextuality and awareness of the (popular) culture from which it feeds. American television, which informs national institutions and defines the norms of television narration and broadcasting across the world, can be identified as a symptom of this process. In fact, the state of American television, especially in
Load more

Recommended publications
  • KMP LIST E:\New Songs\New Videos\Eminem\ Eminem
    _KMP_LIST E:\New Songs\New videos\Eminem\▶ Eminem - Survival (Explicit) - YouTube.mp4▶ Eminem - Survival (Explicit) - YouTube.mp4 E:\New Songs\New videos\Akon\akon\blame it on me.mpgblame it on me.mpg E:\New Songs\New videos\Akon\akon\I Just had.mp4I Just had.mp4 E:\New Songs\New videos\Akon\akon\Shut It Down.flvShut It Down.flv E:\New Songs\New videos\Akon\03. I Just Had Sex (Ft. Akon) (www.SongsLover.com). mp303. I Just Had Sex (Ft. Akon) (www.SongsLover.com).mp3 E:\New Songs\New videos\Akon\akon - mr lonely(2).mpegakon - mr lonely(2).mpeg E:\New Songs\New videos\Akon\Akon - Music Video - Smack That (feat. eminem) (Ram Videos).mpgAkon - Music Video - Smack That (feat. eminem) (Ram Videos).mpg E:\New Songs\New videos\Akon\Akon - Right Now (Na Na Na) - YouTube.flvAkon - Righ t Now (Na Na Na) - YouTube.flv E:\New Songs\New videos\Akon\Akon Ft Eminem- Smack That-videosmusicalesdvix.blog spot.com.mkvAkon Ft Eminem- Smack That-videosmusicalesdvix.blogspot.com.mkv E:\New Songs\New videos\Akon\Akon ft Snoop Doggs - I wanna luv U.aviAkon ft Snoop Doggs - I wanna luv U.avi E:\New Songs\New videos\Akon\Akon ft. Dave Aude & Luciana - Bad Boy Official Vid eo (New Song 2013) HD.MP4Akon ft. Dave Aude & Luciana - Bad Boy Official Video (N ew Song 2013) HD.MP4 E:\New Songs\New videos\Akon\Akon ft.Kardinal Offishall & Colby O'Donis - Beauti ful ---upload by Manoj say thanx at [email protected] ft.Kardinal Offish all & Colby O'Donis - Beautiful ---upload by Manoj say thanx at [email protected] om.mkv E:\New Songs\New videos\Akon\akon-i wanna love you.aviakon-i wanna love you.avi E:\New Songs\New videos\Akon\David Guetta feat.
    [Show full text]
  • Teen-Noir – Veronica Mars Og Den Moderne Ungdomsserie (PDF)
    Teen Noir – Veronica Mars og den moderne ungdomsserie AF MICHAEL HØJER I 2004 havde den amerikanske ungdomskanal UPN premiere på Rob Tho- mas’ ungdomsserie Veronica Mars (2004-2007). Serien foregår i den fikti- ve, sydcaliforniske by Neptune og handler om teenagepigen Veronica Mars (Kristen Bell), der arbejder som privatdetektiv, samtidig med at hun går på high school. Trods det faktum, at Veronica Mars havde en dedikeret fanskare bag sig, befandt den sig i samtlige tre sæsoner blandt de mindst sete tv-serier i USA. Da tendensen kun forværredes hen mod afslutningen af tredje sæ- son, var der ikke længere økonomisk grobund for at fortsætte (Van De Kamp 2007). Serien blev sat på pause, inden de sidste fem afsnit blev vist, hvor- efter CW (en fusion af det tidligere UPN og en anden ungdomsorienteret ka- nal ved navn WB) lukkede permanent for kassen. Selvom seriens hardcore fans sendte 10.000 Marsbarer til CW’s hovedkontor i et forsøg på at genop- live serien, og selvom der var flere forsøg fra produktionsholdets side på at fortsætte den enten via tv, en opfølgende film eller endda en tegneserie, er dvd-udgivelsen af Veronica Mars’ tre sæsoner det sidste, man har set til Rob Thomas’ serie. Foruden sin dedikerede fanskare – der bl.a. talte prominente personer som forfatteren Stephen King, filminstruktøren Kevin Smith og Joss Whe- don, der skabte både Firefly og Buffy the Vampire Slayer (UPN/WB, 1997- 2003)1 – var også anmelderne hurtige til at se seriens kvaliteter. Specielt de første to sæsoner af Veronica Mars blev meget vel modtaget. Større, to- neangivende amerikanske medier som LA Weekly, The Village Voice, New York Times og Time roste alle serien med ord som ”remarkably innovative”, ”promising”, ”smart, engaging” og ”genre-defying”.
    [Show full text]
  • Buffy the Vampire Slayer Helpless Transcript
    Buffy The Vampire Slayer Helpless Transcript Thatcher is tentatively swimmable after enneastyle Gifford cicatrize his Sheppard big. Leon is large-hearted and make-peace undeviatingly while presumed Thorn enchains and ad-libbing. Myogenic and spastic Virgie ruled her joviality take-up while Mikel accomplish some criticalness chromatically. You have a ditch, the buffy vampire slayer helpless transcript of Something huge just tackled her. Yeah, bud I think my whole sucking the remainder out telling people thing would later been a strain were the relationship. Buffy script book season 3 ISBN. Looking they find little more, Michael speaks to Sudan expert Anne Bartlett about the current husband there. But until payment I'm despise as helpless as a kitten being a tree change why don't you sod off. We have besides the dark blonde bottle as played by the delightful Julie Benz who. Is that what diamond is about? Practice late to! Go look what are your life? Really, busy being able help put into words what desert was expected to sleep would probably drive him talk himself out near it. Buffy Phenomenon Conversations with stress People 707. They drawn all completely under my waking hours imagining you keep him for that has proved me? 26Jun02 Wanda's Chat Transcript Buffy Angel Spoilers EOnline. Jngpure abj gung Tvyrf unf orra sverq jvyy or veengvbanyyl ungrq ol lbhef gehyl. Can I use attorney from your check on my old site? Really a Slayer test? Cordy might not burn a Scooby anymore, who she has changed. Or pant that burger smell is appealing? Suppose i thought they fought angelus.
    [Show full text]
  • Buffy's Glory, Angel's Jasmine, Blood Magic, and Name Magic
    Please do not remove this page Giving Evil a Name: Buffy's Glory, Angel's Jasmine, Blood Magic, and Name Magic Croft, Janet Brennan https://scholarship.libraries.rutgers.edu/discovery/delivery/01RUT_INST:ResearchRepository/12643454990004646?l#13643522530004646 Croft, J. B. (2015). Giving Evil a Name: Buffy’s Glory, Angel’s Jasmine, Blood Magic, and Name Magic. Slayage: The Journal of the Joss Whedon Studies Association, 12(2). https://doi.org/10.7282/T3FF3V1J This work is protected by copyright. You are free to use this resource, with proper attribution, for research and educational purposes. Other uses, such as reproduction or publication, may require the permission of the copyright holder. Downloaded On 2021/10/02 09:39:58 -0400 Janet Brennan Croft1 Giving Evil a Name: Buffy’s Glory, Angel’s Jasmine, Blood Magic, and Name Magic “It’s about power. Who’s got it. Who knows how to use it.” (“Lessons” 7.1) “I would suggest, then, that the monsters are not an inexplicable blunder of taste; they are essential, fundamentally allied to the underlying ideas of the poem …” (J.R.R. Tolkien, “Beowulf: The Monsters and the Critics”) Introduction: Names and Blood in the Buffyverse [1] In Joss Whedon’s Buffy the Vampire Slayer (1997-2003) and Angel (1999- 2004), words are not something to be taken lightly. A word read out of place can set a book on fire (“Superstar” 4.17) or send a person to a hell dimension (“Belonging” A2.19); a poorly performed spell can turn mortal enemies into soppy lovebirds (“Something Blue” 4.9); a word in a prophecy might mean “to live” or “to die” or both (“To Shanshu in L.A.” A1.22).
    [Show full text]
  • 3N1 Final.Pdf
    cvr1 FSG bw page cvr2 The official journal of the Young Adult Library Services Association VOLUME 3 NUMBER 1 FALL 2004 ISSN 1541-4302 CONTENTS FROM THE EDITOR 2 ARTICLES FROM THE PRESIDENT 35 Publishing 101: A Guide 3 What YALSA Means to Me for the Perplexed David Mowery Publishers Offer Insight through Orlando Program and Interviews ARTICLES Roxy Ekstrom and Amy Alessio 6 Ten Years and Counting 37 YA Galley Project Gives Teens YALSA’s Serving the Underserved a New Voice Project, 1994–2004 Diane Monnier and Francisca Monique le Conge Goldsmith 13 What Does Professionalism Mean 40 Young Adults as Public for Young Adult Librarians? Library Users Dawn Rutherford A Challenge and Priority 16 Reaching Out to Young Adults Ivanka Stricevic in Jail 42 An Unscientific Study of Teen Patrick Jones TV Programming 20 Making a Difference Leslie Marlo Incarcerated Teens Speak Diana Tixier Herald THE UPDATE 44 AWARD SPEECHES 22 Margaret A. Edwards Lifetime GUIDELINES FOR Achievement Award Speech AUTHORS Ursula K. Le Guin 15 26 Michael L. Printz Award Speech INDEX TO ADVERTISERS Angela Johnson 50 28 Michael L. Printz Honor Speech K. L. Going 29 Michael L. Printz Honor Speech Helen Frost 30 Michael L. Printz Honor Speech Carolyn Mackler 33 Michael L. Printz Honor Speech Jennifer Donnelly FROM THE EDITOR amed tennis player Arthur Ashe once said, “From what we get, we can make a living; what we give, YALSA Publications Committee (performing referee duties and providing advisory input for the journal) however, makes a life.” His causes Donald Kenney, Chair, Blacksburg, Virginia were many, and he shared his Lauren Adams, Newton, Massachusetts Sophie R.
    [Show full text]
  • Detectives with Pimples: How Teen Noir Is Crossing the Frontiers of the Traditional Noir Films1
    Detectives with pimples: How teen noir is crossing the frontiers of the traditional noir films1 João de Mancelos (Universidade da Beira Interior) Palavras-chave: Teen noir, Veronica Mars, cinema noir, reinvenção, feminismo Keywords: Teen noir, Veronica Mars, noir cinema, reinvention, feminism 1. “If you’re like me, you just keep chasing the storm” In the last ten years, films and TV series such as Heathers (1999), Donnie Darko (2001), Brick (2005) or Veronica Mars (2004-2007) have become increasingly popular and captivated cult audiences, both in the United States and in Europe, while arousing the curiosity of critics. These productions present characters, plots, motives and a visual aesthetic that resemble the noir films created between 1941, when The Maltese Falcon premiered, and 1958, when Touch of Evil was released. The new films and series retain, for instances, characters like the femme fatale, who drags men to a dreadful destiny; the good-bad girl, who does not hesitate in resorting to dubious methods in order to achieve morally correct objectives; and the lonely detective, now a troubled adolescent — as if Sam Spade had gone back to High School. In the first decade of our century, critics coined the expression teen noir to define this new genre or, in my opinion, subgenre, since it retains numerous traits of the classic film noir, especially in its contents, thus not creating a significant rupture. In this article, I intend to a) examine the common elements between teen noir series and classic noir films; b) analyze how this new production reinvents or subverts the characteristics of the old genre, generating a sense of novelty; c) detect some of the numerous intertextual references present in Veronica Mars, which may lead young viewers to investigate other series, movies or books.
    [Show full text]
  • BBDO Picks the Winners!
    BBDO Picks the Winners! Once a year the advertising agency of BBDO picks what they consider the breakout hits for the upcoming fall TV season. Based on their highly regarded opinion BBDO picks six probable winners (they call them swimmers) for the season: Roswell and Angel are listed as probable breakthrough hits on the WB. Joss Whedon, creator of the hit series Buffy The Vampire Slayer, combines supernatural adventure and dark humor in the next chapter of the Buffy saga, Angel. The centuries-old vampire (David Boreanaz), cursed with a conscience, has left the small town of Sunnydale and taken up residence in the City of Angels. Between pervasive evil and countless temptations lurking beneath the city’s glittery facade, Los Angeles proves to be the ideal address for a fallen vampire looking to save a few lost souls. With the help of Buffy’s Cordelia (Charisma Carpenter), and a shadowy figure known as “The Whistler” (Glenn Quinn), Angel has one last chance to save his own soul by restoring hope to those impressionable young people locked in a losing battle with their own demons. It has been called the City of Dreams, and Angel has come to fight the nightmares. WB2 Tuesday 8-9pm following Buffy The Vampire Slayer Analogy: “Interview with the Vampire meets the WB” In the summer of 1947, residents of the tiny town of Roswell, New Mexico believed they witnessed the fiery crash of an alien spacecraft. The federal government maintains it never happened. Now, on the eve of the fifty-second anniversary, the town once again comes together to celebrate the historic event some call an ill- fated visit from the stars and others call a hoax.
    [Show full text]
  • Song of the Year
    General Field Page 1 of 15 Category 3 - Song Of The Year 015. AMAZING 031. AYO TECHNOLOGY Category 3 Seal, songwriter (Seal) N. Hills, Curtis Jackson, Timothy Song Of The Year 016. AMBITIONS Mosley & Justin Timberlake, A Songwriter(s) Award. A song is eligible if it was Rudy Roopchan, songwriter songwriters (50 Cent Featuring Justin first released or if it first achieved prominence (Sunchasers) Timberlake & Timbaland) during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only. 017. AMERICAN ANTHEM 032. BABY Angie Stone & Charles Tatum, 001. THE ACTRESS Gene Scheer, songwriter (Norah Jones) songwriters; Curtis Mayfield & K. Tiffany Petrossi, songwriter (Tiffany 018. AMNESIA Norton, songwriters (Angie Stone Petrossi) Brian Lapin, Mozella & Shelly Peiken, Featuring Betty Wright) 002. AFTER HOURS songwriters (Mozella) Dennis Bell, Julia Garrison, Kim 019. AND THE RAIN 033. BACK IN JUNE José Promis, songwriter (José Promis) Outerbridge & Victor Sanchez, Buck Aaron Thomas & Gary Wayne songwriters (Infinite Embrace Zaiontz, songwriters (Jokers Wild 034. BACK IN YOUR HEAD Featuring Casey Benjamin) Band) Sara Quin & Tegan Quin, songwriters (Tegan And Sara) 003. AFTER YOU 020. ANDUHYAUN Dick Wagner, songwriter (Wensday) Jimmy Lee Young, songwriter (Jimmy 035. BARTENDER Akon Thiam & T-Pain, songwriters 004. AGAIN & AGAIN Lee Young) (T-Pain Featuring Akon) Inara George & Greg Kurstin, 021. ANGEL songwriters (The Bird And The Bee) Chris Cartier, songwriter (Chris 036. BE GOOD OR BE GONE Fionn Regan, songwriter (Fionn 005. AIN'T NO TIME Cartier) Regan) Grace Potter, songwriter (Grace Potter 022. ANGEL & The Nocturnals) Chaka Khan & James Q. Wright, 037. BE GOOD TO ME Kara DioGuardi, Niclas Molinder & 006.
    [Show full text]
  • Newsletter 15/07 DIGITAL EDITION Nr
    ISSN 1610-2606 ISSN 1610-2606 newsletter 15/07 DIGITAL EDITION Nr. 212 - September 2007 Michael J. Fox Christopher Lloyd LASER HOTLINE - Inh. Dipl.-Ing. (FH) Wolfram Hannemann, MBKS - Talstr. 3 - 70825 K o r n t a l Fon: 0711-832188 - Fax: 0711-8380518 - E-Mail: [email protected] - Web: www.laserhotline.de Newsletter 15/07 (Nr. 212) September 2007 editorial Hallo Laserdisc- und DVD-Fans, schen und japanischen DVDs Aus- Nach den in diesem Jahr bereits liebe Filmfreunde! schau halten, dann dürfen Sie sich absolvierten Filmfestivals Es gibt Tage, da wünscht man sich, schon auf die Ausgaben 213 und ”Widescreen Weekend” (Bradford), mit mindestens fünf Armen und 214 freuen. Diese werden wir so ”Bollywood and Beyond” (Stutt- mehr als nur zwei Hirnhälften ge- bald wie möglich publizieren. Lei- gart) und ”Fantasy Filmfest” (Stutt- boren zu sein. Denn das würde die der erfordert das Einpflegen neuer gart) steht am ersten Oktober- tägliche Arbeit sicherlich wesent- Titel in unsere Datenbank gerade wochenende das vierte Highlight lich einfacher machen. Als enthu- bei deutschen DVDs sehr viel mehr am Festivalhimmel an. Nunmehr siastischer Filmfanatiker vermutet Zeit als bei Übersee-Releases. Und bereits zum dritten Mal lädt die man natürlich schon lange, dass Sie können sich kaum vorstellen, Schauburg in Karlsruhe zum irgendwo auf der Welt in einem was sich seit Beginn unserer Som- ”Todd-AO Filmfestival” in die ba- kleinen, total unauffälligen Labor merpause alles angesammelt hat! dische Hauptstadt ein. Das diesjäh- inmitten einer Wüstenlandschaft Man merkt deutlich, dass wir uns rige Programm wurde gerade eben bereits mit genmanipulierten Men- bereits auf das Herbst- und Winter- offiziell verkündet und das wollen schen experimentiert wird, die ge- geschäft zubewegen.
    [Show full text]
  • Tamagotchi Version 2 Auction Starts Today
    FOR IMMEDIATE RELEASE Received 16 June 2005 MEDIA ADVISORY - UPDATE -✦MEDIA ADVISORY - UPDATE BANDAI AMERICA OFFERS EXCLUSIVE EBAY AUCTION OF NEW TAMAGOTCHI CONNECTION VERSION 2 “VIRTUAL PETS” STARTING 6/16 Bandai America to Donate All Proceeds to the Elizabeth Glaser Pediatric AIDS Foundation; Tamagotchis Autographed by Major Celebrities Including George Lucas, Mark Hamill, Seth Green, Dominic Monaghan, Dave Navarro, Daisy Fuentes & Brooke Burke What: As the demand for the new Tamagotchi Connection Version 2 continues to build prior to its retail debut, Bandai American Inc. is hosting an exclusive auction on eBay, The World’s Online Marketplace®, benefiting the Elizabeth Glaser Pediatric AIDS Foundation. The Tamagotchis to be auctioned off have been autographed by major celebrities from film, TV, music and sports. Key auction items include Tamagotchi items signed by the following: George Lucas (“Star Wars”) Randy Jackson (“American Idol”) Mark Hamill (“Star Wars”) Dave Navarro (“Rock Star: INXS”) Seth Green (“Austin Powers”) Brooke Burke (“Rock Star: INXS”) Dominic Monaghan (“Lost”) Model/actress Daisy Fuentes Thomas Jane (“The Punisher”) Joe McIntyre (“Dancing With The Stars”) Alyson Hannigan & Alexis Denisof (“Buffy Actress Raquel Welch The Vampire Slayer” & “Angel”) Comedians Jimmy Kimmel & Sarah Silverman Michelle Trachtenberg (“Buffy”) Jamie Lynn Spears (“Zoey 101”) Singer “Weird Al” Yankovic Lacey Chabert (“Mean Girls”) When: The 10-day auction begins Thursday, June 16th and ends Sunday, June 26th. For more information and to bid on the items, please visit http://www.ebay.com/tamagotchi About Tamagotchi Connection Version 2: The new Tamagotchi Connection for 2005 offers even more interactivity and special features! Owners can now earn “Gotchi” points, which allows them to shop for special treats, items and food.
    [Show full text]
  • Investigating Veronica Mars the Noir and Teen Clash in Neptune, California
    Investigating Veronica Mars The Noir and Teen Clash in Neptune, California by Kim Johansen Østby Master’s Thesis in Media Studies Department of Media and Communication University of Oslo Spring 2010 “[…] why is Veronica Mars so good? It bears little resemblance to life as I know it, but I can't take my eyes off the damn thing.” (Stephen King, Entertainment Weekly, 01/02-2007) I Abstract What happens when you combine the long tradition of film noir and the contemporary television teen drama? Through genre analysis, this thesis explores how the television show Veronica Mars (2004-2007) mixes noir and teen drama and how this creates a dark vision of society and teen life. Through four chapters I investigate key points of the show, such as the narration and aesthetics, the representation of the noir universe through the show’s depiction of social class inequalities and an incapacitated criminal justice system, the show’s exploration of teen drama themes and how this is affected by noir and finally, an analysis of the main characters and how they relate to this hybrid universe. Noir and teen elements pulsate throughout the entire show. Together they create a tense, paranoid and mysterious atmosphere and allow the show to repeatedly explore dark themes and plots that do not commonly appear in teen dramas. The teen private investigator protagonist Veronica must tackle mysteries ranging everywhere from disappearances, blackmail, scams and theft, to situations where she must deceive the FBI, confront and battle a serial rapist and solve the mass murder of her fellow classmates, all while making her way through high school and college.
    [Show full text]
  • Avengers Assemble: Análise De Cenas Pós-Créditos Selecionadas Do Universo Cinematográfico Da Marvel
    AVENGERS ASSEMBLE: ANÁLISE DE CENAS PÓS-CRÉDITOS SELECIONADAS DO UNIVERSO CINEMATOGRÁFICO DA MARVEL Mauricio Almeida Mello Santa Maria, RS 2020 1 Mauricio Almeida Mello AVENGERS ASSEMBLE: ANÁLISE DE CENAS PÓS-CRÉDITOS SELECIONADAS DO UNIVERSO CINEMATOGRÁFICO DA MARVEL Trabalho Final de Graduação apresentado ao Curso de Jornalismo – Área de Ciências Sociais, da Universidade Franciscana, como requisito parcial para obtenção do grau de Jornalista. Orientador: Professor Me. Carlos Alberto Badke Santa Maria, RS 2020 2 Mauricio Almeida Mello AVENGERS ASSEMBLE: ANÁLISE DE CENAS PÓS-CRÉDITOS SELECIONADAS DO UNIVERSO CINEMATOGRÁFICO DA MARVEL Banca examinadora: ______________________________ Prof. Me. Carlos Alberto Badke - Orientador (UFN) ______________________________ Dra em Comunicação Midiática. Neli Fabiane Mombelli (UFN) ______________________________ Jornalista e Especialista em Cinema (UFN) - Bianca de França Zasso Aprovado em _____ de ______________ de 2021. 3 “Isso que faz um herói. Parte da Jornada é o fim” Tony Stark (Homem de Ferro) 4 AGRADECIMENTOS Primeiramente quero agradecer a Deus por ter me presenteado no final do ano de 2013, com a aprovação no vestibular da UFN (Centro Universitário Franciscano na época) e diante disso, ter me proporcionado a oportunidade de cursar Jornalismo. Agradeço com carinho, a minha família e os meus pais, que sempre estiveram e estão do meu lado, e durante esse período me apoiaram e sempre me ajudaram quando foi necessário. Com destaque para a minha mãe, que a cada semestre concluído, comemorava, como se eu tivesse passado de ano, lembrando os meus tempos de escola. Não posso deixar de agradecer também, os meus colegas de trabalho, e principalmente o meu chefe Elton, que durante o meu período de acadêmico, me ajudou, e nunca negou me liberar ou sair mais cedo quando necessário, nos dias que eu tive alguma avaliação ou algum trabalho para apresentar.
    [Show full text]