...3 Categorizing Alien The sf movie has a close relationship to the traditional horror movie (Sobchack 26). Therefore, hybrid movies that unite elements of both genres seem to displease many critics because of encountered difficulties to categorize the respective one (27). Adam Roberts’s idea of ‘we know what sf is when we see it’ does not help to detect a medium to only one genre in this case (2). Ridley Scott’s Alien (1979) is a hybrid movie and supports elements of both genres, namely, horror and sf. Blithely, mandatory requirements, according to Darko Suvin’s definition, help categorizing this movie to one or the other. Alien is set in space, more specifically on the spaceship called Nostromo, in which an extraterrestrial creature is born...
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...Interstellar and off-world tales are fully engrained in the fabric of entertainment. As consumers, we ingest wide variations of outer space fiction – with the most popular and obvious examples being Star Wars and Star Trek. But, space exploration isn’t always about alien encounters or laser-themed weapon. Sometime it’s simply brings out the finer qualities of humanity. In Ridley Scott’s (Alien, Prometheus) latest directing effort, based on the novel (of the same name) by Andy Weir, Matt Damon stars as Mark Watney – an astronaut that’s stranded on Mars alone when his crew is forced to abandon him after an accident leads them to believe he’s dead. But, it turns out Mark is very much alive. N.A.S.A. also believes Mark to be decease, although...
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... By Vivek Nipani 1. In Ridley Scott’s Alien (1979) what qualities does Ellen Ripley (Sigourney Weaver) project or possess that make her seem so tough? How or where does her femininity figure in her toughness? According to Sherrie A. Inness in “Lady Killers, Tough Enough?” what are two ways that Hollywood cinema undermines and punishes tough or powerful women? How is this twice demonstrated in Elizabeth (Shekhar Kapur,1998)? And how does Elizabeth I (Cate Blanchett) re-assess her gender to secure lasting power? Finally, in what way can she be considered according to Inness’s formulation, “pseudo-tough?” It is interesting to note that women in Hollywood are not considered tough even when they play characters that can break and haunt a male protagonist in the film. Sherrie A. Inness in her chapter, “Women warriors and wonder women in popular culture,” mentions that, all women in Hollywood are not as tough as they seem. They repeatedly show the tough and masculine killer nature is nothing but all women or feminine underneath. They are made and designed to be desirable by men, even if they are found in the middle of an intense battle, they show no signs of breaking a sweat, with their beautiful hair flowing in high speed shots and are lithe stylistically to make them look like an Amazon warrior with a ton of sexuality. I found this analogy true and very interesting as we were shown the clip from the Ridley Scot film, Alien. Here we see Ripley, played by Sigourney...
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...Blade Runner Critique ENG225: Introduction to Film (GSK1442C) Professor Brad Waltman November 16, 2014 The film Blade Runner is an outstanding example of the science fiction genre of film. The film uses it’s futuristic setting, combined with the plot of a policeman hunting down illegal and violent androids, to set the stage for a truly thought provoking film. The viewer is exposed to new ideas about morality and the boundaries of technology. Blade Runner is widely regarded as a pioneer film in the science fiction subgenre of “cyberpunk” and its dystopian style has influenced dozens, if not hundreds of films since it’s release. The style, message and distinct futuristic darkness of Blade Runner is an outstanding part of the science fiction genre and a fascinating example of movie making. Blade Runner was released in 1982 and much of its distinct personality comes from the unique people involved in the film, both in front of, and behind the camera. Ridley Scott directed the film and is revolves around one of his favorites elements, artificial intelligence. Blade Runner is regarded is a Scott classic, and displays the elements that audiences expect from one of his films. Jordan Cronenweth worked as the film’s cinematographer and was regarded as one of the best in the industry, even years after his death. Cronenweth’s dark and moody work provided much of the noire and intrigue of Blade Runner. The film stared Harrison Ford as the not too heroic main character...
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...like Rakiten Kitazawa and Ippei Okamoto were producing their own serialized newspaper prints. These would eventually contribute to the development of the modern Japanese comic book or "manga" In 1914, cartoonists were among the first Japanese artists to experiment with animated motion pictures. Japan's first world-wide success was Kitayama Seitaro's short film Momotaro(1918). Although the Japanese animation industry continued to grow slowly, its one, last pre-war milestone was Chikara To Onna No Yononaka. Appearing in 1932, the short film was the first animated "talkie" in Japanese. Elswhere in the world, the animation industry was not only thriving but breaking new ground. The undisputed leaders in the field were Walt Disney and the Fleisher Brothers. People now forgot what a shock it was for Disney to even consider producing a full-length animated feature. But, when Snow White and the Seven Dwarfs appeared in 1937 to overwhelming popular acclaim, Disney demonstrated that animation could be just as expressive and viable a medium as live-action film. The popularity and influence of Disney and the Fleishers' animated films were not limited to the United States. Before World War II, much of their work was seen by receptive audiences in Europe and Asia. These works also inspired the dreams of a young man who would go on to alter the direction of Japanese graphic story-telling forever. The God As unbelievable as it may...
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...round eyes. Works such as Sailor Moon, Dragonball Z, Gundam Wing, and of course Pokémon are a cult of its genre. I'm sure many have seen these cartoons, but never thought about what they are and who made them. I remember when I was a kid watching Pokémon after school and could not have imagined that the same Looney Tunes are completely different things. In my mind there was only one question: "Why their eyes so big?" Where did all these cartoons come from? To find the answer one must look no further than in Japan, the birthplace of Japanese animation, and the main source for all of this madness. Japanese animation, also known as anime (pronounced "ani-may"), is a popular form of animation in Japan, which is quickly spreading in the world. The major difference between anime and American cartoons is that unlike American cartoons, which are only watched by children, anime is popular among the Japanese adults and is watched by millions. The audience is not merely directed to children but to teens and adults as well. The same applies to Japanese comics known as manga. The origins of Japanese animation art are in the cultural traditions of this nation. Despite the nearly century-long period when the animation as an element of contemporary art began to develop and occupy a leading position as at home and abroad, its origins, according to the experts go back to antiquity, where the Japanese culture is born. And it all began, as the written sources, with rice and...
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...modern spreadsheet program, sales increased dramatically. In 1979, Apple initiated three projects in order to stay ahead of the competition: 1) the Apple III – their business oriented machine, 2) the Lisa – the planned successor to the Apple III, and 3) Macintosh. In 1980, the company released the Apple III to the public and was a commercial flop. It was too expensive and had several design flaws that made for less-than-stellar quality. One design flaw was a lack of cooling fans, which allowed chips to overheat. In late 1980, Apple went public, making the two Steves and Markkula wealthy – to the tune of nine figures. By 1981, the Apple III was not selling well and Scott infamously fired 40 people on Feb 25 (“Black Wednesday”). Scott’s direct management style conflicted with the culture Jobs and Markkula preferred, and Scott resigned in July. Markkula stepped into his position as CEO. In August 1981, IBM released their PC. Unimpressed and unafraid, Apple welcomed IBM to the PC market...
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...Contents Title Page Copyright Acknowledgments Chapter One Chapter Two Chapter Three Chapter Four Chapter Five Chapter Six Chapter Seven Chapter Eight Chapter Nine Chapter Ten Chapter Eleven Chapter Twelve Chapter Thirteen Chapter Fourteen Chapter Fifteen Chapter Sixteen Chapter Seventeen Chapter Eighteen Chapter Nineteen Chapter Twenty Chapter Twenty-one Chapter Twenty-two Chapter Twenty-three Chapter Twenty-four Chapter Twenty-five Chapter Twenty-six Chapter Twenty-seven Chapter Twenty-eight Chapter Twenty-nine Chapter Thirty Chapter Thirty-one Chapter Thirty-two Chapter Thirty-three Chapter Thirty-four Chapter Thirty-five Chapter Thirty-six Chapter Thirty-seven Rocked #2 Rocked Under By Cora Hawkes Copyright © 2013 Cora Hawkes All rights reserved. No part of this book may be reproduced in any form without written permission from the author, except that brief quotations embodied in critical articles and reviews are permitted. This is a work of fiction. The names, characters, places and incidents are products of the author's imagination or have been used fictitiously. Any resemblance to actual persons, living or dead, events, or locales is entirely coincidental. Cover photo © Konstantynov at http://www.shutterstock.com/gallery-116797p1.html Acknowledgments To my fiancé, thank you for putting up with the many nights I totally ignored you while I wrote this and for all your support, you're my rock, I love you! For...
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...6/9/13 10 - A History of English Literature Classic Literature Read about A History of English Literature. More E-texts A History of English Literature 1918 by Robert Huntington Fletcher Education Share Preface | How to Study | Tabular View | Chapters: 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | Assignments Chapter X. Period VIII. The Romantic Triumph, 1798 To About 1830 The Great Writers of 1798-1830 | Samuel Taylor Coleridge | William Wordsworth | Robert Southey | Walter Scott | Last Group of Romantic Poets | Percy Bysshe Shelley | John Keats | Summary | Lesser Writers | THE GREAT WRITERS OF 1798-1830. THE CRITICAL REVIEWS. As we look back to-day over the literature of the last three quarters of the eighteenth century, here just surveyed, the progress of the Romantic Movement seems the most conspicuous general fact which it presents. But at the, death of Cowper in 1800 the movement still remained tentative and incomplete, and it was to arrive at full maturity only in the work of the great writers of the following quarter century, who were to create the finest body of literature which England had produced since the Elizabethan period. All the greatest of these writers were poets, wholly or in part, and they fall roughly into two groups: first, William Wordsworth, Samuel Taylor Coleridge, Robert Southey, and Walter Scott; and second, about twenty years younger, Lord Byron, Percy Bysshe Shelley, and John Keats. This period of Romantic Triumph, or of the...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th...
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...UNIVERSAL PICTURES and EMMETT / FURLA FILMS Present A MARC PLATT Production In Association with OASIS VENTURES ENTERTAINMENT LTD / ENVISION ENTERTAINMENT / HERRICK ENTERTAINMENT / BOOM! STUDIOS A BALTASAR KORMÁKUR Film PAULA PATTON BILL PAXTON JAMES MARSDEN FRED WARD and EDWARD JAMES OLMOS Executive Producers BRANDT ANDERSEN JEFFREY STOTT MOTAZ M. NABULSI JOSHUA SKURLA MARK DAMON Produced by MARC PLATT RANDALL EMMETT NORTON HERRICK ADAM SIEGEL GEORGE FURLA ROSS RICHIE ANDREW COSBY Based on the BOOM! Studios Graphic Novels by STEVEN GRANT Screenplay by BLAKE MASTERS Directed by BALTASAR KORMÁKUR –1– CAST Waitress Margie . . . . . . . . . . . . . . . . . . . . . LINDSEY GORT Roughneck #2 . . . . . . . . . . . . . . . . . HILLEL M. SHARMAN Robert “Bobby” Trench . . . . . . . . . DENZEL WASHINGTON Roughneck #3 . . . . . . . . . . . . . . . . . . . . . . . . AARON ZELL Marcus “Stig” Stigman . . . . . . . . . . . . MARK WAHLBERG Roughneck #4 . . . . . . . . . . . . . . . . . . . . . . . HENRY PENZI Deb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PAULA PATTON CREW Earl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BILL PAXTON Admiral Tuwey . . . . . . . . . . . . . . . . . . . . . . . FRED J. WARD Quince . . . . . . . . . . . . . . . . . . . . . . . . . . JAMES MARSDEN Directed by . . . . . . . . . . . . . . . . . BALTASAR KORMÁKUR Papi Greco . . . . . . . . . . . . . . . . . EDWARD JAMES OLMOS Screenplay by . . . . . . . . . . . ...
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...A Research Paper On Why Capitalism Succeeded In Generating An Industrial Revolution In Other Countries But Failed In The Philippines Submitted by Manuel Ortega Abis Student No. 11-71-003, BPA Special Program Batch 8-A CAPA, Universidad de Manila Professor Ronaldo J. Navata PREFACE The research materials and references used in this research paper were managed to be gathered through unlimited internet hours and limited library hours, but the pages on the web and the pages of the book offered equal enlightenment and enjoyment. The premises and conclusions built and reached in this paper are products of the researcher’s serious analysis of the Philippine economic situation. The researcher, however, is praying that his objectivity and the sincerity of his language shall not fail him in his own humble attempt to bring this mini-thesis to its just and proper course and closure. The twin causes formulated in this paper are generally subdivided into two: the concept of economic will (policy system of governance) and the concept of economic ownership (property system of the governed). Further reading is advised on critical and related topics of this paper. For the economy, these words: there is no such thing as the co-existence of freedom and equality. God bless the Philippines! ______________________________________________________________________________ ...
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...SECOND DRAFT Contents Preamble Chapter 1 1.1 1.2 1.3 1.4 1.5 Background Rationale Aims Interface with the Junior Secondary Curriculum Principles of Curriculum Design Chapter 2 2.1 2.2 2.3 2.4 2.5 1 Introduction Literature in English Curriculum Framework Strands and Learning Targets Learning Objectives Generic Skills Values and Attitudes Broad Learning Outcomes Chapter 3 5 7 9 10 11 11 13 Curriculum Planning 3.1 Planning a Balanced and Flexible Curriculum 3.2 Central Curriculum and School-based Curriculum Development 3.2.1 Integrating Classroom Learning and Independent Learning 3.2.2 Maximizing Learning Opportunities 3.2.3 Cross-curricular Planning 3.2.4 Building a Learning Community through Flexible Class Organization 3.3 Collaboration within the English Language Education KLA and Cross KLA Links 3.4 Time Allocation 3.5 Progression of Studies 3.6 Managing the Curriculum – Role of Curriculum Leaders Chapter 4 1 2 2 3 3 13 14 14 15 15 16 16 17 17 18 21 Learning and Teaching 4.1 Approaches to Learning and Teaching 4.1.1 Introductory Comments 4.1.2 Prose Fiction 4.1.3 Poetry i 21 21 23 32 SECOND DRAFT 4.1.4 Drama 4.1.5 Films 4.1.6 Literary Appreciation 4.1.7 Schools of Literary Criticism 4.2 Catering for Learner Diversity 4.3 Meaningful Homework 4.4 Role of Learners Chapter 5 41 45 52 69 71 72 73 74 Assessment 5.1 Guiding Principles 5.2 Internal Assessment 5.2.1 Formative Assessment 5.2.2 Summative Assessment 5.3 Public Assessment 5.3.1 Standards-referenced...
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