...has been historically positioned as a classic cult film, which consequently inspired Paul Anderson to direct the new version of the forenamed original and present it as the Death Race film in 2008. Numerous critics and journalists have skillfully compared and contrast both of the cinematographic creations giving preference either to Paul Bartel’s original movie or Paul Anderson’s modern remake. The talents of both producers have confronted each other throughout time and critically assessed by the spectators, which is particularly interesting from the perspective that both of the movies carry practically the same title. Both Death Race 2000 and Death Race focus on the devastating and bloody dystopian future. However, it needs to be said that the title along with the blood and car competition theme result to be the most significant similarities between the two films otherwise these films are to be perceived as two creation of entirely different matter. As the race itself presented in both films is extremely different from one another. In Death Race 2000 it is associated with a cross-country race that identifies its winner in accordance with the number of pedestrians the driver kills, it exposes the audience to an extensive violence show. According to the Pulitzer Prize winner Roger Ebert, the original Death Race 2000 demonstrates excessive aggression with nurses parking their patients in wheelchairs in the middle of the road to be hit by the race car and the drivers pursuing...
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...It has been continued in time since we first imagined the life of the coming future in light of our curiosity and eagerness. A host of science fiction films depict the unborn world, which always have skyscrapers, great technology, and consist of abundant robots in the forthcoming life. Once we talk about science fiction films we can’t help mentioning Metropolis and Blade Runner. Made over 50 years apart from each other, both films address the problems that people living in the present foresaw in the future and the other of which is concerned with machines’ effect on human beings. Both films are quite visually stunning and attention grabbing and they are good examples of how science fiction movies have changed over time with the evolution of technology. Undoubtedly, these two films exhibit a gorgeous technological world and tell us a myth of future similarly and differently. In Metropolis, the workers depicted in the film have to live in poverty and work under very dangerous situations underground. The background blending of the two environments demonstrates a surrealistic environment and two contrasting atmospheres in the movies. The film Metropolis is set in the year 2026, in the extraordinary Gothic skyscrapers of a corporate city-state. In spite of it being a black and white old movie the director describes a magnificent vision of future world filled with high-rise buildings. It is a simple world, consisting of two classes--the pampered citizens of the surface and the workers...
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...Subject Code: APBL20045 | Subject Name: City Future | Student ID Number: 563013 | Student Name: Joel Madeira | Assignment Name or Number: Final essay | With reference to at least one work of fiction, critically discuss how science and technology feature in utopian or dystopian planning of future cities. The city of the future needs to change. With the population increasing at a rapid pace, more and more people favor to live in urbanized area. The result of the urban population explosion means that there is a need to change the physical dimension or space in cities, in order to cope with such a large amount of people. Cities will be dramatically restricted with the aid of science fiction and technology. This paper investigates how Ecumenopolis, the science fiction concept of city layout could be implanted or influence the future of cities, followed by how technology such as: transportation and telecommunication, could help satisfy social needs, which may again reshape the structure of cities in the future, finally by using examples from science fiction theme movies and novels to illustrate how humans could reshape their future cities and whether these advanced innovations would lead to a utopian or dystopian society. The most crucial element that cities of the future would face is in relation to the increasing population. It is unavoidable that for the next few decades, global population growth will escalate intensely. According to Vidal (2012), by 2050, 7 billion of today’s...
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...Sparrow Ostas Densmore October 31, 2013 2nd Block Section Summaries: Pages 14 – 32 Do A Number: This phrase relates to the sport of boxing. Coaches inform their boxer to hit the opponent x amount of times, which can be any number Three Sheets to the Wind: This phrase means “extremely drunk.” This phrase comes from ropes, which all have a different function. The math involved is “sheet” ropes, which control the horizontal movement of the sails. If three sails are loose, then the sailors are extremely drunk. The Third Degree: This phrase means that when people got interrogated for their past crimes, they got highly searched (third degree). This phrase includes the math were the members of an old ritual of Freemasonry, which were graded by degrees. The Fourth Estate: This phrase means the social ranks of the 1789 Estates-General. The first where the clergy, than the nobles, and finally the bourgeoisie (the wealthiest). But the Fourth Estate was the most influential on ordinary French people – newspapers and reporters. Fourth Wall: This phrase is a “wall” that separates a theatrical performance from the audience. But now this term is applies when a character “breaks” the fourth wall and addresses the audience directly. Five by Five: This phrase is a term for a NATO radio speak system. Signals are rated by one – five (five being the clearest and most understood signal). It is usually used to indicate that something is understood. Fifth Columnist: This phrase originally comes...
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...completely brainwashed and unable to realize their potential and ability to expand their views upon world around them. Survival. It is what’s left for mankind when all of civilization has come to an end in a downward spiral. The causes and effects of a dystopia are the same causes and effects that can occur to our own society. The possibility of young adolescents slaughtering each other for the entertainment of the wealthy, like in the Hunger Games, or the possibility of a world where criminals are put through brutal behavioral modifications by the system in return for freedom, as seen in the cult classic film A Clockwork Orange, are all probable events destined to happen in the not so distant future. The dystopian genre gives readers and viewers a glimpse of what can occur and harm society if we are not able to prevent a world that ends in chaos. In Ray Bradbury's Fahrenheit 451 and The Road, written by Cormac McCarthy and directed by John Hillcoat, present worlds in which individuals deal with their terrible reality by fighting for a better one. Utilizing stylistic elements to depict a horrific world that can be easily end up as our own, both authors are able to display the possible fate of civilization. Part 1: The Social Commentary and Style within Fahrenheit 451 In Ray Bradbury's novel, Fahrenheit 451, he depicts a society that is in denial about how unhappy they are and how they pretend like the whole world revolves around them. The society consists of a general public who don’t...
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...being made daily and sold to companies who are replacing factory workers. Machines work more efficient than humans and do the work without major drawbacks. The book Player Piano, and the movie i, Robot display a dystopian world run by machines and robots. Player Piano is set in a world where machines are replacing every human laborer, and the only humans surviving are the machine engineers. In i, Robot, robots have been given to every household in Chicago but there are problems that come with such a luxury. To add on, the articles "Better than human: why robots will - and must - take our jobs" and an article by Forbes.com mention the harmful effects of automation, and what the scary future may look like. The significant growth, productivity, and reliability of robots and machines will soon replace most human labor and make it difficult to find employment. Despite the great advantages of using technology; the more it develops, the more it will overshadow society. The job market will only be more competitive in the future, and unfortunately, only the strong will survive. Gradually over time, machines will be replacing workers in factories, warehouses, and anything else that requires labor. A significant percentage of the work force is made up of blue collar workers. Roads will always be needed to be built,...
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...The Failure of Fahrenheit 451 By Jeremy Smith 13 October 2003 I. In 1953, Ray Bradbury published a novel in which the burning of books presages the burning of the world. In the half century since, Fahrenheit 451 has emerged as a staple of high school and college syllabi and continues to chart best-seller lists. Both Simon & Schuster and Del Rey are releasing fiftieth anniversary editions this year. This past summer it was the number one best-selling science fiction/fantasy paperback in Barnes & Noble stores. While it is most often used as a way of talking about media and censorship, Fahrenheit 451 also represents a literary mode that seeks to prevent a certain future by describing it. This mode is often -- but not always -- dystopian. It is distinguished most by a moralistic and apocalyptic state of mind. Let's call it Cassandraism, after the daughter of Troy whose prophecies were not believed. Launched with Mary Shelley's Frankenstein, Cassandraism remains the most socially acceptable branch on the family tree of science fiction, embracing such respectably literary figures as Aldous Huxley, George Orwell, Kurt Vonnegut, Jr., and Margaret Atwood, who with her 1986 novel The Handmaid's Tale became its foremost contemporary practitioner. In Atwood's new novel Oryx and Crake, digital convergence and genetic engineering are combined and carried to their logical conclusion, a media-filtered apocalypse that the characters (and, one senses, the author) simultaneously...
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...Some definitions of literary devices, techniques and style from searching via http://www.ferretsoft.com/ LITERARY DEVICES http://mrbraiman.home.att.net/lit.htm Literary devices refers to any specific aspect of literature, or a particular work, which we can recognize, identify, interpret and/or analyze. Both literary elements and literary techniques can rightly be called literary devices. Literary elements refers to aspects or characteristics of a whole text. They are not “used,” per se, by authors; we derive what they are from reading the text. Most literary elements can be derived from any and all texts; for example, every story has a theme, every story has a setting, every story has a conflict, every story is written from a particular point-of-view, etc. In order to be discussed legitimately, literary elements must be specifically identified for that text. Literary techniques refers to any specific, deliberate constructions of language which an author uses to convey meaning. An author’s use of a literary technique usually occurs with a single word or phrase, or a particular group of words or phrases, at one single point in a text. Unlike literary elements, literary techniques are not necessarily present in every text. Literary terms refers to the words themselves with which we identify and describe literary elements and techniques. They are not found in literature and they are not “used” by authors. Allegory:...
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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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...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 Assessment 5.3.2 Modes of Public Assessment 74 74 74 75 77 77 77 Quality Learning and Teaching Resources 104 6.1 Use of Set Texts 6.2 Use of Other Learning and Teaching Resources 104 108 Chapter 6 Chapter 7 109 Supporting Measures 7.1 Learning and Teaching Resource Materials 7.2 Professional Development 109 109 Appendix 1 Examples of Poetry Analysis 110 Appendix 2 Examples of...
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...The Hunger Games: Action-film feminism is catching fire Lisa Schwarzbaum Burning up Jennifer Lawrence’s Katniss Everdeen is both strong and vulnerable – a new kind of action heroine who has powered The Hunger Games: Catching fire to a $158m US debut. (Lionsgate) Jennifer Lawrence’s Katniss Everdeen is a new type of female action film icon, and moviegoers should be very excited about that, writes Lisa Schwarzbaum. As Catching Fire ignites on movie screens around the world, this is what we know about the 21st Century heroine called Katniss Everdeen: she is strong but also soft. She is brave but she has doubts. She is a phenomenal fictional creation, yet is real enough that moviegoers can draw inspiration from her values, her resourcefulness, and her very human inner conflicts. And she is played by Jennifer Lawrence, who appears not only to be handling her current duties as Hollywood’s finest model of well-adjusted millennial female stardom but doing so with charm. Everdeen and Lawrence: golden girls both. Personified in Lawrence’s lithe movements and cool, focused gaze, Katniss is a brave, resourceful and independent-minded fighter; but she is also a troubled and vulnerably guilt-ridden human being. Nina Jacobson, the producer of the Hunger Games film franchise, puts it this way: “She is a singular heroine in that the burden of survival weighs on her. She has a ton of survivor’s guilt. And she keeps surviving.” Girl on fire It is strange that behaving like a well-adjusted...
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... and the American traditions. Published Reading the Modern British and Irish Novel 1890–1930 Reading the Novel in English 1950–2000 Daniel R. Schwarz Brian W. Shaffer Forthcoming Reading the Eighteenth-Century Novel Paula R. Backscheider Reading the Nineteenth-Century Novel Harry E. Shaw and Alison Case Reading the American Novel 1780–1865 Shirley Samuels Reading the American Novel 1865–1914 G. R. Thompson Reading the Twentieth-Century American Novel James Phelan ii RTNA01 2 13/6/05, 5:28 PM Reading the Novel in English 1950–2000 Brian W. Shaffer iii RTNA01 3 13/6/05, 5:28 PM © 2006 by Brian W. Shaffer BLACKWELL PUBLISHING 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford OX4 2DQ, UK 550 Swanston Street, Carlton, Victoria 3053, Australia The right of Brian W. Shaffer to be identified as the Author of this Work has been asserted in accordance with the UK Copyright, Designs, and Patents Act 1988. 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, except as permitted by the UK Copyright, Designs, and Patents Act 1988, without the prior permission of the publisher. First published 2006 by Blackwell Publishing Ltd 1 2006 Library of Congress Cataloging-in-Publication Data Shaffer, Brian W., 1960– Reading the novel in English, 1950–2000 / Brian...
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...American Pop: Popular Culture Decade by Decade. Ed. Bob Bacthelor. Westport, CT: Greenwood Press 2009. 978-0-313- 34410-7. 4 vol. 1,604p. $375.00. Gr. 9-12. This four volume set gives students a broad and interdisciplinary overview of the many and varied aspects of pop culture across America from 1900 to the present. The volumes cover the following chronological periods: V 1. 1900-1929, V 2. 1930-1959, V 3. 1960-1989 and Vol. 4. 1990-Present. There is an Introduction for each volume focusing on the major issues during that period. There is a Timeline of events for the decade which gives extra oversight and content to the study of the period and an Overview of each dcade. Chapters focus on specific areas of pop culture (Advertising, Books, Entertainment, Fashion, Food Music and much more) supplemented with sidebars containing stories, photos, illustrations and Notable information. There are endnotes for each decade and a Resource Guide and Index. Volume 4 also contains a Cost of Products from 1900-2000, and an Appendix with Classroom Resources for teachers and students and a Cumulative Index. Students, teachers and the general reader will love sifting through the experiences of Americans as they easily follow the crazes, technological breakthroughs and the experiences of art, entertainment, sports and other cultural forces and events that influenced each generation. Reference– Popular Culture ...
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...Instructor’s Manual and Test Bank to accompany A First Look at Communication Theory Sixth Edition Em Griffin Wheaton College prepared by Glen McClish San Diego State University and Emily J. Langan Wheaton College Published by McGrawHill, an imprint of The McGrawHill Companies, Inc., 1221 Avenue of the Americas, New York, NY 10020. Copyright Ó 2006, 2003, 2000, 1997, 1994, 1991 by The McGrawHill Companies, Inc. All rights reserved. The contents, or parts thereof, may be reproduced in print form solely for classroom use with A First Look At Communication Theory provided such reproductions bear copyright notice, but may not be reproduced in any other form or for any other purpose without the prior written consent of The McGrawHill Companies, Inc., including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning. PREFACE Rationale We agreed to produce the instructor’s manual for the sixth edition of A First Look at Communication Theory because it’s a first-rate book and because we enjoy talking and writing about pedagogy. Yet when we recall the discussions we’ve had with colleagues about instructor’s manuals over the years, two unnerving comments stick with us: “I don’t find them much help”; and (even worse) “I never look at them.” And, if the truth be told, we were often the people making such points! With these statements in mind, we have done some serious soul-searching about the texts that so many teachers—ourselves...
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...Proceeding for the School of Visual Arts Eighteenth Annual National Conference on Liberal Arts and the Education of Artists: Art and Story CONTENTS SECTION ONE: Marcel’s Studio Visit with Elstir……………………………………………………….. David Carrier SECTION TWO: Film and Video Narrative Brief Narrative on Film-The Case of John Updike……………………………………. Thomas P. Adler With a Pen of Light …………………………………………………………………… Michael Fink Media and the Message: Does Media Shape or Serve the Story: Visual Storytelling and New Media ……………………………………………………. June Bisantz Evans Visual Literacy: The Language of Cultural Signifiers…………………………………. Tammy Knipp SECTION THREE: Narrative and Fine Art Beyond Illustration: Visual Narrative Strategies in Picasso’s Celestina Prints………… Susan J. Baker and William Novak Narrative, Allegory, and Commentary in Emil Nolde’s Legend: St. Mary of Egypt…… William B. Sieger A Narrative of Belonging: The Art of Beauford Delaney and Glenn Ligon…………… Catherine St. John Art and Narrative Under the Third Reich ……………………………………………… Ashley Labrie 28 15 1 22 25 27 36 43 51 Hopper Stories in an Imaginary Museum……………………………………………. Joseph Stanton SECTION FOUR: Photography and Narrative Black & White: Two Worlds/Two Distinct Stories……………………………………….. Elaine A. King Relinquishing His Own Story: Abandonment and Appropriation in the Edward Weston Narrative………………………………………………………………………….. David Peeler Narrative Stretegies in the Worlds of Jean Le Gac and Sophe Calle…………………….. Stefanie Rentsch...
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