Based on Star Wars: The Force Awakens, this movie retelling for kids is perfect for the young Star Wars fan! The removable projector looks like the droid BB-8, and it can cast up to 24 images from the movie with the included six picture discs. Plus, the projector works well as a flashlight when reading time is over!
Based on the classic Star Wars trilogy, this lightsaber projector brings classic characters and scenes from the Star Wars saga to the wildly popular Movie Theater Storybook format. The original classics Star Wars: A New Hope; The Empire Strikes Back; and Return of the Jedi are all retold here in this special movie theater storybook that features a movie image projector. Just untwist the base to view 24 exciting scenes as the stories unfold from a long time ago in a galaxy far, far away.... The Force will be with you, always.
“With its fascinating personalities that only Rinzler could describe, All Up can’t be put down.”—David Mandel, Veep executive producer All Up plunges its readers into the cloak-and-dagger espionage and blitzkrieg battles of World War II that swirled around rocketry; it introduces them to extraterrestrial phenomena, secret organizations, and the nail-biting missions launched from Cape Canaveral—as well as the secrets and unknown history behind Apollo 11’s legendary trip to the Moon. All Up tells the incredible true story of Nazi Germany’s Wernher von Braun, Soviet Russia’s Sergei Korolev, and America’s Robert Goddard as they work feverishly to fulfill their countries’ technological, military, and geopolitical objectives while satisfying their own personal obsessions. Alongside the Space Age history is the strange but well-documented trail of UFOs—one that leads to a desperate struggle in the highest corridors of power. Who will control the alien technology for their hidden agendas during the Cold War? Secret services compete worldwide in that ruthless game—and no one is a more deadly player than the mysterious agent named Rachel, hot on the trail of war criminal, former SS Brigadeführer Hans Kammler.
In 2012, Disney purchased Lucasfilm, which meant it also inherited the beloved Star Wars franchise. This corporate marriage sent media critics and fans into a frenzy of speculation about what would happen next with the hugely popular series. Disney’s Star Wars gathers twenty-one noted fan and media studies scholars from around the world to examine Disney’s revival of the franchise. Covering the period from Disney’s purchase through the release of The Force Awakens, the book reveals how fans anticipated, interpreted, and responded to the steady stream of production stories, gossip, marketing materials, merchandise, and other sources in the build-up to the movie’s release. From fears that Princess Leia would be turned into a “Disney princess” to collaborative brand management, the authors explore the shifting relationship between fans, texts, and media industries in the context of a crucial rebranding campaign. The result is a fascinating examination of a critical moment in the iconic series’ history.
For the first time, Oscar-winning production designer and director Roger Christian reveals his life story, from his earliest work in the British film industry to his breakthrough contributions on such iconic science fiction masterpieces as Star Wars, Alien and his own rediscovered Black Angel. This candid biography delves into his relationships with legendary figures, as well as the secrets of his greatest work. The man who built the lightsaber finally speaks!
Chris Comerford explores cinematic digital television as an artistic classification and an academic object of study, and illuminates the slippage in definitions of previously understood media forms. The growth of television as an artistic, informative medium has given rise to shifts in the aesthetic style of the programmes we watch, and this book outlines these shifts along with the contemporary debates and critical theory surrounding them. Comerford looks at the forms and aesthetics of television, the production standards influencing streaming television and the agency of audiences, and provides case studies of key TV shows illustrating these shifts, including Twin Peaks: The Return, WandaVision, Hacks and Russian Doll. Navigating the levels of production and reception in cinematic digital television, the book uses film-inspired TV as a lightning rod for understanding our narrative screen media landscape and the classifications we use to negotiate it. As an essential reading for both scholars and students of media and television studies, this book provides a much-needed consideration of the changing landscape of television.
The Reddex Review is published once each Fall and Spring academic semester by the Publication Production class, in the Cross-Media Graphics Management program, at the University of Wisconsin-Stout. The Reddex Review serves as a program newsletter, and provides CMGm, Graphic Design, Business Administration and other students with an opportunity to work on all aspects of production for a publication of this kind. This is a student produced class project and not an official publication of the University of Wisconsin-Stout.
Ben-Hur (1959), Jaws (1975), Avatar (2009), Wonder Woman (2017): the blockbuster movie has held a dominant position in American popular culture for decades. In American Blockbuster Charles R. Acland charts the origins, impact, and dynamics of this most visible, entertaining, and disparaged cultural form. Acland narrates how blockbusters emerged from Hollywood's turn to a hit-driven focus during the industry's business crisis in the 1950s. Movies became bigger, louder, and more spectacular. They also became prototypes for ideas and commodities associated with the future of technology and culture, accelerating the prominence of technological innovation in modern American life. Acland shows that blockbusters continue to be more than just movies; they are industrial strategies and complex cultural machines designed to normalize the ideologies of our technological age.
This book studies the Indonesian martial art Pencak Silat and related media practices, and, building on that, assesses mediatization processes, meaning the potential influence of technology-based media practices. Pencak Silat represents a cultural system of values and beliefs, with hierarchical structures and relations, and social advancement being mediated in embodied social learning. The study contributes to martial arts studies and media studies, demonstrating potentials and limitations of media technologies and their (dis-)embodiment – their extension or reduction of the body as medium, and their embeddedness in or detachment from a given socio-cultural context. With Pencak Silat being practiced all over Indonesia, by a large part of the population, the thesis also represents a contribution to Indonesian studies. Based on extensive fieldwork (between 2008 and 2016), the study analyzes martial arts and/as media in Indonesia, and presents an ethnography of Pencak Silat and mediatization.
