Cabin Pressure is a British radio show – yes, they do still exist – that follows the four person crew of a single-plane charter airline on their exploits through the friendly skies. The program first ran in 2008, has twenty-five episodes divided into four seasons and a Christmas special, and is absolutely hilarious. I was directed towards the show while looking for anything to satisfy my Sherlock fix as Benedict Cumberbatch is one of the voice actors. I quickly fell in love with Cabin Pressure's ability to conjure vivid images with only sound, all of the characters, and, of course, the stomach-curling laughs. I am not a connoisseur of radio-shows, I only listen to the one, so I'm not sure if it is common to use the voice actors as the visual reputations of their characters since it would be possible to use anyone. Regardless, those at BBC Radio 4 do. The only official visual material, that I am aware of, are a few photos of the voice actors dressed as their characters. One of which, they use to represent the show on iTunes. [Official Image] It makes sense that the amount of visual material for a radio show is limited and fan made art can compensate for this. These works can be within canon, giving events covered in the show visual representation, or artists can also choose to create their own series of events for the crew of M.J.N. Air to go through. What surprises me a bit, is that all of the fan art I've seen maintains the appearances of the voice actors. I expected a greater range of interpretations of the crew, similar to fan art of characters from novels or more specifically the podcast Welcome to Night Vale, which vary greatly. Instead, Cabin Pressure fan art is closer to that of television or film, and is heavily base... ... middle of paper ... ... It is both within canon, as the characters are portrayed as they are in the original and crashing is physically possible in their world, but also breaks canon since John Finnemore is not going to kill off the entire cast. Fan-made material is a way to expand Cabin Pressure from audio-only to visual mediums, whether it be a drawing or video. And I for one, am happy with the results, even when they make me tear up. Works Cited Stein, Louisa Ellen. “‘This Dratted Thing’: Fannish Storytelling Through New Media.” In Karen Hellekson and Kristina Busse, editors, Fan Fiction and Fan Communities in the Age of the Internet. Jefferson, NC: McFarland Press, 2006. 24560. Russo, Julie Levin, and Francesca Coppa. 2012. "Fan/Remix Video (A Remix)." In "Fan/Remix Video," edited by Francesca Coppa and Julie Levin Russo, special issue, Transformative Works and Cultures, no. 9.
Vogler, Christopher. The Writer’s Journey: Mythic Structure for Writers. 3rd Ed. Studio City: Michael Wiese Productions, 2007.
In his article “Star Trek Rerun, Reread, Rewritten,” Henry Jenkins addresses the function of fandoms, more specifically the writing of fan-fiction, and further in the context of the Star Trek fandom. He claims that fans are “textual poachers” who take pieces of the original text that they deem as worthy, and rework, or improve areas that they find problematic or contradictory to the overall purpose of the piece. This “poaching” that is transformed works into fan-fiction are heavily written by females, at least in the Star Trek fandom. Jenkins states that this is due to the fact that women have a rather limited and highly stereotyped portrayal in science fiction. Thus, in writing fan-fiction, women are able to express themselves and their own
... Cyberfiction: Teaching a Course on Reading and Writing Interactive Narrative,” in Contextual Media, ed. E. Barrett and M. Redmond, MIT Press, 1997.
Nestled in the foothills of northern Maine sits a beautiful scenery of flowers, animals, insects, birds. Amongst these organisms a beautifully constructed log cabin of monumental size is nestled in the distance. Much of the land that is surrounding the log cabin has never been touched or even seen by man, but I feel like that is about to change. Many of the animals not ever seeing a human being in their life time are oblivious to humans and foolishly getting themselves in trouble. Much of the time I have spent there is during the summer times with my family. My family is an important part of my life, I have grown to have a close relationship with my grandfather and father and that is something that I could be losing. Most of the surrounding cabins are destroyed now. Logging. We are now in jeopardy of losing our cabin as well and all the family ties, tradition, relationships and secrets will all be lost if our cabin is destroyed. I need that cabin to stay because without it much of my childhood memories of my grandfather will be lost forever.
The Intertextuality and Analysis of Homoerotic Relations and Desires between UbiquitousMixie’s fan fiction “As Long As You Love Me” and its canon The Hours by Michael Cunningham. Intertextuality according to Genette is a “relationship between two texts [...] the actual presence of one text within another” (Allen 98). Genette’s theory of hypertextuality is presented as “literature which are intentionally inter-textual”. Genette uses the terms hypo- and hypertext, which means that the hypotext is considered as the source for the hypertext. In this case, “As Long As You Love Me” is the hypertext and its source is the hypotext; The Hours. Genette also argues that “the meaning of hypertextual works are depended on the reader’s knowledge [...] imitates
Many say that music has evolved over the years. This essay shall explore the elements of two versions of one song. It shall discuss the correlations and disparities of these songs and confer how it has been revolutionised to entertain the audiences of today.
To a wandering mind, the Internet poses as a platform for endless opportunities of intellectual stimulation, and limitless boundaries for a curious consciousness. However, to the well-versed Matthew Thomas, he is convinced that this contemporary virtual playground masks the textual nature of literature that this world is beginning to forget. To a young, yet well-seasoned expert in the field of literature, Thomas has a multitude of experiences and life events he endured, which served as a major inspiration for his novels. Moreover, the fact that he is so bold as to contest a platform as popular as the Internet in a world where it is taking over, his methodologies and reasoning provide significant value and contrast. Lastly, his in depth
Storytelling is something that we’ve seen throughout the years. Up to a point I do agree with the authors concerns about mediated storytelling. For example, she explains how fully invested fans want to see every movie, buy every toy figure and be fully involved. “So, for example, fully invested fans of Star Wars would want to own every toy, see every film, read every related book, and become familiar with all the emerging media affiliated with it, such as video games, Facebook fan pages, and regional gatherings” (Wagner, 2012). This is true and each day more people will crave entry into it and pay more money. The reality is that the author does have good statements explaining how society is very dependent on social media and technology but
The boys who will make up the two lions - Grant, John, Chris and Michael - wear bright yellow pants with orange and gold tassels encircling each leg, meant to mimic fur. The instrumentalists, Cisco and Larissa, wear black pants and black shoes, and Peter Quon, the teaser, sports a navy blue silk ensemble reminiscent of a rich man's pajamas. He dons a mask made of brightly lacquered peach paper mache, with pink dots for cheeks, ruby red lips and thick, black eyebrows. He will signal the lions into place for each stunt.
As an audience we are manipulated from the moment a film begins. In this essay I wish to explore how The Conversation’s use of sound design has directly controlled our perceptions and emotional responses as well as how it can change the meaning of the image. I would also like to discover how the soundtrack guides the audience’s attention with the use of diegetic and nondiegetic sounds.
The work can be considered his own because he has given the images new meaning by placing them together. And by turning the photos into music they are no longer photographs, instead they are musical instruments which together create something completely original. Even something as simple as adding animation on top of recorded sound allows a work to become remixed. Kota Ezawa added a simple animation on top of the recording from the First OJ “Simpson Trial” and by doing so, he took something that was meant to be a recording solely for court records and turned it into a dramatic narrative that conveys many of the emotions displayed by the defense and prosecution when the final verdict was read. Michael Robinson’s “
The importance of taking on this sudden responsibility moves me out of the comfortable role of “follower” into being an assistant director, prop master, crew chief, fly master, part-time babysitter, and a fearsome creature with more caffeine in her bloodstream than oxygen. This year is the first time I have to delegate responsibility, make sure I’ve asked off work, and spend every lunch and free period with my director alternating between workshopping my college essay and discussing the fourteenth redesign of the set.
When you read a typical paper book, your job as the reader is simply to read what the author tells you and understand it. Printed books are a linear way of telling a story, where the author chooses the exact way the story should be told and interpreted. Jay David Bolter discusses in his book Writing Space that hypertext fiction will redefine the relationship between the reader and the author of a text. With printed text, the reader has a clearly defined role, where he or she takes in the story exactly as it is told with no say as to where it is going or how they should interpret it. With the development of hypertext fiction, the reader can cross the line into being a sort of author by deciding between options in the story. The reader can create a story suited to them within the boundaries of the hypertext piece as a whole.
In the past decade, the Internet has taken over. Everyone from young children to senior citizens can communicate, send e-mail, or look up any bit of information in seconds. Because of the overwhelming shift to Internet technology and communication, many aspects of writing have been forever changed. Writers often write differently for the Internet than they do for a physical publication. Readers often read differently on the Internet than physically written text. Within the forms of Internet writing exists one unlike the others and that is personal publishing web sites, such as blogger, live journal, diary land—the list goes on. By allowing any individual to publish anything onto the web, the traditional ideas of writing and reading are automatically forfeited to a new generation of writers.
A fan is a device used to induce airflow and generally made from broad, flat surfaces which revolve or oscillate. The most prevalent applications of fans are for creature comfort, ventilation, or gaseous convey for industrial purposes. The simplest kind of fans is leaves or flat objects, waved to engender a more comfortable atmosphere. Typical applications include decor, climate control, cooling systems, personal wind-generation (such as an electric table fan), ventilation (like an exhaust fan), winnowing (such as dissevering chaff of cereal grains), abstracting dust (like the sucking in a vacuum cleaner), drying (conventionally in addition to heat) and to provide draft for a fire. It is also commonly to utilize electric fans