We trace the development of television (in the US but within a global context) from its conception through its industrial, technical, aesthetic and textual development to understand how American broadcast television emerged as a dominant cultural force around the world. television through the network era (40s-90s) as a cultural history of the medium and a subject for critical engagement by media studies scholars. (Formerly FMS 0024, Cross-listed as TPS 0024) This core course examines the introduction and development of U.S. Television History) for all FMS majors offered every spring of odd year (2019, 2021, etc.) This course counts toward the Arts distribution requirement.įMS 0006 20th Century U.S. Required core course (or FMS 0006 20th Century U.S. Finally, we will survey world cinema since the 1970s, focusing on the changes that have occurred in mainstream Hollywood filmmaking and the contributions to film art of filmmakers in Hong Kong and other non-western countries. We will consider the impact of WWII on film history the emergence of Italian Neo-Realism and "modernist" art cinema in the late 1940s and 1950s the New Waves of the late 1950s and political modernist, post-colonial, feminist and other radical forms of filmmaking that arose in response to the political crises of the 1960s. We will see how European filmmakers on both the Left and Right responded to the increasing political turmoil in the lead-up to WWII in the 1930s while filmmakers in Japan created popular traditions of filmmaking. We will then turn our attention to the development of "classical" narrative film in the US in the 1900s and 1910s the creation of alternatives to classical cinematic storytelling in the 1920s in France, Germany, the Soviet Union and elsewhere the rise of documentary and experimental film and the coming of synchronized sound in the late 1920s. We will begin with the emergence of the technologies for making and exhibiting films around 1894 and the major genres of early cinema (1895-1904), most of which were non-narrative. (Formerly FMS 0021, Cross-listed as ILVS 0052,) This course surveys the rich history of film art. This course counts toward the Arts distribution requirement.įMS 0002 Global History of Cinema. Required core course for all FMS majors and minors offered every fall. Recommended for first and second year students. No prior study of cinema or other moving image media is required. Theoretical concepts relevant to moving image art, principally genre, authorship, and character identification, will also be considered. We will then consider the extent to which cinema's aesthetic features are shared by television, as well as what is artistically distinctive about TV. We will watch a variety of films from the US and abroad that exemplify cinema's myriad forms and styles: mainstream and avant-garde, fiction and non-fiction, narrative and non-narrative, black-and-white and color, silent and sound. We will study cinema’s principal, as well as its major narrative and non-narrative forms. (Formerly FMS 0020, Cross-listed as ILVS 0051) This course begins with cinema, the first art of the moving image.
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Loss of power or soul from the energy body: in more serious cases of trauma or emotional stress, a part of the soul may take a distance to protect itself from the pain and takes refuge in the other world.In this situation, the shaman uses Spirit Extraction to remove the energy.
In the later stages of the dementia journey, reminiscences can become more difficult, trying to get people with more severe memory loss to recall facts about their lives can make them feel uncomfortable and even upset, but it is still possible to use therapy by stimulating the senses. Offensive and defensive memories: Occasionally, unpleasant and stressful information is recalled that may be the cause or the result of behavioral and emotional problems. Dealing with them can provide a solution, that is, accepting life events and possible closure.Evaluative Reminiscence: This type is more of a therapy and can, for example, be used as a life review approach or sometimes conflict resolution.A simple reminiscence. The idea of this type of reminiscence is to reflect on the past in an informative and entertaining way.Reminiscence can be used as individual, group, or family sessions and is generally classified into three main types: REMINISCE GROUP HOW TOOnce a memory is triggered, the goal is to have a conversation about the object and the person’s memory , and eventually expand into a deeper discussion. Because of how dementia works, the triggering of a memory and the identity of the person may not last long, but it is a therapy that can be used on a regular basis and will help improve mood.Īlthough this type of therapy can be carried out anywhere, it is highly recommended that you allow a reminiscent professional therapist to administer it, as they understand how to present the articles and will be able to obtain more effective results.įinding the items that you think you will be particularly attached to is the hardest part, try to find possessions for many years, particularly those between the ages of 10 and 30, although there is no guarantee that this therapy will be effective, there is a clear possibility that therapists will be able to activate these memories unless the disease is too advanced. The elements used throughout this therapy are almost entirely dependent on the specific individual, as these elements are designed, first and foremost, to elicit long-standing memories. For example, one of the items being used could be an old record from the 1950s that this individual listened to almost every day during his teens, this record will not only be displayed for the individual to look at, but can also be play to activate the memories of this person. The first thing the therapist will do is show a few key items to the person suffering from dementia, these items are typically multi-sensory in nature, meaning that they will be familiar with the appearance and even the smell of these items. as if the event happened yesterday.Īlthough memories from the ages of 10 to 30 can be recalled quite easily, there usually has to be a trigger that pushes the individual to think in these moments. The professional recall therapists that are available will be able to help you remember positive things from long ago, which could help this person feel happier and more at peace for up to a week. When used correctly, this type of therapy will allow the individual in question to avoid recalling their most disturbing memories from a long time ago. It is a treatment that uses all the senses sight, touch, taste, smell and hearing to help people with dementia remember events, people and places in their past lives. As part of therapy, caregivers can use objects in various activities to help with memories.Īs a person ages, they will invariably have stronger memories of everything that happened to them between the ages of 10 and 30, this is still true for people who do not suffer from dementia as well. This is why dementia patients have stronger memories of the early stages of their life, unless the dementia has progressed to a severe stage, the individual suffering from this disease will likely be able to recall these memories with vivid clarity. What is a reminiscence therapy session like?Īlso known as life review therapy, it is often used to treat severe memory loss or dementia and works by encouraging people to revisit moments from their past. It is a form of talk therapy and you can use props or sensory stimulation to trigger memories. The smells and sounds of a person’s past are some examples, it can work both individually and in groups.Allows older adults to get closer to family and friends. More keys means more revives, and for $9.99 you can net yourself a good 50 of them, enough to keep in the running for a while longer. To its credit, you are never required to make a purchase, though it's strongly encouraged if you want to increase your chance of winning. Nothing is really free, and Subway Surfers is predictably laden with ads and micro-transactions. And here the game descends into the predictable micro-transactions. The more times you stumble in any one attempt, the more keys it'll take to revive yourself. There are ways to beg for a second chance, but you probably aren't going to like them it either means watching an ad, or spending Keys (one form of in-game currency) to pick up where you left off. The controls are familiar, but the game is still challenging.Īs you race along the subway tracks things start to move faster, and a simple miscalculation can tragically end a great streak. The controls on mobile are intuitive, moving left and right with a simple swipe, or jumping and rolling over obstacles by swiping up or down. You're running through claustrophobic and hazard-riddled tunnels of the subway, collecting as many coins as possible as you do so. The controls are familiar, but the game is still challenging.When you start up Subway Surfers the objective is immediately apparent: It's the classic game of cat and mouse, and in this instance you're the mouse. The vastness does nothing more than providing dead air. It is atmospheric and built around open space, much like Flume’s homeland, but it doesn’t communicate anything with that concept. It would be fine that Palaces is less experimental than Hi This Is Flume if it wasn’t also so listless. Palaces is so obsessed with the serenity of open air that it forgets how much more exciting Flume is when he picks apart a single concept. He drags it through the wringer in a display of singularity that the rest of the album lacks. Flume revolves around a single melody and juices every sound he can from it. It’s the strangest song here, an intimate piece that tilts a piano melody through phasers and effects in an ever circulating motion. Similarly, “Jasper’s Song” shows how much is missing on Palaces compared to Hi This Is Flume. There are few other songs where Flume pushes himself like “Get U,” as he’s more comfortable sticking to a routine. He adds and subtracts textures, and unfolds samples into a song that communicates Australia’s diverse landscape. “Get U” is a bassy counterpoint to Palaces’ airiness wherein Flume reclaims his role as the protagonist. Flume slinks onto his own tangents when he’s not trying to shoehorn anybody in. It’s too short and breathless, like it’s satisfied with only running the first half of a 400-meter sprint.īuried in Palaces are fragments of Flume’s inventiveness. Even on more gripping tracks like “DHLC” Flume seems too preoccupied with a lackadaisical approach to push himself. It lacks energy, as if Flume took only the most apprehensive traits from Byron Bay’s quiet life. MAY-A works alongside the escalating beat and tuns in a solid performance, but Flume’s hands-off approach leaves much to be desired. The MAY-A duet “Say Nothing” spells out Palaces’ vacuousness. There are few sparks between Flume and whoever graces the microphone, and it’s hardly ever the vocalist’s fault. Flume mingles with KUČKA on “Escape,” keeps Laurel at arms’ length on “I Can’t Tell” and leaves Damon Albarn to his own devices on the title track. Compare the chemistry between Flume and slowthai on “High Beams” from Hi This Is Flume to any companion piece here. He places his collaborators into his frameworks instead of working alongside them. The rarity of the Australian fauna is not reflected on Palaces so much as the fact that Australia is one of the least densely populated countries in the world.ĭespite the fact that most of Palaces was recorded live there’s a disconnect between Flume and his guests. Byron Bay breathes life into Palaces, but the album fails to capture the town’s charm. He pays homage to the area’s unique wildlife, going as far as integrating bird calls that he recorded himself. He ditches that hedonism in favor of Byron Bay’s simplicity. Palaces arrives after Flume claims he’s over the large clubs and booming nightlife that he dove into over the past decade. He’s much happier to wake up, surf, and mix his music, all but forgetting the pythons slithering on his roof. He doesn’t own much, nor does he aspire to. Based on an interview he gave to NME, he doesn’t mind. After recording Palaces in the United States, Flume relocated to Byron Bay in New South Wales, Australia, a town so small that he claims he couldn’t even find an Uber there.
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Never intentionally! There's no arguing that. In the first place, damn near everything that goes wrong is entirely, literally, the Avatar's fault. This is never really gone into in the games, where he quickly becomes a mix of Superman and mythical god due to games that feature up to 200 year jumps between instalments, but looking back it's tough to argue that what it led to was worth the benefits. What I find fascinating about the Avatar though isn't that he/she (it was a choice up until Ultima VIII, at which point he became canonically male and started wearing a bucket on his head) is able to accomplish that, but that you can argue that despite saving the world on at least four separate occasions, the Quest Of The Avatar was the single worst thing that ever happened to Britannia. Yeah, when a game's villain gets to score moral points, you're not the greatest Avatar. Cheating blind merchants for instance, or stealing, was something of an Honesty no-no. Each Virtue was basically 'do a thing', with Honour a simple matter of completing quests and remembering that Honour is spelled with a 'u', and others a bit gimmickey. The goal was to set a good example for the world, albeit an inevitably primitive one that was limited to 1985-vintage technology. In Ultima IV: Quest Of The Avatar, Garriott moved away from stories about beating up the latest threat to his world (at the time, Sosaria, later renamed Britannia) in favour of a story about a land more or less at peace and in need of a symbol to represent the best that it can be - the Avatar, the only one capable of bending all eight virtues of Honesty, Compassion, Valor, Justice, Honour, Sacrifice, Spirituality and Humility. What really defined Ultima IV-VIII though (let's not speak of the final game, Ascension) and depressingly few games since have picked up on is that each of them was an attempt to be about something. #Ultima iii vs shroud of the avatar series#Ultima - the very last series to be able to get away with Ren Faire dialogue. |
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