The Incredible Hulk was an American television series based on the Marvel comic book character of the same name. Two TV movies aired on CBS in 1977, and the show followed, airing from 1978 to 1982. It starred Bill Bixby as Dr. David Bruce Banner and Lou Ferrigno as the Hulk. The concept was developed for television by Kenneth Johnson.
All three of the NBC TV movies (The Incredible Hulk Returns, The Trial of the Incredible Hulk and The Death of the Incredible Hulk) have been available on DVD since 2003, the first two were released by Anchor Bay Entertainment while The Death of the Incredible Hulk was released by 20th Century Fox home video. A double-sided DVD entitled The Incredible Hulk - Original Television Premiere, which contained the original pilot and the "Married" episodes, was released by Universal Studios DVD in 2003 to promote Ang Lee's Hulk motion picture. A six-disc set entitled The Incredible Hulk - The Television Series Ultimate Collection was released by Universal DVD later in 2003. This set includes several notable episodes including "Death in the Family," "The First," and "Prometheus".
On July 18, 2006, Universal released The Incredible Hulk - Season One on DVD. This set contains the original pilot movies, the entire first season, and a "preview" episode ("Stop the Presses") from Season Two.
On July 17, 2007, Universal released The Incredible Hulk - Season Two on DVD as a 5-disc set. The set included the entire second season, the Married episodes (AKA Bride of the Incredible Hulk), and preview episode (Homecoming) from season three.
On June 3, 2008, Universal released The Incredible Hulk - Seasons Three and Four on DVD in time to promote Louis Leterrier's film The Incredible Hulk.
Rhythm
Rhythm (from Greek ῥυθμός - rhythmos, "any measured flow or movement, symmetry") is the variation of the length and accentuation of a series of sounds or other events.
The study of rhythm, stress, and pitch in speech is called prosody; it is a topic in linguistics. Narmour (1980, p.147-53) describes three categories of prosodic rules which create rhythmic successions which are additive (same duration repeated), cumulative (short-long), or countercumulative (long-short). Cumulation is associated with closure or relaxation, countercumulation with openness or tension, while additive rhythms are open-ended and repetitive. Richard Middleton points out this method cannot account for syncopation and suggests the concept of transformation.
A rhythmic unit is a durational pattern which occupies a period of time equivalent to a pulse or pulses on an underlying metric level, as opposed to a rhythmic gesture which does not (DeLone et al. (Eds.), 1975,
Musicians make rhythms with musical instruments. A musician's role is to perceive and measure time. They consciously feel, shape, divide, and compose time to convey feeling. All musicians, instrumentalists and vocalists work with rhythm, but in modern music a rhythm section generally consists of percussion instruments, bass and possibly chordal instruments (e.g., guitar, banjo) and keyboard instruments, such as piano and organ. In recent years, music theorists have attempted to explain connections between rhythm, meter, and the broad structure and organization of sound events in music. Some have suggested that rhythm (and its essential relationship to the temporal aspect of sound) may in fact be the most fundamental aspect of music. Hasty (1997, p. 3), for example, notes that "Among the attributes of rhythm we might include continuity or flow, articulation, regularity, proportion, repetition, pattern, alluring form or shape, expressive gesture, animation, and motion (or at least the semblance of motion). Indeed, so intimate is the connection of the rhythmic and the musical, we could perhaps most concisely and ecumenically define music as the 'rhythmization' of sound." Another piece of evidence suggesting that rhythm is the most fundamental aspect of music is that percussion instruments were likely in use long before stringed instruments. Tribal groups dancing to music made only with percussion instruments is an ancient human practice, which reportedly continues today. The three fundamental elements of music are rhythm, intervals, and chords.
The study of rhythm, stress, and pitch in speech is called prosody; it is a topic in linguistics. Narmour (1980, p.147-53) describes three categories of prosodic rules which create rhythmic successions which are additive (same duration repeated), cumulative (short-long), or countercumulative (long-short). Cumulation is associated with closure or relaxation, countercumulation with openness or tension, while additive rhythms are open-ended and repetitive. Richard Middleton points out this method cannot account for syncopation and suggests the concept of transformation.
A rhythmic unit is a durational pattern which occupies a period of time equivalent to a pulse or pulses on an underlying metric level, as opposed to a rhythmic gesture which does not (DeLone et al. (Eds.), 1975,
Musicians make rhythms with musical instruments. A musician's role is to perceive and measure time. They consciously feel, shape, divide, and compose time to convey feeling. All musicians, instrumentalists and vocalists work with rhythm, but in modern music a rhythm section generally consists of percussion instruments, bass and possibly chordal instruments (e.g., guitar, banjo) and keyboard instruments, such as piano and organ. In recent years, music theorists have attempted to explain connections between rhythm, meter, and the broad structure and organization of sound events in music. Some have suggested that rhythm (and its essential relationship to the temporal aspect of sound) may in fact be the most fundamental aspect of music. Hasty (1997, p. 3), for example, notes that "Among the attributes of rhythm we might include continuity or flow, articulation, regularity, proportion, repetition, pattern, alluring form or shape, expressive gesture, animation, and motion (or at least the semblance of motion). Indeed, so intimate is the connection of the rhythmic and the musical, we could perhaps most concisely and ecumenically define music as the 'rhythmization' of sound." Another piece of evidence suggesting that rhythm is the most fundamental aspect of music is that percussion instruments were likely in use long before stringed instruments. Tribal groups dancing to music made only with percussion instruments is an ancient human practice, which reportedly continues today. The three fundamental elements of music are rhythm, intervals, and chords.
The Passion of the Christ
The Passion of the Christ is a 2004 film co-written, co-produced and directed by Mel Gibson. It is based primarily on biblical accounts of the arrest, trial, and crucifixion of Jesus Christ, events commonly known as "The Passion". The film’s dialogue is in Aramaic, Latin, and Hebrew, with subtitles. It was filmed in Matera, Italy and Cinecittà Studios, Rome.
It was Gibson's intention to be faithful to the spirit of the biblical account. With some embellishments from modern sources (see Source material), the plot adheres largely to the accounts found in the Canonical gospels of the New Testament, primarily John, and covers the period from Jesus' vigil in the Garden of Gethsemane up to his resurrection.
There are some changes that will be evident to most viewers. A few examples here will be enough to give an impression of the kind of change made by Gibson. For more detail on changes discussed by scholars see Differences from the New Testament.
Jesus is tempted in the garden by a personified Satan, who appears as an androgynous albino. Mary, mother of Jesus, awakes from a dream with feelings of foreboding and quotes from the Passover Seder, Why is this night different than other nights, and Mary Magdalene replies with a traditional response: Because once we were slaves and we are slaves no longer. When questioned by Caiaphas, Jesus pronounces the ineffable Name of God in his response, which justifies Caiaphas' subsequent charge of blasphemy before witnesses. Herod Antipas is depicted as an effeminate pederast. The people in the crowd that demands the freedom of Barabbas rather than Jesus have been paid to do so by Caiaphas.
An event similar to the story of Saint Veronica is in this account, but the woman is named "Seraphia" in the cast list. Although it is one of the Stations of the Cross, the story of Veronica wiping Jesus' brow with her veil on the Via Dolorosa is not present in the canonical gospels.
It was Gibson's intention to be faithful to the spirit of the biblical account. With some embellishments from modern sources (see Source material), the plot adheres largely to the accounts found in the Canonical gospels of the New Testament, primarily John, and covers the period from Jesus' vigil in the Garden of Gethsemane up to his resurrection.
There are some changes that will be evident to most viewers. A few examples here will be enough to give an impression of the kind of change made by Gibson. For more detail on changes discussed by scholars see Differences from the New Testament.
Jesus is tempted in the garden by a personified Satan, who appears as an androgynous albino. Mary, mother of Jesus, awakes from a dream with feelings of foreboding and quotes from the Passover Seder, Why is this night different than other nights, and Mary Magdalene replies with a traditional response: Because once we were slaves and we are slaves no longer. When questioned by Caiaphas, Jesus pronounces the ineffable Name of God in his response, which justifies Caiaphas' subsequent charge of blasphemy before witnesses. Herod Antipas is depicted as an effeminate pederast. The people in the crowd that demands the freedom of Barabbas rather than Jesus have been paid to do so by Caiaphas.
An event similar to the story of Saint Veronica is in this account, but the woman is named "Seraphia" in the cast list. Although it is one of the Stations of the Cross, the story of Veronica wiping Jesus' brow with her veil on the Via Dolorosa is not present in the canonical gospels.
Childe Roland to the Dark Tower Came
"Childe Roland to the Dark Tower Came" is a poem by Robert Browning, written in 1855 and first published that same year in the collection entitled Men and Women. The title, which forms the last words of the poem, is a line from William Shakespeare's play King Lear.
The poem opens with Roland's speculations about the truthfulness of the man who gives him directions to the Dark Tower. Browning does not retell the Song of Roland; his starting point is Shakespeare. The gloomy, cynical Roland seeks the tower and undergoes various hardships on the way, although most of the obstacles arise from his own imagination. The poem ends abruptly when he reaches the tower, so what he finds there is never revealed. In this case it is more important to travel than to arrive.
Browning explores Roland's journey to the Dark Tower in 34 six line stanzas with the rhyme form A-B-B-A-A-B and iambic pentameter. It is filled with images from nightmare but the setting is given unusual reality by much fuller descriptions of the landscape than was normal for Browning at any other time in his career. In general, however, the work is one of Browning's most inaccessible. This is, in part, because the hero's story is glimpsed slowly around the edges; it is subsidiary to the creation of an impression of the hero's mental state.
The poem opens with Roland's speculations about the truthfulness of the man who gives him directions to the Dark Tower. Browning does not retell the Song of Roland; his starting point is Shakespeare. The gloomy, cynical Roland seeks the tower and undergoes various hardships on the way, although most of the obstacles arise from his own imagination. The poem ends abruptly when he reaches the tower, so what he finds there is never revealed. In this case it is more important to travel than to arrive.
Browning explores Roland's journey to the Dark Tower in 34 six line stanzas with the rhyme form A-B-B-A-A-B and iambic pentameter. It is filled with images from nightmare but the setting is given unusual reality by much fuller descriptions of the landscape than was normal for Browning at any other time in his career. In general, however, the work is one of Browning's most inaccessible. This is, in part, because the hero's story is glimpsed slowly around the edges; it is subsidiary to the creation of an impression of the hero's mental state.
Cad Goddeu
Cad Goddeu (English: The Battle of the Trees) is a sixth century Welsh poem from the Book of Taliesin. It is set during a battle fought between Gwydion and Arawn, the god of the underworld, Annwn, in which Gwydion animates the trees of the forest to fight for him. According to a summary of the story preserved in Peniarth MS 98B, the fight breaks out after the divine plowman Amaethon, steals a dog, a lapwing, and a roebuck from Arawn, and Gwydion ultimately triumphs by guessing the name of one of Arawn's men, Bran (possibly Bran the Blessed).
Graves's interpretation of this tale and other Welsh mythologies has been separately contested by Welsh scholars Marged Haycock and Mary Ann Constantine. Both subscribe to the idea that Cad Goddeu does not encode heresies about ancient pagan religions as Graves believed, but that the poem is a burlesque, a grand parody of bardic language. Francesco Bennozo argues that the poem represents ancient fears of the forest and its magical powers. While such arguments are far more measured than Graves's theories, they may represent a simplification of the difficult and bewildering poem.
John Williams used a version of Cad Goddeu translated into Sanskrit for the score to the film Star Wars Episode I: The Phantom Menace. He also directly based the second movement of his 2004 Horn Concerto off the "Battle of the Trees." The motif of an army of trees was possibly well known in British folklore; it appears in William Shakespeare's Macbeth (which itself was an inspiration for Tolkien's Ents in The Lord of the Rings as well as C.S. Lewis' Prince Caspian.)
Graves's interpretation of this tale and other Welsh mythologies has been separately contested by Welsh scholars Marged Haycock and Mary Ann Constantine. Both subscribe to the idea that Cad Goddeu does not encode heresies about ancient pagan religions as Graves believed, but that the poem is a burlesque, a grand parody of bardic language. Francesco Bennozo argues that the poem represents ancient fears of the forest and its magical powers. While such arguments are far more measured than Graves's theories, they may represent a simplification of the difficult and bewildering poem.
John Williams used a version of Cad Goddeu translated into Sanskrit for the score to the film Star Wars Episode I: The Phantom Menace. He also directly based the second movement of his 2004 Horn Concerto off the "Battle of the Trees." The motif of an army of trees was possibly well known in British folklore; it appears in William Shakespeare's Macbeth (which itself was an inspiration for Tolkien's Ents in The Lord of the Rings as well as C.S. Lewis' Prince Caspian.)
Subscribe to:
Posts (Atom)