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The directors in the first year of this great show included, solo or in tandem, Paul Bogart, Burt Brinckerhoff, Luis Valdez, Kirk Browning, Lloyd Richards, Nell Cox, Jeff Bleckner, Adrian Hall, Rick Bennewitz, George Tyne, Robin Miller, Fred Barzyk, David R. Christopher Awards: Cited were two presentations directed by Fielder Cook, Beauty and the Beast on Hallmark Hall of Fame (NBC) and Judge Horton and the Scottsboro Boys, as well as Charles S. This sequel, like the first edition, was directed by Daniel Petrie, who also directed most of the shows in this category, including Sybil on NBC’s The Big Event and Harry Truman: Plain Speaking (PBS). The other nominees were Irvin Kerschner’s Raid on Entebbe on The Big Event and William A. While Petrie’s outstanding year was the big news in the directing field, the success of Roots (ABC) overshadowed TV in every way, becoming one of the greatest cultural events in medium history. Chomsky, David Greene, and Gilbert Moses, Roots won the Emmy for outstanding limited series—one of its record nine wins. Also nominated for outstanding limited series were Captains and the Kings, directed by Douglas Heyes and Allen Reisner, on Best Sellers (NBC), Rodney Bennett’s Madame Bovary on Masterpiece Theatre (PBS), and Boris Sagal’s The Moneychangers on The Big Event (NBC). Nominated with Petrie for outstanding director for Eleanor and Franklin: The White House Years were Fielder Cook for Judge Horton and the Scottsboro Boys (NBC), Tom Gries for Helter Skelter (CBS), Kerschner for Raid on Entebbe, and Jud Taylor for Tail Gunner Joe on The Big Event. Greene won the Emmy for outstanding direction of a drama series for Roots. Nominated with him were the three other directors of Roots and Fred Coe for The Adams Chronicles (PBS). The Emmy winners as outstanding lead actor and actress in specials were both guided by Petrie: Sally Field for Sybil and Ed Flanders for Harry Truman: Plain Speaking. Christopher Plummer won the Emmy for outstanding actor in a limited series under Sagal’s direction in The Moneychangers, and Patty Duke won for outstanding actress in a limited series for Captains and the Kings. Winning Emmys for Roots were Louis Gossett Jr. Edward Asner, and Olivia Cole. Burgess Meredith won a supporting Emmy under Taylor’s direction in Tail Gunner Joe. Diana Hyland won a supporting Emmy under Randal Kleiser’s direction in The Boy in the Plastic Bubble (ABC). DGA Awards: Daniel Petrie’s Eleanor and Franklin: The White House Years won the DGA Award for TV movies and specials. Nominated in the same category were directors of miniseries: David Greene for the initial episode of Roots, and Gary Nelson for Washington: Behind Closed Doors (ABC), starring Jason Robards. Meanwhile, John Erman won the DGA Award for directorial achievement in dramatic series for the second hour of episode two of Roots.

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Suffice it to say, there’s no Wrath of God here and no Mola Ram yanking out hearts. Even in the darkest moments of this film, things stay bloodless and feather-light. I’ve made peace with the fact that RAIDERS stands apart from the rest of the series, but this film fits neatly onto a shelf with DOOM and LAST CRUSADE. It feels of a piece with those, and anyone who calls themselves a fan of those movies should easily find a place in their affections for this one. Perhaps the thing I’m most conflicted about is the introduction of Mutt Williams, aka Henry Jones III. Shia LaBeouf will no doubt become the whipping boy of this film among fanboys, and that’s a shame. He’s good in the movie, and everything he’s asked to do, he does well. He’s got an easy chemistry with Harrison Ford, he handles both the comedy and the action easily, and my favorite overall setpiece in the film, the motorcycle chase across the University campus, is a real showcase for LaBeouf. It’s the role itself that I have a problem with on a conceptual level, and there’s nothing any actor could have done to make it work any better than it does right now. I question the need to introduce a child of any gender for Indiana Jones. It’s desperate. It’s the sort of thing an aging sitcom does to try and squeeze one or two more seasons out. I can’t think of a single time in the history of a franchise where introducing a kid has worked to creatively revitalize the proceedings, and IJATKOTCS has not broken that streak. Could they make more movies after this using Mutt as the main character. Do I have any burning desire to see those films? Nope. I’d rather see Shia move on and use his obvious ability to establish some new series, something he can help define. Here, the very best he’ll ever be able to do is mount a decent imitation of Ford, and that’s just not a good enough reason to make more movies. Marion remains one of the great female leads in action movies because she stood toe-to-toe with Indy in every scene and gave as good as she got.

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Life is Strange story segment created in our own tool, Novella. In Novella’s graph system, each node has a distinctly colored ? g in the top-left corner that represents the abstracted data from the internal model. For instance, dialog nodes are always colored teal, and delivery nodes orange (Fig. 5). These colors are used consistently throughout the interface which eases recognition at a glance of which kind of data is being handled thanks to the Law of Similarity. These ? gs follow the Serial Position E? ct, where extremities are often more likely to be observed and remembered. Similarly, the green triangle in the top-right, representing that a given node is an entry point, likewise implements this law. If nodes have outgoing links, we append a disconnected ? ating pinboard which appears grouped with the node due to the Law of Proximity (Fig. 5b). Pinboards contain pins representing each outgoing link. The pins and their curves are colored based on the type of node they connect to. This means that the type of node that follows can be rapidly identi? d at a glance based on the color of the pin and its curve. In dense graphs where curves are di? ult to follow, this becomes especially useful.

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MM: I’m not here to comment on any particular case. I can note, however, that it hasn’t been shown than 57 million records have been lost forever. They might have been lost for a short time only, but we’ll leave that to others to figure out. But it’s clear that in the world of hacking, if there is intrusion and data exfiltration or extortion, it has nothing to do with ethical hacking or bug bounty programs. The line there is very clear. So sure, with technology always, it’s the same technology used for good and bad purposes, and technology itself doesn’t have an opinion about what it’s being used for. KC: So is that the ethical line between a good and bad hacker — data exfiltration. You can break in as long as you don’t take anything. MM: The difference between the hacker and the criminal is intent. If you’re an ethical hacker and you’re looking for vulnerabilities in order to report them, you must break in. If you have a neighborhood watch and you ask your neighbors to see if they can break into your house, they have to break in to show you that they can do it. Once inside the house, they shouldn’t take anything, though. That’s where you get to the question of authorized versus unauthorized conduct, and then again, it’s the owner of the house who decides which is which. When you break into the house, how much do you need to do. Do you need to bring something outside to show it was possible or not. And that’s an individual decision for every customer of ours, who determines what they need as proof. The more proof you need, the deeper the hackers need to go to find it. KC: In the security industry in particular, a lot of things that are considered best practices seem from the outside sketchy, for lack of a better word. MM: When you say things look sketchy, things look sketchy when we are fearful, and we are fearful when we have too little information.

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Koven also devotes attention to such key television shows as The X-Files and Most Haunted. In his analysis, Koven explains not only how film and television narratives are built upon preexisting popular culture beliefs but also how those beliefs are recycled back into popular culture. Film, Folklore, and Urban Legends stands on its own both as the first book-length study of folklore and popular cinema and as an introductory textbook for the study of folklore and film. MIKEL J. KOVEN is senior lecturer in film studies at the University of Worcester. For orders and information please contact the publisher SCARECROW PRESS, INC. In particular, this FILM, FOLKLORE, AND URBAN LEGENDS M I K E L J. Published in the United States of America by Scarecrow Press, Inc. 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, without the prior permission of the publisher. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Koven, Mikel J. Thank you to the organizers of those conferences who included my work and those who gave me feedback on my presentations. I would also like to particularly thank the following colleagues who encouraged these writings and always could be counted on for constructive feedback, in no particular order. Film, Folklore, and Urban Legends is a collection of some previously published articles I have written on this subject. One of my reasons for wanting to republish these essays is that they originally appeared in some obscure publications and remain known to only a select few. With this book, I hope to broaden the debate beyond the narrow confines of folklore studies. And this gives me the opportunity to correct some foolish mistakes I made in their initial publication. So, far from being some kind of “Greatest Hits” collection of singles trying to pass itself off as a new album, these papers have been reworked and restructured into a single book that I hope demonstrates a coherent and explicit trajectory. It is my hope that by including this chapter in this current book, we can move the discourse forward. Part II is about methodology and features three chapters.

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But it might have benefitted from a clearer footing for the reader to stand. Initially, it reads fine--it's when you try to delve a little deeper, to see if it means anything that you begin to wonder if there's a pulse under the art that isn't just static juvenilia. That's part of the reason that so many super-hero comics founder at the starting line--you can't tell a writer shit. Mama has to buy shoes, and shit, you'll buy anything. Better to just call it a good vacation, a nice trip down a simple road. It's a Lex Luthor versus Superman story with the camera pointed in the other direction, it's one of the best depictions of Bruce Wayne available, and it's an excellent comic, Bermejo's addiction to overdrawing notwithstanding. Too bad nobody paid it the same attention they did up top. I like the gray area and I also like just the over-the-top operatic violence. Marcelo Frusin's art is more of the clean lined cruelty that both he and Eduardo Risso bring to their work with Azzarello, where sex is played out in shadowy rooms and red silhouetted women ride their menfolk nude, never giving the bastards a chance to lower their drawers. It's a spaghetti Western, for fuck's sake, and it delivers flashbacks the same way thousands of movies and television shows do--with the characters seeing themselves in frame, reanacting their past joys even as it renders their violent actions that much more horrifying. The opening chapters, which most focuses on the return of Wes and Ruth and their slaughter of Ruth's past rapists, may read like yet another sexploitation horror, where a woman left victim returns a persecutor--but don't ignore Frusin's dead bodies, left out to rot in the Missouri sun. The violence in Loveless leaves stains on the ground, and, justified or no, it's as ugly as Frusin can provide. The exchange of Marcelo Frusin for a rotating team of artists, one of whom, Wether Dell'Edera, was incapable of delivering the intensity of the violence that Frusin and Zezelj had in spades, as well as Danijel Zezelj's disdain for forcing some level of cookie cutter discrepancy on his male characters, made for a look that required more investment than most Vertigo comics require. In another market, where an audience is more willing to give over to diverse art styles. But even more so, it was a comic that embraced the same sort of mentality that had once piloted successful television dramas like ER, Homicide, and eventually, The Wire in that it chose, like those shows did, to expect the audience to keep up. Words became gloss, a paint to set the scene, as much as any gown or bloodstained cloth--'just keep watching', they said, 'we'll give you characters to chew on, you don't have to understand what they're saying. Loveless took the same chances--there's almost zero repetition and there's no pretense towards overall comprehension unless you swallow the entire thing whole. It was serialized in comics, sure, but they weren't the kind of stories that could work without collections and re-readings. By the conclusion of the 12th issue, the final pages of which also form the climax of Thicker Than Blackwater, the two main characters, the ones that the reader has spent the majority of the time getting to know, look to be dead.

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