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    • “WE SPARED NO EXPENSE” 6 “’You know what’s wrong with scientific power?’ Malcom said. “It’s a form of inherited wealth. And you know what assholes congenitally rich people are.’” —Michael Crichton, Jurassic Park, p. 306 Challenges in Modern...
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    • “WE SPARED NO EXPENSE” 59 Levin, L. G., & De Filippo, D. (2014). Films and science: Quantification and analysis of the use of science fiction films in scientific papers. JCOM: Journal Of Science Communication, 13(3), 1-20. Long, H., & Egan, M....
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    • “WE SPARED NO EXPENSE” 57 References Adorno, T. W. (1986). Aesthetic theory. (Robert Hullot-Kentor, Trans.) London: Continuum. Adorno, T. (2005). Culture industry reconsidered. In R. Guins & O. Cruz (Eds.), Popular culture: A reader(103- 108)....
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    • “WE SPARED NO EXPENSE” 55 However, it is difficult to ignore that a change in the circumstances surrounding the production of the text resulted in such a different message in the content and relevance of the text. Upon further considering, this...
    • Page 54

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    • “WE SPARED NO EXPENSE” 54 stretch to argue that the original Jurassic Park was intentionally critical of the treatment of burgeoning technologies such as genetic modification. As far as the novel, the question is not necessarily whether or not...
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    • “WE SPARED NO EXPENSE” 53 the strongest ties to the technology are triumphant, or, at the very least, able to make it out of the park alive. However, these critical messages seem lost in translation after the bridge from novel to film. The Jurassic...
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    • “WE SPARED NO EXPENSE” 52 Conclusion In the convergence of the themes about technology and the narratives about class, it is possible to arrive at a few conclusions about the role of the Jurassic Park franchise as a Marxist text. Each character...
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    • “WE SPARED NO EXPENSE” 51 testament to the argument for the respect of nature and technology: Owen Grady is one of the protagonists in danger, and he also developed a relationship with the dinosaurs. Ultimately, this respect for their power...
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    • “WE SPARED NO EXPENSE” 49 of and experience with digs and dinosaur specimen, Owen has a very hands-on relationship with the technology of the park- the dinosaurs. He does play a slightly more significant role in terms of describing the park, likely...
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    • “WE SPARED NO EXPENSE” 48 character, as he is depicted as somewhat of a wolf in sheep’s clothing throughout the story, wilfully ignorant of the dangerous path he wishes to pursue with his park. The film Hammond survives, faced with a relieved- if...
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    • “WE SPARED NO EXPENSE” 40 criticism. These sorts of phrases suggest that the investment of wealth into the technology is enough to ensure the product is good. What he does not account for is that the wealth gives him no real control. This...
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    • “WE SPARED NO EXPENSE” 37 the dinosaurs?” Like any theme park, Jurassic World needs to make a profit in order to remain sustainable, and they do not shy away from corporate investors when it comes to their dinosaurs and their park. The people...
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    • “WE SPARED NO EXPENSE” 32 Hammonds own intentions toward the park- it is strictly viewed as an amusement park, if an advanced one. This theme is particularly interesting in the context of the book, as it calls back to the original argument Crichton...
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    • “WE SPARED NO EXPENSE” 23 Method Jurassic Park as an Artifact In response to the posed research question, I will analyze a selection of three artifacts from the franchise: the first Jurassic Park novel, the first Jurassic Park film adaptation, and...
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    • “WE SPARED NO EXPENSE” 21 older works which laud now-outdated technologies as “revolutionary” might quickly lose relevance and become passé to the point of hilarity, yet, as in the case of Frankenstein such works are still studied and discussed at...
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    • “WE SPARED NO EXPENSE” 20 The work of The Birmingham School further allowed scholars to more clearly apply Marxist theory in practice to artifacts of popular culture, rather than just analyzing “high” culture, as was more the norm. Previous...
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    • “WE SPARED NO EXPENSE” 19 means of both resistance and containment. That is, popular culture can either be used to deconstruct the power systems in place or to reinforce the hegemonic domination of the status quo. Hall (2005) explains that popular...
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    • “WE SPARED NO EXPENSE” 10 Not only was the film a financial success, but also resoundingly critically acclaimed: Duane Byrge (1993) with The Hollywood Reporter described the film as epitomizing, “the wondrous spirit and transcendent belief that...

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