Podcast appearances and mentions of drew morton

Drew Morton is our first guest to CineJourneys and we discuss 31 Days of Horror. The post CineJourneys – Episode 2 – 31 Days of Horror first appeared on CineJourneys.

Drew Morton is our first guest to CineJourneys and we discuss 31 Days of Horror. The post CineJourneys – Episode 2 – 31 Days of Horror first appeared on .

Alan Moore's and Dave Gibbons's Watchmen fundamentally altered the perception of American comic books and remains one of the medium's greatest hits. Launched in 1986—“the year that changed comics” for most scholars in comics studies—Watchmen quickly assisted in cementing the legacy that comics were a serious form of literature no longer defined by the Comics Code era of funny animal and innocuous superhero books that appealed mainly to children. After Midnight: Watchmen After Watchmen (U Mississippi Press, 2022) looks specifically at the three adaptations of Moore's and Gibbons's Watchmen—Zack Snyder's Watchmen film (2009), Geoff Johns's comic book sequel Doomsday Clock (2017), and Damon Lindelof's Watchmen series on HBO (2019). Divided into three parts, the anthology considers how the sequels, especially the limited series, have prompted a reevaluation of the original text and successfully harnessed the politics of the contemporary moment into a potent relevancy. The first part considers the various texts through conceptions of adaptation, remediation, and transmedia storytelling. Part two considers the HBO series through its thematic focus on the relationship between American history and African American trauma by analyzing how the show critiques the alt-right, represents intergenerational trauma, illustrates alternative possibilities for Black representation, and complicates our understanding of how the mechanics of the show's production can complicate its politics. Finally, the book's last section considers the themes of nostalgia and trauma, both firmly rooted in the original Moore and Gibbons series, and how the sequel texts reflect and refract upon those often-intertwined phenomena. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University and an Associate Faculty member at University of Arizona Global Campus. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Alan Moore's and Dave Gibbons's Watchmen fundamentally altered the perception of American comic books and remains one of the medium's greatest hits. Launched in 1986—“the year that changed comics” for most scholars in comics studies—Watchmen quickly assisted in cementing the legacy that comics were a serious form of literature no longer defined by the Comics Code era of funny animal and innocuous superhero books that appealed mainly to children. After Midnight: Watchmen After Watchmen (U Mississippi Press, 2022) looks specifically at the three adaptations of Moore's and Gibbons's Watchmen—Zack Snyder's Watchmen film (2009), Geoff Johns's comic book sequel Doomsday Clock (2017), and Damon Lindelof's Watchmen series on HBO (2019). Divided into three parts, the anthology considers how the sequels, especially the limited series, have prompted a reevaluation of the original text and successfully harnessed the politics of the contemporary moment into a potent relevancy. The first part considers the various texts through conceptions of adaptation, remediation, and transmedia storytelling. Part two considers the HBO series through its thematic focus on the relationship between American history and African American trauma by analyzing how the show critiques the alt-right, represents intergenerational trauma, illustrates alternative possibilities for Black representation, and complicates our understanding of how the mechanics of the show's production can complicate its politics. Finally, the book's last section considers the themes of nostalgia and trauma, both firmly rooted in the original Moore and Gibbons series, and how the sequel texts reflect and refract upon those often-intertwined phenomena. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University and an Associate Faculty member at University of Arizona Global Campus. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Alan Moore's and Dave Gibbons's Watchmen fundamentally altered the perception of American comic books and remains one of the medium's greatest hits. Launched in 1986—“the year that changed comics” for most scholars in comics studies—Watchmen quickly assisted in cementing the legacy that comics were a serious form of literature no longer defined by the Comics Code era of funny animal and innocuous superhero books that appealed mainly to children. After Midnight: Watchmen After Watchmen (U Mississippi Press, 2022) looks specifically at the three adaptations of Moore's and Gibbons's Watchmen—Zack Snyder's Watchmen film (2009), Geoff Johns's comic book sequel Doomsday Clock (2017), and Damon Lindelof's Watchmen series on HBO (2019). Divided into three parts, the anthology considers how the sequels, especially the limited series, have prompted a reevaluation of the original text and successfully harnessed the politics of the contemporary moment into a potent relevancy. The first part considers the various texts through conceptions of adaptation, remediation, and transmedia storytelling. Part two considers the HBO series through its thematic focus on the relationship between American history and African American trauma by analyzing how the show critiques the alt-right, represents intergenerational trauma, illustrates alternative possibilities for Black representation, and complicates our understanding of how the mechanics of the show's production can complicate its politics. Finally, the book's last section considers the themes of nostalgia and trauma, both firmly rooted in the original Moore and Gibbons series, and how the sequel texts reflect and refract upon those often-intertwined phenomena. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University and an Associate Faculty member at University of Arizona Global Campus. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Alan Moore's and Dave Gibbons's Watchmen fundamentally altered the perception of American comic books and remains one of the medium's greatest hits. Launched in 1986—“the year that changed comics” for most scholars in comics studies—Watchmen quickly assisted in cementing the legacy that comics were a serious form of literature no longer defined by the Comics Code era of funny animal and innocuous superhero books that appealed mainly to children. After Midnight: Watchmen After Watchmen (U Mississippi Press, 2022) looks specifically at the three adaptations of Moore's and Gibbons's Watchmen—Zack Snyder's Watchmen film (2009), Geoff Johns's comic book sequel Doomsday Clock (2017), and Damon Lindelof's Watchmen series on HBO (2019). Divided into three parts, the anthology considers how the sequels, especially the limited series, have prompted a reevaluation of the original text and successfully harnessed the politics of the contemporary moment into a potent relevancy. The first part considers the various texts through conceptions of adaptation, remediation, and transmedia storytelling. Part two considers the HBO series through its thematic focus on the relationship between American history and African American trauma by analyzing how the show critiques the alt-right, represents intergenerational trauma, illustrates alternative possibilities for Black representation, and complicates our understanding of how the mechanics of the show's production can complicate its politics. Finally, the book's last section considers the themes of nostalgia and trauma, both firmly rooted in the original Moore and Gibbons series, and how the sequel texts reflect and refract upon those often-intertwined phenomena. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University and an Associate Faculty member at University of Arizona Global Campus. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Alan Moore's and Dave Gibbons's Watchmen fundamentally altered the perception of American comic books and remains one of the medium's greatest hits. Launched in 1986—“the year that changed comics” for most scholars in comics studies—Watchmen quickly assisted in cementing the legacy that comics were a serious form of literature no longer defined by the Comics Code era of funny animal and innocuous superhero books that appealed mainly to children. After Midnight: Watchmen After Watchmen (U Mississippi Press, 2022) looks specifically at the three adaptations of Moore's and Gibbons's Watchmen—Zack Snyder's Watchmen film (2009), Geoff Johns's comic book sequel Doomsday Clock (2017), and Damon Lindelof's Watchmen series on HBO (2019). Divided into three parts, the anthology considers how the sequels, especially the limited series, have prompted a reevaluation of the original text and successfully harnessed the politics of the contemporary moment into a potent relevancy. The first part considers the various texts through conceptions of adaptation, remediation, and transmedia storytelling. Part two considers the HBO series through its thematic focus on the relationship between American history and African American trauma by analyzing how the show critiques the alt-right, represents intergenerational trauma, illustrates alternative possibilities for Black representation, and complicates our understanding of how the mechanics of the show's production can complicate its politics. Finally, the book's last section considers the themes of nostalgia and trauma, both firmly rooted in the original Moore and Gibbons series, and how the sequel texts reflect and refract upon those often-intertwined phenomena. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University and an Associate Faculty member at University of Arizona Global Campus. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Alan Moore's and Dave Gibbons's Watchmen fundamentally altered the perception of American comic books and remains one of the medium's greatest hits. Launched in 1986—“the year that changed comics” for most scholars in comics studies—Watchmen quickly assisted in cementing the legacy that comics were a serious form of literature no longer defined by the Comics Code era of funny animal and innocuous superhero books that appealed mainly to children. After Midnight: Watchmen After Watchmen (U Mississippi Press, 2022) looks specifically at the three adaptations of Moore's and Gibbons's Watchmen—Zack Snyder's Watchmen film (2009), Geoff Johns's comic book sequel Doomsday Clock (2017), and Damon Lindelof's Watchmen series on HBO (2019). Divided into three parts, the anthology considers how the sequels, especially the limited series, have prompted a reevaluation of the original text and successfully harnessed the politics of the contemporary moment into a potent relevancy. The first part considers the various texts through conceptions of adaptation, remediation, and transmedia storytelling. Part two considers the HBO series through its thematic focus on the relationship between American history and African American trauma by analyzing how the show critiques the alt-right, represents intergenerational trauma, illustrates alternative possibilities for Black representation, and complicates our understanding of how the mechanics of the show's production can complicate its politics. Finally, the book's last section considers the themes of nostalgia and trauma, both firmly rooted in the original Moore and Gibbons series, and how the sequel texts reflect and refract upon those often-intertwined phenomena. Joel Tscherne is an Adjunct History Professor at Southern New Hampshire University and an Associate Faculty member at University of Arizona Global Campus. His Twitter handle is @JoelTscherne. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Now that we're back, we had some catching up to do. This week Drew Morton joined to go back through all of the months that we missed during hiatus -- August 2022 through January 2023.

Now that we're back, we had some catching up to do. This week Drew Morton joined to go back through all of the months that we missed during hiatus -- August 2022 through January 2023.

Now that we're back, we had some catching up to do. This week Drew Morton joined to go back through all of the months that we missed during hiatus -- August 2022 through January 2023.

The recent volatility of crypto has one side screaming "told you so!" and the other side buying up more assets. Whether we like it or not, crypto has massive implications for buying and selling art, including music, and has the potential to be a massive game-changer for up-and-coming artists who are building their fan-bases online. My guest for today's episode is Drew Morton, who has combined his passion for music making, and his passion for digital art into NFTs that can be purchased on several platforms utilizing several different blockchains.In this episode, we talk about the upcoming Ethereum merge, which will transition the Ethereum blockchain to something called Proof of Stake, promising to use just 1% of the energy the system currently uses. What could this mean for artists? What could it mean for musicians? Drew and Adam discuss the nuances of the subject while learning about how Drew got in to the scene, and how selling his art as NFTs got his family through some difficult circumstances.Drew on the web: https://www.drewmadestuff.com/Drew on Instagram: https://www.instagram.com/drewmadestuff/?hl=enDrew's LinkTree to his NFT Marketplaces: https://linktr.ee/drewmadestuff____________________________Download Gig Boss app: https://linktr.ee/gigbossJoin the Gig Boss Facebook Group: https://www.facebook.com/groups/gigbossBumper Music: Sunshine is Out by Adam Meckler https://open.spotify.com/track/1u12flYbzE4jxD1cwG5pGT?si=5228a5324e474da9-----------------------------------How to Make it in the New Music Business Book: https://amzn.to/3Pls5ixAri's Take Academy: https://aristakeacademy.teachable.com/?affcode=267075_yqqy4mcn - Use code "GIGBOSS" at checkout for 10% off

Drew Morton joins again, and we have a lot to talk about. Come for the Criterions, stay for his Jimmy Stewart impressions.

Drew Morton joins again, and we have a lot to talk about. Come for the Criterions, stay for his Jimmy Stewart impressions.

Drew Morton joins Jill and Aaron to dive into horror titles in the collection.

Drew Morton joins Jill and Aaron to dive into horror titles in the collection.

Drew Morton joins Jill and Aaron to dive into horror titles in the collection.

In an alternate 1985, Chris and Alex sit down to watch the recent comic book feature film Watchmen (Zach Snyder, 2009), a neo-noir/superhero blockbuster that adapts the popular DC Comics series for the big screen. They are joined in this Cold War-era tale of Soviet Union-United States relations by Drew Morton, Associate Professor of Mass Communication at Texas A&M University, Texarkana, and author of Panel to the Screen: Style, American Film, and Comic Books During the Blockbuster Era (University Press of Mississippi, 2016), as well as a number of articles and chapters on motion comics, media convergence and comic book adaptation. Topics up for discussion in Episode 54 include Watchmen’s pivotal place within Hollywood comic book feature films of the 2000s; formal issues in adaptation and the graphic decompression of time and space; digital technology and the spectacle of Baroque aesthetics (including director Zach Snyder’s balletic slow-motion visual style); the film’s depiction of psychologically repressed superheroes and noir-esque vigilantism; and how Watchmen presents a crucial case study for thinking about the movement of media products within a broader transmedia flow

Drew Morton is an Assistant Professor of Mass Communication at Texas A&M University-Texarkana. He is the co-editor and co-founder of [in]Transition: Journal of Videographic Film and Moving Image Studies, the first peer-reviewed academic journal focused on the visual essay, drawn from a wide range of scholars (including Drew himself). In this conversation he describes his education in film, both as a casual viewer and fan and later as a graduate student in Cinema and Media Studies at UCLA, as we explore how the central questions, ideas, and methodologies of the discipline are evolving in a hyper-accelerated media landscape. 

Writer Kaz Cooke joined the guys to talk about her latest book ‘Up the duff’. She told them about parenting nightmares, a lot of boob chat and how to host a good baby shower.A South Australian public servant has been sacked after he allegedly peed in the work kettle. The guys wanted to hear from people who have ‘that’ person at work. A guy at Tahlia’s work crashed in to the brick wall outside of their workplace, Patrick pulled a great prank on his colleagues and Tanya’s work place had a big toilet problem.And Nath and Shaun crossed live to Hong Kong to speak to Drew Morton who is a local living amongst the protests. He gave his views on what it’s like living there at the moment, the mask ban and what could happen next. See acast.com/privacy for privacy and opt-out information.

"Let Them See Your Scars" Rev. Drew Morton 1:30 PM 8 - 25 - 19 by ARC of Carson City, NV

After a hiatus, we're back with an episode about my favorite film of all-time: Francis Ford Coppola's 1974 paranoid thriller, THE CONVERSATION.  THE CONVERSATION has a special relationship with two other films: Antonioni's BLOW UP, which preceded and inspired it, and Brian De Palma's BLOW OUT, which is influenced by both movies.  This episode explores the interconnection between the three through their music, sound design, and especially their thematic interests which include reality, perception, truth, and privacy.  Naturally SPOILERS for the three movies, which do have some surprising twists and turns. I'm also including a spoiler warning for Hitchcock's VERTIGO as that film's plot has a special relationship to BLOW OUT.  Show Notes: 0:00:00 - Introduction 0:03:00 - Blow Up Intro 0:04:15 - Herbie Hancock / Music as Setting & Counterpoint 0:08:28 - The Blow Ups: Narrativized Reality 0:11:58 - Persona Music: Bullitt, Pelham, Dirty Harry 0:13:30 - The Conversation Intro 0:16:00 - Harry Caul's Theme 0:20:45 - The Assignment Theme 0:22:00 - Theme Melding / Filtering and Processing 0:25:27 - Amy's Theme: Harry & Relationships 0:31:13 - The Ending & Legacy 0:36:30 - Blow Out Intro / De Palma & Hitchcock 0:39:35 - Coed Frenzy: Disco & Rock 0:43:40 - Recording & Conspiracy / National Mood 0:51:03 - Suspense Music: Burke Materail, Psycho 0:53:48 - Tragic Love: Jack & Sally's Theme, Vertigo 1:03:45 - Truth & Perception in the Trio 1:05:05 - Outro / Sources / Social Media / "Theme from The Conversation" Please subscribe, rate, review and/or leave a comment on iTunes. For other queries, email us at kinotes.podcast@gmail.com. We’re also on Twitter: @kinotespodcast and @nicknylen (my personal handle). All episodes are written and produced by Nick Nylen. Sources: Available on Amazon: "David Shire's The Conversation: A Film Score Guide" by Juan Chattah.  Available on Amazon: Film commentaries from THE CONVERSATION (Francis Ford Coppola & Walter Murch, on Blu-ray),  BLOW-UP (Peter Brunette, DVD only). David Forgac’s essay “BLOW-UP: In The Details” included in the CRITERION COLLECTION release of BLOW-UP.  Podcasts on iTunes: The Canon (episode & commentary on BLOW OUT), Soundtracking with Edith Bowman (James Mangold interview about LOGAN), Steven Benedict (BLOW UP, THE CONVERSATION, BLOW OUT episodes) Interview with David Shire for ZODIAC at Film Score Monthly (subscribe at their website) If you liked this podcast, check out The Discarded Image video essay on THE CONVERSATION entitled “Who’s Tracking Who?” on YouTube. https://youtu.be/dgAdI4pxlTM You might also check out Drew Morton’s video essay on Vimeo, entitled CROSS-CUT, which connects BLOW UP, THE CONVERSATION, and BLOW OUT, entirely with visuals. https://vimeo.com/109405354

Composed by Prince Bulo and Drew Morton (bass-prince bulo) (bass-drew morton) (drums-rob baner)

Composed by Drew Morton (bass-drew morton)

Composed by Drew Morton (bass-drew morton) (bass-prince bulo) (drums-rob baner)

Composed by Drew Morton and Prince Bulo (bass-drew morton) (bass-prince bulo) (drums-rob baner)