27 Matching Annotations
  1. Sep 2023
    1. The Nuremberg Code was published in 1949 and is still a fundamental document guiding ethical behavior in research on human subjects that has been supplemented by additional guidelines and standards in most countries.

      unit 731

    1. Little thought was given to how food systems intersect with other parts of the built environment such as the transportation system, or how a robust local or regional food system can boost local economies and support environmental and public health goals

      intersectionality

  2. Jun 2023
    1. Disney has traded the epistemic certaintyof the Lucas era for the post-authorial, post-mythopoeic multiplicity of thepost-Lucas Star Wars. As an initial outing, Rogue One suggests this strategywill be financially lucrative, but creatively bankrupt

      ahhh and here in the conclusion comes the key difference in our perspectives... I simply don't view Rogue One as "creatively bankrupt" despite its flaws.

    2. ou’re just a corporation who’s in it to make as muchmoney as you can from these assets. And maybe that converges some-times with being the best custodian, and maybe sometimes it doesn’t;maybe sometimes you’ll go off and chase the quarterly profits at theexpense of long-term value. Meanwhile, I have no commercial interest init—therefore I’m a better custodian than you, I should have more say in itthat you do.

      fans see themselves as more faithful keepers of the Disney universe, including star wars, because Disney has a concern for profit that ultimately guides their actions which they don't share. In essence, their intentions are pure as they're in it for good stories and good cinema, not for money.

    3. peoplewhose brains have been altered by a sinister conspiracy in order to ensureperfect loyalty ultimately overthrow the conspiracy’s dark masters, onthe grounds that only those with altered brains can be truly loyal to theconspiracy:

      lol

    4. fun enough, but formulaic, and instantly forget-table

      I think the author's critique is rooted in their view of the films as unremarkable. My own version of this article would doubtless be different based on my own enjoyment of the movies. I would not call that final scene "instantly forgettable" and though I do disagree with the many instances of fan service, I think that some of the production choices made (the refusal to create the expected romantic storyline, the traditional hopeful success counterbalanced by major character deaths, etc) upset the expected story and risk alienating different viewers.

    5. Unable to control the episteme of Star Wars with theauthority Lucas once wielded and unable to microtarget global blockbustersto suit the interests and desires of every possible fan demographic, Disney’sunique strategy with Rogue One has been to gesture to paratexts outside thefinal print and thereby invite Star Wars fans to remix and misrememberthe film in ways they find more pleasing.

      Disney can't please everyone with their works since they can't hit any particular niche without alienating others, so instead they invite the fans to reinterpret and act as co-creators of their own preferred versions of the movies.

    6. Random shit”—quite a change from themythic, quasi-divine inspiration that ostensibly birthed the Old Star Wars!

      George Lucas presented himself as interpreting and carefully crafting a representation of this higher myth. by contrast, Gareth Edwards directly explained that they tried out a lot of things, then fit them together in different way to see what worked best, challenging the idea of the mythic narrative guiding their work.

    7. Perhapsnot incidentally, much of the initial fan analysis of the film has found itselfnostalgic for the trailer, as opposed to appreciating the finished film—moreattached to the premediation than to the thing itself

      fans created an idea of the movie that didn't actually live up to the real thing after its changes

    8. Contrary to the supposed expansion of the universe effected by theanthology films, then, Rogue One actually grants the saga films maximumpriority

      Rogue One prioritizes the og canon over its own role as the pilot film for the new Disney "star wars story" project by neatly tying itself up, erasing all characters that otherwise would undoubtedly raise questions as to why they never again appear in the Rebellion. in doing so, it avoids drawing fan ire for retconning, but it also has implications for the anthology project as a whole

    9. Rogue One takes pains to inject itselfinto the continuity of the original films, even to an extent that some mightdescribe as painful, suturing itself to the old Star Wars saga even as it beginsthe process of ostensibly expanding and remaking it

      attached to the old works to demonstrate that it's still a part of the universe while also distancing itself through new stylistic choices.

    10. The film also adds non-diegetic onscreentext to indicate on which planet each scene takes place, a new techniquefor the franchise

      I didn't realize this way new: keep an eye out for it on the new viewing

    11. Disney’s lack of sovereign control over the StarWars episteme necessarily produces competing visions among fans who notonly understand themselves more as co-creators than as passive receiversof the franchise, but who now possess the digital tools to easily create anddistribute their own alternative visions of the franchise

      fans create and spread their own versions of events

    12. Where once theprocess of adjudicating the canonicity of a given fact was in some senseautomatic—is it in the movies? did George say it?—it now requires morecomplex considerations among a much larger series of competing texts andauthors that will inevitably come into conflict with one another.

      the original conflict was at least easily decided by whether or not Lucas decided it, but now there's no one clear decider of canon to help this process

    13. mythopoeic

      myth-creating. originated by tolkien as mythopoeia, or mythopoesis, to describe a narrative genre in modern literature and film where an artificial or fictionalized mythology is created like LOTR

  3. Sep 2022
    1. Cobbe had lost seven yams, and he felt each loss as a blow to his ownfamily. He knew then that the memory of the fire that burned, then fled, would haunt him,his children, and his children’s children for as long as the line continued.

      why is this loss so significant?