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In Tracking King Kong Cynthia Erb charts the cultural significance of the character of King Kong, from the early 1930s, when Merian C. Cooper and Ernest B. Schoedsack’s classic film King Kong was first released, to Peter Jackson’s 2005 remake. Although King Kong has received much academic attention over the past twenty-five years, the bulk of these analyses deal with the film’s human characters rather than Kong himself. In this revised edition of an influential study, Erb argues that King Kong is a particular kind of cultural outsider who represents a cross-penetration of American notions of exoticism and monstrosity. Tracking King Kong considers problems such as race and gender in the King Kong tradition, as well as historical, international, and contemporary audience and fan responses to this classic film and its popular protagonist. Erb begins her examination of King Kong in the 1930s, when the original film was produced and released, extending through the 1970s, when the film and its hero reached the height of their cultural visibility in a remake by Dino De Laurentiis, and concluding with a look at Peter Jackson’s version in 2005. The book includes a detailed production history of the original 1933 film based on primary historical and archival sources; a genre study examining Kong’s relations to horror, jungle adventure, and travel documentary genres; an analysis of Kong’s influence on the Japanese film Godzilla; and a look at sequels, remakes, and spinoffs related to King Kong, such as Mighty Joe Young. Erb also analyzes Jackson’s remake of King Kong, to determine how and why Jackson revised the main character, casting him as a melancholy hero. The revised edition of Tracking King Kong updates a groundbreaking study of King Kong as the iconic character enters the twenty-first century. Scholars of film and television studies as well as general readers interested in film and popular culture will appreciate this significant volume.

The four most important King Kong films (1933, 1976, 2005, and 2017) contain religious sentiments that are related to the numinous and mysterious fear of Nature and death that gives meaning to life, and to the institutionalization of society. In this way, as observed in the films, the Society originated by religion is a construction against Nature and Death. Based on these hypotheses, the objective of this work is to (a) show that the social structure of the tribal society that lives on Skull Island is reinforced by the religious feelings that they profess towards the Kong divinity, and (b) reveal the impact that the observation of the generalized alterity that characterizes the isolated tribal society of the island produces on Western visitors—and therefore, on film viewers. The article concludes that the return to New York, after the trip, brings an unexpected guest: the barbarism that is installed in the heart of civilization; that the existing order is reinforced and the society in crisis is renovated; and that the rationality subject to commercial purposes that characterizes modernity has not been able to escape from the religiosity that nests in the depths of the human soul.

This segment talks about the classic cult film, King Kong.

Merian C. Cooper, współreżyser i producent King Konga z 1932 r., walczył jako pilot‑ochotnik w wojnie polsko-bolszewickiej i dostał się do niewoli rosyjskiej. W Rosji spędził dziewięć miesięcy. Dziennikarska plotka, która niedawno zrobiła pewną karierę w obcej i polskiej prasie, głosi, że zetknięcie się Coopera z estetyką radziecką, a zwłaszcza z późniejszym projektem nigdy nie wybudowanego Pałacu Rad zwieńczonego gigantyczną figurą Lenina, zainspirowało scenę z King Kongiem na szczycie Empire State Building. Niestety jest to tylko mit, który nie znajduje potwierdzenia w faktach. Przed powstaniem filmu nie było jeszcze w ZSSR stalinowskich, socrealistycznych wieżowców, a pierwszy projekt Pałacu Rad w formie wysokiej wieży ze statuą na szczycie pojawił się dopiero w 1934 r. Autor artykułu stawia jednak w konkluzji inną tezę: być może to właśnie film Coopera zainspirował późniejsze wizje Pałacu Rad.

In January of 1965, twenty-four-year-old U.S. Army sergeant Charles Robert Jenkins abandoned his post in South Korea, walked across the DMZ, and surrendered to communist North Korean soldiers standing sentry along the world's most heavily militarized border. He believed his action would get him back to the States and a short jail sentence. Instead he found himself in another sort of prison, where for forty years he suffered under one of the most brutal and repressive regimes the world has known. This fast-paced, harrowing tale, told plainly and simply by Jenkins (with journalist Jim Frederick), takes the reader behind the North Korean curtain and reveals the inner workings of its isolated society while offering a powerful testament to the human spirit.

This is a review on the film 'Kong Kong' that was released in Australia. This film has disturbed the author in terms of attitude and colonialism. The author felt that in reproducing such conventional racist images, the film knowingly promotes rather than questions racial stereotypes and racial hierarchy.

The hypothesis of this paper is that the horror genre flourishes in times of social crisis, which at the same time intensifies the fear of the Other. The film King Kong (1933) is a paradigmatic example because, at the mercy of the huge economic crisis of 29, introduces a monster that formalizes the most important imaginary representations of fear of the Other that were forged in American society at the time. From this perspective, it is sociologically analyze to what extent 29 crack is behind King Kong, what kinds of fear shows the film and how terror to the Other is formalized in the film. This work involves two considerations: King-Kong presages the risk society that analyze, in late-modernity, A. Giddens and U. Beck; and fear has an inherent circularity present in the subject and narrative structure of the film. Finally, the article attempts to answer the questions of how to get out of this circularity and how to avoid the usual rejection to Other.

This article, drawing on essays written by students with the assistance of ChatGPT and interviews with some students who used this learning machine, highlights a shift in the educational landscape brought about by this technology. In broader terms, Palestinian universities follow the traditional methods of teaching based on memorization and rote learning. These conventional teaching strategies are in stark contrast to the manner in which students engage with topics when utilizing ChatGPT. However, the use of ChatGPT has led to a noticeable declining participation in classes, increased absences, and a diminished enthusiasm for examinations-a stark departure from the value they previously placed on them. These patterns suggest that the introduction of ChatGPT is shaping a paradigm shift in education, leading us to question and reevaluate the efficacy and relevance of traditional teaching methods in today's digitized world and the importance of different means of teaching and evaluation rather than essay writing.

This segment talks about the classic cult film, King Kong.

In the present study we investigate one 7 th -grade mathematics teacher's eight-month long implementation of a comprehensive multi-approach formative assessment practice. Based on an analysis of classroom observations, interviews and written teacher logbooks, this classroom practice is described in detail to illustrate how multi-approach formative assessments may be enacted in practice. Furthermore, based on the same data, we identify characteristics of formative assessment practices that have been argued to influence student motivational characteristics that affect motivation manifested as behavioural engagement and autonomous types of motivation. We also demonstrate that while the students in the two control classes (n = 9 in both classes) decreased their engagement in learning activities and became less autonomous in their motivation during this period, the students in the intervention class (n = 14) became more engaged and did not become less autonomous in their motivation.