Edge Of Tomorrow Research Articles

Loop Structures in Film (and Literature): Experiments with Time Between the Poles of Classical and Complex Narration

Among the many innovations complex or “puzzle” films have brought about in the last three decades, experiments with narrative time feature prominently. And within the category of nonlinear plots, the loop structure – exemplified by films such as Repeaters (Canada 2010), Source Code (USA/France 2011), Looper (USA/China 2012) or the TV-Series Day Break (USA 2006) – has established itself as an interesting variant defying certain norms of storytelling while at the same time conforming in most cases to the needs of genre and mass audience comprehension. In the first part of my paper, I will map out different kinds of repeated action plots, paying special attention to constraints and potentialities pertaining to this particular form. In the second part, I will address the issue of narrative complexity, showing that loop films cover a wide range from “excessively obvious” mainstream (e.g. Groundhog Day, USA 1992; 12:01, USA 1993; Edge of Tomorrow, USA/Canada 2014) to disturbing narrative experiments such as Los Cronocrimenes (Spain 2007) or Triangle (Great Britain/Australia 2009). Finally, a look at two early examples (Repeat Performance, USA 1947 and Twilight Zone: Judgement Day, USA 1959) will raise the question how singular the recent wave of loop films are from a historical perspective.

THE REPRESENTATION OF FEMALE CHARACTER IN EDGE OF TOMORROW (2014) FILM BASED ON FEMINIST FILM CRITICS

(Title: The Representation of Female Character in “Edge of Tomorrow” (2014) Film Based on Feminist Film Critics). This research analyzes the female character in Edge of Tomorrow, Rita Vrataski. This research intends to understand how female character is described in the film and how female character is described according to feminist film critic. The method used is descriptive qualitative method. This research also uses theory character and characterization in film and theory feminist film critic. As the result, Rita is described as a female soldier who has characteristics as committed, brave, assertive, strong, muscular, intelligent and skillful soldier. Even though Rita, as the female character who has man’s characteristics, she still needs help from another male character. Rita character in this film is still passive because the one who finishes the mission in the story is the male character, William Cage. This film proves that male domination still exists in story of film. Thus, the female stereotype has been attached in film and it is difficult to change it.Keywords: female character ,women in film , feminist film critic

1235. On the Edge of Tomorrow: Expedited Regulatory Pathways for Anti-Infective Therapies

BackgroundThe FDA has developed expedited review programs and pathways to increase drug development for products that have a major clinical benefit. These programs include: Fast Track, Orphan Drug Status, Accelerated Approval, Priority Review, Breakthrough Therapy (BTD) and Qualified Infectious Disease Products (QIPD).Given the heightened awareness of infectious diseases--and emerging global threats, such as resistant bacteria and Ebola—academia and industry have developed and received approval for 88 new infectious disease agents. The objective of this study was to assess the use of expedited review pathways for the 88 anti-infective agents that were approved between 2001-2020.FDA Expedited Drug Development Programs MethodsWe analyzed the FDA Drug Approval Database entitled, “Compilation of CDER New Molecular Entity (NME) Drug and New Biologic Approvals” for anti-infective therapies that were approved after 2000. Anti-infective therapies were defined as agents that were used to treat or prevent infectious diseases and include antibiotics, antivirals and antifungals. Our analysis focused on a comparison of the percentage of approved anti-infective agents that used each of the aforementioned designations across 2 decades (2001-2010 & 2011-2020). A drug may have one, none, or multiple of these designations.ResultsThere were significant differences in the percentage of anti-infective agents approved with priority review, fast track and accelerated approval in 2001-2010 compared to 2011-2020 (See Results Figure 1) BTD and QIDP did not exist until 2012, thus preventing comparisons between decades.QIDP• Between 2012-2020, 16 anti-infectives have been approved with QIDP. From 2017-2020, 40% (n=10) of approved anti-infectives had QIDP.Orphan Drug Status:• Between 2017-2020, 32% of anti-infectives approved have the orphan drug designation.Comparison of FDA Expedited Drug Development Programs use between 2001-2010 and 2011-2020 ConclusionOur findings indicate Priority Review and Fast Track use has increased since 2010 among anti-infective products. Additionally, our analyses indicate that since 2017 there has been increased use of Orphan Drug Status and QIDP. However, there has been limited use of Breakthrough Therapy and Accelerated Approvals. These two pathways should be increasingly considered by academia, industry and the FDA to further expedite innovative anti-infective development.Disclosures All Authors: No reported disclosures

Spiral, Slasher, and Sequel: Case of "Happy Death Day" (2017) and "Happy Death Day 2U" (2019)

This article focuses on the films Happy Death Day (2017) and Happy Death Day 2U (2019). Both handle the spiral narrative, which is recognised by the article as a specific storytelling pattern with a protagonist stuck in an iterative segment of space, time and causality – and this protagonist is not only fully aware of this situation but also tries to deal with it. What for other unaware characters is a closed loop is for the protagonist an open experience with an odd number of turns of time spiral. The spiral narrative is known mostly from high-budget films such as Groundhog Day (1993) or Edge Of Tomorrow (2014). Nevertheless, as the article explains, it occurs in dozens of other theatrical films, VOD films, television films or television shows. However, what are the reasons why, when there is an extensive set of works to choose from, does the article take just the doublet of Happy Death Day films? (1) On their example, the article discusses the author’s general hypothesis about spiral narrative works as a series of applications of the innovative narrative schema as an aesthetic tool. Such a hypothesis consists of three broader dimensions: (a) the aesthetic dimension, i.e. the spiral schema as a part of the art work; (b) the creative dimension, i.e. the spiral schema as part of the problem-solution process of filmmaking; (c) the production dimension, i.e. the spiral schema as a part of the competition of audiovisual production. (2) An even more important reason, though, for selecting just these two films has been the fact that Happy Death Day 2U is a sequel of Happy Death Day. In the „post-classical era” of global franchises, sequels, prequels, remakes, reboots and transmedia storytellings, this does not seem to be exceptional. However, in the context of the spiral narrative, this is an unprecedented step that raises several questions the article asks.

Think of the children: Leader development at the edge of tomorrow

AbstractLeader development has traditionally focused on adults. However, evidence suggests that these efforts are limited to developing and refining skills, encouraging some reflection, and helping the learners plan for the future. The underlying problem is that these are people whose brains are fully developed and relatively set. Hence, adult leader development works with what is already there. In this controversial essay, we argue that leader development activities should instead be directed towards children. Their brains are forming and leader development work will create and shape the leaders of tomorrow. We draw the important caveat that relatively little is known about influencing leadership in young brains making this a fertile and exciting, if challenging, area for leader development research.

The Construction of Race and Space in Thomas Dooley’s Writings: “What kind of place was Laos?”

Author(s): Sisavath, Davorn | Abstract: This article examines narratives on Laos published between the Geneva Agreements of 1954 and 1962 because this period saw the most aid workers, missionaries, diplomats, journalists, and educators in Laos, and provided Americans the most detailed knowledge of the country. Attentive to imperialist ideology and close readings of Thomas Dooley’s nonfiction account of his humanitarian journey in The Edge of Tomorrow and The Night They Burned the Mountain, I analyze the languages and tropes that enabled Dooley to conceive of Laos and Laotians as stagnant, backward and without progress, characteristics that allegedly would make them more susceptible to communism. In particular, I read Dooley’s nonfiction novels as an imperial discourse that racializes Laos’ landscape as “empty land,” which I suggest contributed to America’s eventual treatment of Laos as a military wasteland during the US air war from 1964 to 1973. Situating my work in transnational American studies, ethnic studies and cultural studies, I offer a critical analysis of Dooley’s construction of race and space in Laos, which I argue can reveal another form of America’s racial knowledge of Asia(ns) that reinforced US intervention in the region.

A Study on Storytelling in Nonlinearity & Nonnarrative of Film - Multi Branching Structure of <The Butterfly Effect>,<Edge of Tomorrow>

영화산업은 막대한 자본이 소비되는 문화산업으로 비약적인 발전을 이뤘음에도 불구하고 새로운 스토리 창작에 관한 논의와 연구는 매우 어려운 난제로 여겨졌다. 최근 몇 년간 꿈의 공장이라 불리는 헐리웃에서 흥행으로 검증된 기존 영화들조차 리메이크(Remake), 프리퀄(Prequel) 등 자기표절과 자기변주 된 영화들이 상당수를 이루고 있는 현실이며, 마블 코믹스로 대표되는 코믹스(Comics)를 영화화하여 시리즈물로 기획되고 있는 현상도 더욱 늘어날 전망이다.BR 이에 본 연구의 목적은 기존의 관습적인 선형성 서사적 스토리텔링과는 차별성을 띠고 있는 비선형성 연구를 통해 스토리 창작의 난제를 새로운 각도로 조망하고자 한다. 본 연구의 분석 대상은 에릭 브레스, J. 마키에 그러버(Eric Bress, J. Mackye Gruber) 감독의 영화 나비효과(2004)와 더그 라이만(Doug Liman) 감독의 영화 엣지 오브 투모로우(2014)이다. 본 연구는 두 영화의 스토리텔링에서 보여 지는 비선형성 비서사적 스토리텔링을 분석하고, 특히 두 영화에 공통적으로 드러나 있는 비선형 비서사적 다중분기구조를 주목하고자 한다.BR 아리스토텔레스의 시학에서부터 비롯된 ‘시작, 중간, 결론’ 3막 서사는 이야기의 시간과 공간을 체계적으로 다루는 내러티브(Narrative) 기술이다. 본 연구에서는 ‘누구에게 무엇이 일어났는가?’ 이러한 기존의 연구경향을 탈피하여 ‘그 이야기가 어떻게 전달되는가?’, ‘이야기의 재료를 어디에 배치할 것인가?’ 등 ‘어떻게’란 관점에서 스토리텔링의 초점을 맞추고자 한다.BR 본 연구자는 이 논문을 통해 기존의 관습적인 선형성 서사적 관점에서의 스토리, 플롯, 캐릭터에만 집중되어 있는 영화 스토리텔링 창작 연구에 있어 아직 많은 연구가 이뤄지지 않고 있는 새로운 비선형성 비서사적 스토리텔링 창작에 도움이 됨과 더불어 인터랙티브(Interactive) 요소를 포함한 더 진전된 후속 연구가 지속되길 기대한다.

Augury and the Ambassadors from the Near Edge of Tomorrow

Augury and the Ambassadors from the Near Edge of Tomorrow

Clean Manufacturing Technologies -The Competitive Edge of Tomorrow?

Clean Manufacturing Technologies -The Competitive Edge of Tomorrow?