OPINION the Complaint
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Throwaway Robots in Blade Runner, the Terminators, A.I., and Wall•E” Many Objects Remain Unnoticed Simply Because It Never Occurs to Us to Look Their Way
NEWSLETTER OF THE UCLA CENTER FOR THE JUN09 STUDY OF WOMEN BY VA N G E H E ILI ge R an D H eaT he R C O L L E TT E -VanDe R aa CSW Desire and Disposability in Patricia Yaeger’s “Luminous Trash: Throwaway Robots in Blade Runner, the Terminators, A.I., and Wall•E” Many objects remain unnoticed simply because it never occurs to us to look their way. Most people turn their backs on garbage cans, the dirt underfoot, the waste they leave behind. Siegfried Kracauer, Theory of Film: The Redemption of Physical Reality (Oxford, 1960) 1 toc Trashy Robots , continued from page 1 hat does it mean for humans to them completely within three years—almost desire human-like relationships with before the physical object itself shows any signs Wrobots? What kind of sovereignty do of wear and tear. In robot movies, this technol- we want to have over our trash? These two seem- ogy turnover becomes personified in robots: ingly unrelated questions melded together ex- commodities who behave both as subjects (who quisitely during Patricia Yaeger’s talk “Luminous can act) and as objects (that can be disposed of Trash: Throwaway Robots in Blade Runner, the once they are no longer valued). We humans Terminators, A.I. and Wall•E.” Yaeger directed want human-like relationships with our robots, her audiences’ eyes towards robots as trash, and but when our robots become obsolete—which is in doing so, linked together present and future practically instantaneous—we shift our thinking possibilities for re-thinking automated relation- from one of relating to one of discarding. -
Complicated Views: Mainstream Cinema's Representation of Non
University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. Data: Author (Year) Title. URI [dataset] University of Southampton Faculty of Arts and Humanities Film Studies Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. DOI: by Eliot W. Blades Thesis for the degree of Doctor of Philosophy May 2020 University of Southampton Abstract Faculty of Arts and Humanities Department of Film Studies Thesis for the degree of Doctor of Philosophy Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. by Eliot W. Blades This thesis examines a number of mainstream fiction feature films which incorporate imagery from non-cinematic moving image technologies. The period examined ranges from the era of the widespread success of television (i.e. -
Motion Picture Export Association of America
quate fundsbeing available in the MPEAA member companies' bank accounts in Motion Picture Export Colombo) because the NFC had not as yet recommended such remittance to the Association of America Exchange Controller. Non payment of dues by the NFC re I The companies affiliated to the MPEAA tation of the films, as would be the case sulted in MPEAA members, in the first" comprise the world's largest film produc when films are purchased outright with instance, stopping further shipments and ers/distributors and account for over 80% valuable funds being tied up. release of their product on contracts al of the most successful English language ready approved. As no payments were i films distributed worldwide. The MPEAA MPEAA deals with exhibitors on the made even thereafter, MPEAA members member companies include Buena Vista basis of rental, with the supplier accept finally withdrew the exhibition rights given International (Disney), Carolco Pictures ing a percentage of the actual box office to NFC and informed the Corporation Incorporation, Columbia Pictures Inter takings. This way, the supplier's share is accordingly. But the NFC, though it has national (Tri Star), MGM/UA Communi governed only by how well a film fares at loudly proclaimed its ability to source all cations Company, Orion Pictures Inter the box office here and not by the selling its requirements of English language films national Corporation, Paramount Pictures price of the film itself. In Sri Lanka, the through independent suppliers or 'third Corporation, Twentieth Century Fox Inter market size for English language films parties' in the absence of MPEAA films, national Corporation, Universal Interna automatically commends rental as the still continues to this day to distribute tional Films and Warner Brothers Inter obviously viable choice. -
Children of Glory
ANDREW G. VAJNA PRESENTS CHILDREN OF GLORY Cast: Iván Feny ı Kata Dobó Sándor Csányi Károly Gesztesi Original Story by: Joe Eszterhas Writing Credits by : Joe Eszterhas Eva Gárdos Géza Bereményi Réka Divinyi Co-Producers : Clive Parsons S. Tamás Zákonyi Cinematography by : Buda Gulyás Production Desing by : János Szabolcs Costume Desing by : Beatrix Aruna Pásztor Original Music by : Nick Glennie-Smith Producer: Andrew G. Vajna Directed by : Krisztina Goda Website: www.szabadsagszerelemafilm.hu SYNOPSIS The year is 1956. While Hungary is only a small slave nation within the massive Soviet Block, it is also a superpower – its national water polo team is invincible. Even locked behind the Iron Curtain, the players feel like kings. Thriving on success and enjoying the attention of every girl in the country, they stand self-assured and unified. The team has lost only once in 1955, when a referee in Moscow simply did not let them win. The team are now bracing themselves for a rematch due to take place at the 1956 Olympic Games in Melbourne. History, however, throws a major obstacle in team’s path, and a revolution breaks out in Budapest and the young star of the team, Karcsi (Iván Feny ı) and his friend, Tibi (Sándor Csányi) get embroiled in the events occurring out on the streets. At first, they are only out for adventure, but a fiery student - Viki Falk (Kata Dobó) - from the Technical University catches Karcsi’s eye and in following her steps he finds himself right at the heart of the uprising - the Kossuth square and the subsequent siege of the National Radio station. -
Kanye West Live Stream
A GLOBAL INDUSTRY STREAMING PROBLEM BROADCAST STREAMING = CONTENT THEFT STREAM HACKING CREDENTIAL SHARING RE-STREAMING VIII. 100.(b) Saudi Arabia pay to beIN Damages ... Estimated to be in excess of USD 1 billion…” - 2018-10-01-beIN-Notice-of-Arbitration-236336633 “Disclaimer - Mygoodstream.pw absolutely legal and contains only links to other websites on the Internet that make the embedded feature available like justin.tv, ustream.tv.... We do not host or upload any video/media files, Mygoodstream.pw is not responsible for the legality of the content of other sites.” - mygoodstream.pw PIRACY COST EXAMPLE TIDAL - Kanye West Live Stream • In February 2016, Tidal live streamed the Kanye West Life Of Pablo subscription price of $8.99. • 3 million subscribers 20 million viewers = 17 million overage • Result servers crashed, next day headlines read Tidal Streaming failure • If everyone had been able to watch the entire stream at 1080p without the stream failing, at the lowest advertised cost for streaming bandwidth ($0.06 per Gb), Tidal would have incurred an additional unnecessary bandwidth cost of $1,298,052. http://www.billboard.com/articles/columns/hip-hop/6874845/tidal-blames-spotty-kanye-west-stream-life-pablo. http://www.theverge.com/2016/3/29/11325608/tidal-now-has-3-million-subscribers. https://urbanislandz.com/2017/07/03/kanye-west-terminates-tidal-contract-amidst-jay-z-fallout/ Show Revenue: 3M viewers @ $8.99 Streaming Costs Net Revenue Tidal $ 26,970,000 $ 1,566,410 $ 25,403,590 StreamGuard $ 26,970,000 $ 268,358 $ 26,701,642 WHY STREAMGUARD • Only place a single ticket purchase equals only one view • Put an end to middleman attacks, credential sharing, and stream hacking for all live events. -
Human' Jaspects of Aaonsí F*Oshv ÍK\ Tke Pilrns Ana /Movéis ÍK\ É^ of the 1980S and 1990S
DOCTORAL Sara MarHn .Alegre -Human than "Human' jAspects of AAonsí F*osHv ÍK\ tke Pilrns ana /Movéis ÍK\ é^ of the 1980s and 1990s Dirigida per: Dr. Departement de Pilologia jA^glesa i de oermanisfica/ T-acwIfat de Uetres/ AUTÓNOMA D^ BARCELONA/ Bellaterra, 1990. - Aldiss, Brian. BilBon Year Spree. London: Corgi, 1973. - Aldridge, Alexandra. 77» Scientific World View in Dystopia. Ann Arbor, Michigan: UMI Research Press, 1978 (1984). - Alexander, Garth. "Hollywood Dream Turns to Nightmare for Sony", in 77» Sunday Times, 20 November 1994, section 2 Business: 7. - Amis, Martin. 77» Moronic Inferno (1986). HarmorKlsworth: Penguin, 1987. - Andrews, Nigel. "Nightmares and Nasties" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney: Ruto Press, 1984:39 - 47. - Ashley, Bob. 77» Study of Popidar Fiction: A Source Book. London: Pinter Publishers, 1989. - Attebery, Brian. Strategies of Fantasy. Bloomington and Indianapolis: Indiana University Press, 1992. - Bahar, Saba. "Monstrosity, Historicity and Frankenstein" in 77» European English Messenger, vol. IV, no. 2, Autumn 1995:12 -15. - Baldick, Chris. In Frankenstein's Shadow: Myth, Monstrosity, and Nineteenth-Century Writing. Oxford: Oxford Clarendon Press, 1987. - Baring, Anne and Cashford, Jutes. 77» Myth of the Goddess: Evolution of an Image (1991). Harmondsworth: Penguin - Arkana, 1993. - Barker, Martin. 'Introduction" to Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Media. London and Sydney: Ruto Press, 1984(a): 1-6. "Nasties': Problems of Identification" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney. Ruto Press, 1984(b): 104 - 118. »Nasty Politics or Video Nasties?' in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Medß. -
Project of Statistical Data Collection on Film and Audiovisual Markets in 9 Mediterranean Countries
Film and audiovisual data collection project EU funded Programme FILM AND AUDIOVISUAL DATA COLLECTION PROJECT PROJECT TO COLLECT DATA ON FILM AND AUDIOVISUAL PROJECT OF STATISTICAL DATA COLLECTION ON FILM AND AUDIOVISUAL MARKETS IN 9 MEDITERRANEAN COUNTRIES Country profile: 3. LEBANON EUROMED AUDIOVISUAL III / CDSU in collaboration with the EUROPEAN AUDIOVISUAL OBSERVATORY Dr. Sahar Ali, Media Expert, CDSU Euromed Audiovisual III Under the supervision of Dr. André Lange, Head of the Department for Information on Markets and Financing, European Audiovisual Observatory (Council of Europe) Tunis, 27th February 2013 Film and audiovisual data collection project Disclaimer “The present publication was produced with the assistance of the European Union. The capacity development support unit of Euromed Audiovisual III programme is alone responsible for the content of this publication which can in no way be taken to reflect the views of the European Union, or of the European Audiovisual Observatory or of the Council of Europe of which it is part.” The report is available on the website of the programme: www.euromedaudiovisual.net Film and audiovisual data collection project NATIONAL AUDIOVISUAL LANDSCAPE IN NINE PARTNER COUNTRIES LEBANON 1. BASIC DATA ............................................................................................................................. 5 1.1 Institutions................................................................................................................................. 5 1.2 Landmarks ............................................................................................................................... -
Terminator: Future Fate V2.0
Terminator: Future Fate V2.0 This product was nominated for a Best Campaign Fan Site ENnie from ENworld By Michael Tresca D20 System and D&D is a trademark of Wizards of the Coast, Inc.©. T2 and TERMINATOR are trademarks of Carolco Pictures Inc. and Carolco International N.Y. Copyright 1991 Carolco Pictures Inc. (United States and Canada); Carolco International N.Y. (all other countries) All Rights Reserved. T2:3D and all associated logos, images, and videos are the property of Universal Studios. Trademarks and copyrights are cited in this document without permission. This usage is not meant in any way to challenge the rightful ownership of said trademarks/copyrights. All copyrights are acknowledged and remain the property of the owners. This game is for entertainment only. The T-100 Seeker, T-200 Scarecrow, and T-300 Fast Walker, the Campaign in Brief section, refugee and rogue occupations, and much of the technical specifications on all of the Terminators, HKs and weapons are property of Christopher T. Shields. Information about the M-25 Pulse Rifle, M-27 Pulse Rifle, RBS-80 Plasma Rifle, Antitank Plasma Mine, T-70, T-1, T-600, T-700, T-800, T- 1000, T-X, T-1000000, HK Mini-Hunter, HK Silverfish, HK Centurion, HK Tank, HK Aerial Prototype, HK Aerial, HK Bomber, I-950 Hybrid, Background, Time Travel details and Skynet information is property of Mark Billen. Special thanks to Shane O'Connor for general edits and cleaning up timeline inconsistencies. This document utilizes the Terminator Two font. You can get the latest version of this document at Talien's Tower, under the Freebies section. -
Using Global Objectives to Control Behaviors in Crowds
USING GLOBAL OBJECTIVES TO CONTROL BEHAVIORS IN CROWDS A Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Science in the Graduate School of The Ohio State University By Domin Lee, B.S. ***** The Ohio State University 2008 Master’s Examination Committee: Approved by Dr. Rick Parent, Adviser Dr. Matthew Lewis Adviser Graduate Program in Computer Science and Engineering c Copyright by Domin Lee 2008 ABSTRACT The agent-based and behavioral modeling techniques are effective in many situa- tions; however, with an increase in demand for more complex and realistic behaviors, the problems of scale can quickly become an issue. By adding another set of rules that incorporate the desired behaviors, the rule-based methods can become difficult to manage. This thesis attempts to develop an organizational tool that avoids rule pro- liferation and problems with scale in rule-based systems. Using global objectives to weigh local rules, we look to model a system where behavioral decisions are made, not just at the individual levels, but also at the global levels in the crowds. Consequently, this thesis presents a solution for one requirement of team-oriented crowd behaviors in animation and games: the ability to adaptively generate human-like altruistic be- haviors. The team-oriented crowds refers to a type of crowds where each individual has a membership to a team. And those individuals interact directly and simultane- ously to achieve a global objective. Some of the team-oriented crowds include team sports: football, handball, hockey, basketball, and baseball. ”Altruistic behaviors” are the behaviors where behavioral decisions are made for the global objectives of the crowds. -
Terminator 2: Judgment Day"
"TERMINATOR 2: JUDGMENT DAY" a Screenplay by James Cameron and William Wisher Revised final shooting script ---------------------------------------------------------------------------- 1 EXT. CITY STREET - DAY Downtown L.A. Noon on a hot summer day. On an EXTREME LONG LENS the lunchtime crowd stacks up into a wall of humanity. In SLOW MOTION they move in herds among the glittering rows of cars jammed bumper to bumper. Heat ripples distort the torrent of faces. The image is surreal, dreamy... and like a dream it begins very slowly to DISSOLVE TO: 2 EXT. CITY RUINS - NIGHT Same spot as the last shot, but now it is a landscape in Hell. The cars are stopped in rusted rows, still bumper to bumper. The skyline of buildings beyond has been shattered by some unimaginable force like a row of kicked-down sandcastles. Wind blows through the desolation, keening with the sound of ten million dead souls. It scurries the ashes into drifts, stark white in the moonlight against the charred rubble. A TITLE CARD FADES IN: LOS ANGELES, July 11, 2029 3 ANGLE ON a heap of fire-blackened human bones. Beyond the mound is a vast tundra of skulls and shattered concrete. The rush hour crowd burned down in their tracks. 4 WE DISSOLVE TO a playground... where intense heat has half-melted the jungle gym, the blast has warped the swing set, the merry-go-round has sagged in the firestorm. Small skulls look accusingly from the ash-drifts. WE HEAR the distant echo of children's voices... playing and laughing in the sun. A silly, sing-songy rhyme as WE TRACKS SLOWLY over seared asphalt where the faint hieroglyphs of hopscotch lines are still visible. -
Film Locations in San Francisco
Film Locations in San Francisco Title Release Year Locations A Jitney Elopement 1915 20th and Folsom Streets A Jitney Elopement 1915 Golden Gate Park Greed 1924 Cliff House (1090 Point Lobos Avenue) Greed 1924 Bush and Sutter Streets Greed 1924 Hayes Street at Laguna The Jazz Singer 1927 Coffee Dan's (O'Farrell Street at Powell) Barbary Coast 1935 After the Thin Man 1936 Coit Tower San Francisco 1936 The Barbary Coast San Francisco 1936 City Hall Page 1 of 588 10/02/2021 Film Locations in San Francisco Fun Facts Production Company The Essanay Film Manufacturing Company During San Francisco's Gold Rush era, the The Essanay Film Manufacturing Company Park was part of an area designated as the "Great Sand Waste". In 1887, the Cliff House was severely Metro-Goldwyn-Mayer (MGM) damaged when the schooner Parallel, abandoned and loaded with dynamite, ran aground on the rocks below. Metro-Goldwyn-Mayer (MGM) Metro-Goldwyn-Mayer (MGM) Warner Bros. Pictures The Samuel Goldwyn Company The Tower was funded by a gift bequeathed Metro-Goldwyn Mayer by Lillie Hitchcock Coit, a socialite who reportedly liked to chase fires. Though the tower resembles a firehose nozzle, it was not designed this way. The Barbary Coast was a red-light district Metro-Goldwyn Mayer that was largely destroyed in the 1906 earthquake. Though some of the establishments were rebuilt after the earthquake, an anti-vice campaign put the establishments out of business. The dome of SF's City Hall is almost a foot Metro-Goldwyn Mayer Page 2 of 588 10/02/2021 Film Locations in San Francisco Distributor Director Writer General Film Company Charles Chaplin Charles Chaplin General Film Company Charles Chaplin Charles Chaplin Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Warner Bros. -
Founder Joanelle Romero As a • “Frozen River” Screened at RNFF and Went 2015 and Sponsored by Honest Engine Films, Lifetime Member
Joanelle Romero An American media executive, actress, award-winning filmmaker, television producer, and humanitarian Deadline by Pete Hammond Variety by Dave McNary Joanelle Romero’s family name and long Forward for The First American Indian history is well documented in Congress Television Channel and served on the and can be traced prior to the year 1600 adopted Lakota. in Pecos, New Mexico. Congressman board. Edward R Roybal and Congresswomen Joanelle has grown up the in Lucille Roybal Allard are Joanelle’s entertainment industry, her mother Rita She has two adult children, graduates cousins. Joanelle’s mothers mother, her Rogers was signed to Universal Studios of Yale University and Berklee College ot retsis saw aimefuE amdnarG taerG amdnarG aimefuE saw retsis ot and was in several Elvis Presley Films. Congressman Edward R Roybal dad. Her mother co-started in Peter Fonda’s two. Congressman Edward R Roybal was a in several Red Skelton Shows and Carol who went on to break through the Show. barriers and launch ground-breaking Joanelle is a citizen of Mescalero- awards: Chiricahua Apache, Dinétah, Paiute Armin T. Wegner Humanitarian Award Nations and is SpanishSephardic. A for “the vision to see the truth and relative of Pawnee, Pojoaque, Southern the courage to speak it” Romero is Ute and Iroquois. Joanelle’s father was born on the Jicarilla Reservation and a Humanitarian of any kind. Romero her great-grandma from her mother’s side was born on the Mescalero reservation. Joanelle is a Sundancer and Sacred pipe carrier. Chief Leonard Crow Dog gave and Los Angeles Women’s Theatre Wayanka Po Win” in a ceremony held Integrity Award.