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Volume XII, No
March 31—April 6, 2011 Volume XII, No. 13 Willie Nelson added to line-up for “Kokua For Japan” on April 10 World-renowned entertainer Willie Nelson will perform at “Kokua For Japan,” a Hawai‘i-based radio, television and Internet fund raising event for the victims of the earthquake and tsunami in Japan. The event, staged by Clear Channel Radio Hawaii and Oceanic Time Warner Cable, will take place at the Great Lawn at the Hilton Hawaiian Village Beach Resort & Spa on April 10, 2011 from noon to 5 p.m. All proceeds to benefit the American Red Cross for the Japan earthquake and Pacific tsunami relief efforts. Nelson will join previously announced entertainers including: Henry Kapono with special guests Michael McDonald and Mick Fleetwood; Loretta Ables Sayre; The Brothers Cazimero; Cecilio & Kapono; Kalapana; Cecilio & Kompany; Amy Hanaialii; Na Leo; John Cruz; Natural Vibrations; ManoaDNA; Robi Kahakalau; Mailani; Taimane; Go Jimmy Go; Jerry Santos; Gregg Hammer Band; and Kenny Endo Taiko. On-air personalities from Clear Channel Radio and local broadcast and cable TV stations will host the program. “Kokua For Japan,” a Hawai‘i-based radio, television and Internet fund raising event for the victims of the earthquake and tsunami in Japan, will be held on Sunday, April 10, 2011 from noon to 5 p.m. The event, staged by Clear Channel Radio Hawaii and Oceanic Time Warner Cable, will take place at the Great Lawn at the Hilton Hawaiian Village Beach Resort & Spa. Tickets are available for $15 via Honolulu Box Office. Visit HonoluluBoxOffice.com for on-line purchasing or call 808-550-8457 for charge-by-phone. -
PROGRAM November 18-20, 2015 THANKS to the 2015 Children, Youth & Media Conference Sponsors
Toronto PROGRAM November 18-20, 2015 THANKS tO tHe 2015 ChIlDrEn, YoUtH & MeDiA CoNfErEnCe sponsors MAIN SPONSOR PRESTIGE SPONSORS EXCELLENCE SPONSORS 2 SPECIAL THANKS Youth Media Alliance would like to warmly thank its 2015 Children, Youth & Media Conference advisory committee: NATALIE DUMOULIN / 9 Story Media Group MARTHA SEPULVEDA / RACHEL MARCUS / Guru Studio Breakthrough Entertainment MICHELLE MELANSON CUPERUS / CLAUDIA SICONDOLFO Radical Sheep Productions JULIE STALL / Portfolio Entertainment LYNN OLDERSHAW / Kids’ CBC TRAVIS WILLIAMS / Mercury Filmworks MIK PERLUS / marblemedia SUZANNE WILSON / TVO Kids JAMIE PIEKARZ / Corus Entertainment And the volunteers: KELLY LYNNE ASHTON, KAYLA LATHAM, HENRIKA LUONG, TATIANA MARQUES, JAYNA RAN and MARCELA LUCIA ROJAS. TABLE OF CONTENTS Words from Chair .............................................................................p. 4 Words from Executive Director ............................................................p. 5 Schedule and Venue ..........................................................................p. 6 General Conference ..........................................................................p. 8 Workshop with Sheena Macrae ............................................................p. 12 Workshop with Linda Schuyler .............................................................p. 12 Prix Jeunesse Screening ....................................................................p. 13 Speakers’ Biographies .......................................................................p. -
Copyrighted Material
9781405170550_6_ind.qxd 16/10/2008 17:02 Page 432 INDEX 4 Little Girls (1997) 93 action-adventure movie 147, 149, 254, 339, 348, 352, 392–3, 396–7, 8 Mile (2002) 396–7 259, 276, 287–8, 298–9, 410 402–3 20th Century-Fox 21, 30, 34, 40–2, 73, actualities 106, 364, 410 Against All Odds (1984) 289 149, 184, 204–5, 281, 335 ACT-UP (AIDS Coalition to Unleash Agar, John 268 25th Hour, The (2002) 98 Power) 337, 410 Aghdashloo, Shohreh 75 27 Dresses (2008) 353 ADA (Americans with Disabilities Act) Ahn, Philip 130 28 Days (2000) 293 398–9, 410 AIDS 99, 329, 334, 336–40 48 Hours (1982) 91 Adachi, Jeff 139 AIDS Coalition to Unleash Power see 100-to-1 Shot, The (1906) 174 Adams, Evan 118–19 ACT-UP 300 (2007) 74, 298, 300 ADC (American-Arab Anti- AIM (American Indian Movement) 111, Discrimination Committee) 73–4, 116–17, 410 Abbott and Costello 268 410 Air Force (1943) 268 ABC 340 Addams Family, The (1991) 156 Akins, Zoe 388–9 Abie’s Irish Rose (stage) 57 Addams Family Values (1993) 156 Aladdin (1992) 73–4, 246 Abilities United Productions 384 Adiarte, Patrick 72 Alba, Jessica 76, 155, 159 ability 359–84, 410 adult Western 111, 410 Albert, Eddie 72 ableism 361, 381, 410 Adventures of Ozzie & Harriet, The (TV) Albert, Edward 375 Abominable Dr Phibes, The (1971) 284 Alexie, Sherman 117–18 365 Adventures of Priscilla, Queen of the Algie, the Miner (1912) 312 Abraham, F. Murray 75, 76 COPYRIGHTEDDesert, The (1994) 348 MATERIALAli (2001) 96 Academy Awards (Oscars) 29, 58, 63, Adventures of Sebastian Cole, The (1998) Alice (1990) 130 67, 72, 75, 83, 92, 93, -
Demonstration Anthology Table of Contents
2011 Demonstration Anthology Table of Contents Paul Baumann, “Write to Live and Live to Write”---------------------------------------------------------------------------------1 Debbie Bower, “’I Remember’ Poem”-----------------------------------------------------------------------------------------------3 Megan Davis, “You Can’t Handle the Truth!”-------------------------------------------------------------------------------------6 Kathy Habing, “Transitions with Goldilocks”------------------------------------------------------------------------------------10 Ashton Harwood, “Creative Writing: Just Picture It!”---------------------------------------------------------------------------15 Robbie Kline, “Engaging Cause-And-Effect Relationships”-------------------------------------------------------------------17 Sarah Klingler, “Halloween Description Activity”-------------------------------------------------------------------------------27 Rebecca Lawson, “The Literary Resume”-----------------------------------------------------------------------------------------28 Mark Learnard, “Jumpstarting Student Writing”---------------------------------------------------------------------------------37 Misty Mapes, “Moodle ‘Power With Words’”-------------------------------------------------------------------------------------38 Mary St. Clair, “Creative Writing Haiku Project”---------------------------------------------------------------------------------42 Andrea Stack, “Using Voice in Artistic Writing”---------------------------------------------------------------------------------44 -
First-Run Smoking Presentations in U.S. Movies 1999-2006
First-Run Smoking Presentations in U.S. Movies 1999-2006 Jonathan R. Polansky Stanton Glantz, PhD CENTER FOR TOBAccO CONTROL RESEARCH AND EDUCATION UNIVERSITY OF CALIFORNIA, SAN FRANCISCO SAN FRANCISCO, CA 94143 April 2007 EXECUTIVE SUMMARY Smoking among American adults fell by half between 1950 and 2002, yet smoking on U.S. movie screens reached historic heights in 2002, topping levels observed a half century earlier.1 Tobacco’s comeback in movies has serious public health implications, because smoking on screen stimulates adolescents to start smoking,2,3 accounting for an estimated 52% of adolescent smoking initiation. Equally important, researchers have observed a dose-response relationship between teens’ exposure to on-screen smoking and smoking initiation: the greater teens’ exposure to smoking in movies, the more likely they are to start smoking. Conversely, if their exposure to smoking in movies were reduced, proportionately fewer teens would likely start smoking. To track smoking trends at the movies, previous analyses have studied the U.S. motion picture industry’s top-grossing films with the heaviest advertising support, deepest audience penetration, and highest box office earnings.4,5 This report is unique in examining the U.S. movie industry’s total output, and also in identifying smoking movies, tobacco incidents, and tobacco impressions with the companies that produced and/or distributed the films — and with their parent corporations, which claim responsibility for tobacco content choices. Examining Hollywood’s product line-up, before and after the public voted at the box office, sheds light on individual studios’ content decisions and industry-wide production patterns amenable to policy reform. -
Greater Griffith Park Neighborhood Council Name: Jessica Kornberg
Contact Information Neighborhood Council: Greater Griffith Park Neighborhood Council Name: jessica kornberg Phone Number: 917 446 8991 Email: [email protected] Date of NC Board Action: 09/21/2010 Type of NC Board Action: General Comments Impact Information Date: 09/27/2010 Update to a Previous Input: No Directed To: City Council and Committees Council File Number: 07-2858-S1 Agenda Date: 09/28/2010 Item Number: Brief Summary: The GGPNC reaffirms its opposition to supergraphic signs. In addition, we urge the City Council to retain the sign reduction program. In the event an entity erects different signage than permitted, then the permit should be revoked and the entity and signage should be deemed illegal and subject to the appropriate fines and penalties. Finally, the City Planning Commission should see all proposed signage before any permit is issued. Additional Information: GREATER GRIFFITH PARK NEIGHBORHOOD COUNCIL “Your Neighborhood. Your Voice. Your Council” GOVERNING BOARD MEETING CERTIFIED COUNCIL #36 PRESIDENT Ron Ostrow MINUTES PO Box 27003 VICE PRESIDENTS Los Angeles, CA 90027- Tor Hyams - Administration 0003 Luisa Nubaravacharyan - Outreach September 21, 2010 – 7:00 p.m. TREASURER Los Feliz Community Police Center (323) 908-6054 Christina Khanjian 1965 n. Hillhurst Ave. (2nd floor of Citibank) www.ggpnc.org SECRETARY Los Angeles, CA 90027 Jessica Kornberg [email protected] 1. Call to Order. Quorum Check. 7:10pm Napier, Mims, DeOcampo excused. Here: RO, CK, TW, JG, MV, TO, JK, RD, FM, LVKC, HM, TH, MM 2. Reports from Public Officials City Attorney, Bill Larson: Update on Bates Motel. Order in place for abatement has been appealed. -
Something Wicked This Way Comes”: Apocalyptic Overtones and the Descent Into Ennui in John Logan’S TV Series Penny Dreadful
doi: 10.17605/OSF.IO/H4YBT “Something Wicked This Way Comes”: Apocalyptic Overtones and the Descent into Ennui in John Logan’s TV Series Penny Dreadful Dr. Richard Logsdon, Professor Emeritus, College of Southern Nevada Abstract ennui that has its counterpart in our own culture. The suggestion is that Logan uses While scholars have provided some Vanessa Ives as a symbolic representation of insight into Penny Dreadful, no one has a dying world view, which, somewhat addressed the relationship of the piece’s ironically, provided for her remaining overall design to the writer’s vision. Indeed, friends a hope that sustained them. Penny Dreadful is offered as a warning of a darker age to come. Accordingly, writer 1. Introduction: Old or New Gothic? John Logan sets his series in a late Victorian, Gothicized London that serves as Since the release of Francis Ford a microcosm for a contemporary Western Coppola’s Dracula in 1992, Gothic horror world experiencing a psychological and films that gave the traditional depiction of spiritual disintegration that touches the the Prince of Vampires have been replaced individual and the larger culture. Logan calls by tamer, even more domesticated versions attention to the anxieties generated by this of Bram Stoker’s monster (Hutchings 40- disintegration by incorporating into his 48). Indeed, in the world of cinema and TV, series characters from late Victorian Gothic the past two or three decades have seen a fiction: Frankenstein and his creature, movement away from the traditional Gothic Dracula, the Wolf Man, Dorian Gray, and horror with its dark and haunted landscapes, Dr. -
Wail of an Ebbing Tide © 2016 Xena Torres
Wail of an Ebbing Tide © 2016 Xena Torres www.bitchofrome.com/pennydreadful Penny Dreadful is the copyright property of Showtime and Sky. It was created by John Logan and produced by Desert Wolf Productions and Neal Street Productions. This fan fiction story has been written for entertainment purposes only out of love for the show and out of respect to my fellow Dreadfuls. Dedicated to Eva Green for the gift of Vanessa Ives & my fellow Dreadfuls AUTHOR’S NOTE This story rewrites the ending of the final episode of Penny Dreadful, “The Blessed Dark,” from the moment Ethan enters the white bricked room with Vanessa. It is then divided into six parts (“episodes”) in which I attempt to conclude the series, wrapping up loose threads and plot points that I think most Dreadfuls would agree were left unresolved at the end of the series. Please note that I am not someone who is against tragic end- ings, nor do I think endings have to be sunshine and rainbows, where none of the characters die and they all go off to live perfect lives. I do, however, think endings to series need to give viewers closure and have to bring the characters to a point where we can accept they will live on without us watching. For my ending, I fol- lowed the threads already presented on the show. I also used the books Penny Dreadful drew from, directly and indirectly, while other parts were completely my own. Dr. Jekyll does not appear in this novel. While his story was disappointing, I felt it was as concluded as it could be without start- ing a new thread and this fan fiction is an attempt to conclude the show, not the first part of a virtual series. -
Media and Identity in Post-War American and Global Fictions of the Undead
"Born in Death": Media and Identity in Post-War American and Global Fictions of the Undead Jonathan Mark Wilkinson MA by Research University of York English January 2015 2 Abstract Existing scholarship has largely overlooked that the undead are, famously, ‘us’. They are beings born from our deaths. Accordingly, their existence complicates the limits and value of our own. In this dissertation, I therefore argue that fictions of the undead reflect on questions of identity, meditating on the ways in which identities are created, distorted or otherwise reformed by the media to which their most important texts draw insistent attention. Analysing landmark texts from Post-War American contexts, this dissertation expands its hypothesis through three case studies, reading the texts in each as their own exercise in ontological thought. In each case study, I show that fictions of the undead reflect on the interactions between media and identity. However, there is no repeating model through which the themes of media, identity and undeath are repeatedly engaged. Each text’s formulation of these interacting themes is distinct to the other’s, suggesting that the significance of the undead and their respective tradition is not in the resounding ontological ‘answers’ that they and their texts inspire, but the questions that their problematic existential state asks. 3 List of Contents Abstract ..................................................................................................................2 Author’s Declaration .................................................................................................4 -
The Parthenon, March 28, 2014
Marshall University Marshall Digital Scholar The aP rthenon University Archives Spring 3-28-2014 The aP rthenon, March 28, 2014 Bishop Nash [email protected] Follow this and additional works at: http://mds.marshall.edu/parthenon Recommended Citation Nash, Bishop, "The aP rthenon, March 28, 2014" (2014). The Parthenon. Paper 341. http://mds.marshall.edu/parthenon/341 This Newspaper is brought to you for free and open access by the University Archives at Marshall Digital Scholar. It has been accepted for inclusion in The aP rthenon by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected]. “IT SOUNDS INTIMIDATING, BUT IT’S REALLY EASY TO PICK UP. ONCE YOU START PLAYING, YOU FIND OUT IT’S A LOT OF FUN.” Alex Shay , sophomore elementary education major MORE LACROSSE >>> PAGE 3 FRIDAY, MARCH 28, 2014 | VOL. 117 NO. 103 | MARSHALL UNIVERSITY’S STUDENT NEWSPAPER | marshallparthenon.com weekend EDITION MORE GLOBSTERS >>> PAGE 2 I TRY TO EXPRESS EVERYTHING I POSSIBLY CAN WHEN I PLAY: ANGER, SADNESS, SEXUALITY, EXTREME JOY AND HAPPINESS. “ I TURN IT UP AS LOUD AS I CAN. - ADAM BREWER, GLOBSTERS MORE COLOR RUN PAINTING THE TOWN >>> PAGE 2 ‘Happiest 5k on the Planet ’to color Huntington Friday Saturday Sunday page designed and edited by CODI MOHR HIGH 66° LOW 48 ° HIGH 59° LOW 34 ° HIGH 57° LOW 34° [email protected] C M Y K 50 INCH 2 WEEKEND EDITION FRIDAY, MARCH 28, 2014 | | MARSHALLPARTHENON.COM Lily’s Place of Huntington will baby that day. Kentucky neo- be the new home of a regional Two weeks later, Brown got a and state leader in the care of call from Laura Darby, founder newborn infants suffering from of Hospice of Huntington and punk act Globsters Neonatal Abstinence Syndrome Ebenezer Medical Outreach, who How the and withdrawal from drug said she had been praying for exposure. -
How Grey's Anatomy Fooled Me Into Thinking I Had Cancer
Intersect, Vol 13, No 2 (2020) How Grey’s Anatomy Fooled Me into Thinking I Had Cancer: A Conversation on the Uses of Empathy and Misinformation in Medical Dramas Neil Wary Stanford University Abstract It’s often hard to distinguish between fact and opinion, especially in today’s age of media. This becomes a controversial topic once the media disperses information that could potentially be harmful to the public, particularly involving medicine. In this essay, a patient case is used as motivation to understand the complex relationship between medical misinformation in the media and empathy. Following is a discussion of how misinformation and empathy work with the human mind, and how medical dramas use them to their advantage. Then, Grey’s Anatomy is used as a case study to see how the show implements empathy and misinformation. Finally, an analysis of the positives and negatives of the medical drama is presented along with suggestions of how to improve medical dramas – particularly looking at possible outcomes for positive change in this medium of communication. Wary, How Grey’s Anatomy Fooled Me Acknowledgements To Dr. Rebecca Richardson, Program in Writing and Rhetoric Professor at Stanford University, for helping with the preparation and revision of this manuscript. 2 Wary, How Grey’s Anatomy Fooled Me A 19-year-old male with no past medical history presents in clinic with tachycardia. The patient was scheduled for a stress echocardiogram to assess heart structure and function. In the initial ultrasound, however, a mass was found in the patient’s heart. The patient’s stress echocardiogram was cancelled, and the patient was referred to a cardiologist. -
Signature Redacted
Perspectives on Film Distribution in the U.S.: Present and Future By Loubna Berrada Master in Management HEC Paris, 2016 SUBMITTED TO THE MIT SLOAN SCHOOL OF MANAGEMENT IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN MANAGEMENT STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUNE 2016 OFTECHNOLOGY 2016 Loubna Berrada. All rights reserved. JUN 08 201 The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic LIBRARIES copies of this thesis document in whole or in part ARCHIVES in any medium now known or hereafter created. Signature of Author: Signature redE cted MIT Sloan School of Management May 6, 2016 Certified by: Signature redacted Juanjuan Zhang Epoch Foundation Professor of International Management Professor of Marketing MIT Sloan School of Management Thesis Supervisor Accepted by: Signature redacted Rodrigo S. Verdi Associate Professor of Accounting Program Director, M.S. in Management Studies Program MIT Sloan School of Management 2 Perspectives on Film Distribution in the U.S.: Present and Future By Loubna Berrada Submitted to MIT Sloan School of Management on May 6, 2016 in Partial fulfillment of the requirements for the Degree of Master of Science in Management Studies. Abstract I believe film has the power to transform people's lives and minds and to enlighten today's generation like any other medium. This is why I wanted to write my thesis about film distribution as it will determine the future of the industry itself. The way films are distributed, accessed and consumed will be critical in shaping our future entertainment culture and the way we approach content.