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It's Better to Know! Learn the Signs. Act Early. Photo Novella
It’s Better to Know! Learn the Signs. Act Early. Learning About Developmental Milestones All of us want our children to be happy and healthy. We want what is best for them. This story is about my family as we learn that “It’s Better To Know” about developmental milestones. Developmental milestones are things most children can do by a certain age. Children reach milestones in how they play, learn, speak, and act. Milestones offer important clues about a child’s development. The developmental milestones you will learn about in this fotonovela will give you a general idea of what to expect as your child grows. Not reaching these milestones, or reaching them much later than other children, could be a sign of a developmental delay. Trust your instincts. If you have concerns about your child’s development, the best thing to do is talk with your doctor. It’s Better To Know! was produced by the Organization for Autism Research with funding provided by the Department of Health and Human Services, Centers for Disease Control and Prevention. www.cdc.gov/actearly iii He’s fine. He’s more interested in Hi Carlitos! his cow! C-a-r-l-i-t-o-s. He doesn’t always look at us when we call his name. I wonder why. Have you talked to How’s my baby boy the doctor about doing? that? He’s okay, mom, but he doesn’t always look up when No, why, should I? we call him. Remember the last time we took him for a well- baby check-up and 9-month developmental screening? I picked up this pamphlet in the waiting room. -
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. -
C Asper the Friendly Ghost Jumpchain
C asper The Friendly Ghost Jumpchain Welcome to the Worlds of Casper the Friendly Ghost... Alive or dead you'll be spending the next ten years dwelling here. The Worlds of Casper have one common theme, ghosts should be scary; those that won't be mean, will be disciplined. Here, Have 1000 Casper Points to get you started. Location To start off roll 1d8 to determine your location or pay 50cp to choose 1. 1950's Animated Casper – Noveltoons/HarveyToons. - This is the world of the original Casper cartoons, Casper 'lives' with his three 'Uncles' the Terrible Trio; Fatso, Fusso, and Lazo pressure poor Casper into being mean when he just want's to make friends. You may be able to make friends with the family of Richie Rich while you are here. 2. 1960's New Casper Cartoon Show – Casper and his friends, the ghost horse Nightmare, and Wendy the Good Little Witch, are all somewhat ostracized by their peers as they just want to be nice. This world features many elements from classic fantasy, enchanted forests, A Toyland, even Alien visitors. 3. 1970's Casper TV Specials by Hanna-Barbera - Casper Celebrated Both Halloween and Christmas with the Hanna-Barbera Gang. Yogi Bear, Snagglepuss, Huckleberry Hound et cetra. Why not visit Jellystone park while you're here? 4. 1990's Casper Film/The Spooktacular New Adventures of Casper series - This is the only version of Casper to have a Human Life to be remembered. C. McFadden is the son of a mysterious inventor and owner of Whipstaff Manor. -
Fact Book 2004 Fact Book 2004
Fact Book 2004 Fact Book 2004 Table of Contents Welcome Letter 2 Management Executive Team 4 Board of Directors 4 Operations Media Networks Profile 6 Business 7 Key Dates 8 Fast Facts 10 Data 13 Studio Entertainment Profile 22 Business 22 Key Dates 23 Fast Facts 25 Data 27 Parks and Resorts Profile 34 Business 34 Key Dates 35 Fast Facts 40 Data 42 Consumer Products Profile 48 Business 48 Key Dates 49 Fast Facts 51 History 55 Financials Income Statements 73 Balance Sheets 76 Cash Flows 78 Quarterly Statements 2004 80 Quarterly Statements 2003 82 Financial Ratios 85 Stock Statistics 86 Reconciliations 87 1 Fact Book 2004 Welcome to The Walt Disney Company Fact Book 2004 The Walt Disney Company’s Fact Book 2004 profiles the company’s key business segments and performance, and highlights key events from throughout the company’s 81 year history. The Walt Disney Company strives to be one of the world’s leading producers and providers of quality entertainment and information. Our investment in new content and characters as well as building, nurturing and expanding our existing franchises, gives us an advantage to strengthen and reinforce the affinity that consumers have with our brands and characters across all of our business segments. By growing operating income, improving returns on capital and delivering strong cash flow, the company strives to provide long-term value to Disney’s shareholders. Disney enjoys competitive advantages that underpin all of our successes, both financial and creative. In the long run, we prosper from the inventiveness of our film, television, and other programming; our ability to connect with our audiences; the use of technological advances to enhance our products; the opportunity to delight people around the world with our toys, clothing and other consumer products; and the ability to surprise our Guests with magical experiences at the parks, cruise lines and resorts. -
Models of Time Travel
MODELS OF TIME TRAVEL A COMPARATIVE STUDY USING FILMS Guy Roland Micklethwait A thesis submitted for the degree of Doctor of Philosophy of The Australian National University July 2012 National Centre for the Public Awareness of Science ANU College of Physical and Mathematical Sciences APPENDIX I: FILMS REVIEWED Each of the following film reviews has been reduced to two pages. The first page of each of each review is objective; it includes factual information about the film and a synopsis not of the plot, but of how temporal phenomena were treated in the plot. The second page of the review is subjective; it includes the genre where I placed the film, my general comments and then a brief discussion about which model of time I felt was being used and why. It finishes with a diagrammatic representation of the timeline used in the film. Note that if a film has only one diagram, it is because the different journeys are using the same model of time in the same way. Sometimes several journeys are made. The present moment on any timeline is always taken at the start point of the first time travel journey, which is placed at the origin of the graph. The blue lines with arrows show where the time traveller’s trip began and ended. They can also be used to show how information is transmitted from one point on the timeline to another. When choosing a model of time for a particular film, I am not looking at what happened in the plot, but rather the type of timeline used in the film to describe the possible outcomes, as opposed to what happened. -
Games , Ctivities to Help Integrate
DOCOIENT RESUME BD 181 667 EC 122 731 , AgTHOR .. Nolucki, Barbara: And Others . TITLE Sttaring the Street: ActivitiesforAllChildren. INSTITUTION . Childran's'Television 114kshop,New York, N.Y. _ SP014 AGENCY Office of Education (DHEw),. Washington'D.C. PUB' DATE 4 78 . CONTRACT' 300-77-0027 ',---- Port 107%).. AVAILABLE FROM Chil ren's Television workshop,Community Eilucation. Serirdces Division, DepartsentAu 1- Lincoln Plaza, Nei . fork', NV. 10023 ($2.00, S1.60. for- 25 or ore) , . .-,- EDRS PRICE MF01 Plus Postage. pc Not,Availablefrom EDRS. DESCRIPTORS :Early Childhood 2ducation;*Games: )0Hamdicapped Childrenf. *Learning Activities:*Mainstreaming ABSTRACT \-7 c Written for, teachers andparents with little or no knowledge'of special education,the book provide* informationon -games ,r ctivities to help integrateyoung, children with heating or visual,w ,pairments, mental retardation, andother physical and ,e learning disabilities. Each activityincludes ,statesents of the purpose, goals, materials, and_ procedures for 42 aCtivitiesin six categories (sample titles inparentheses): 'Sight (ShadoW Play):sound (Bert and Ernie's String Band) f feel, (Oscar'sVibrating Trash Can): Afigipt/feel (Rig Bird Decorates HisNest)il sight/sound/feel (Sesame ithArf Traffic Jam): andsensitivity (Cookie Mbnster Has problems). .e(CL) -\ C? v. 4! 41********-10***********,*****************************$40i**w***10********** 'AP-, Reproductions supplied by EDRSare the best that can be made * . * , - !rook tha original dominant. .1, * ae******4*************0*****************'*****************.************** , .11 fegt'rfril 1 r ,... , re. .. ,,,"I"orkek,,.1,,,.,..ri,:,..,:,,y,,.,;,,), ; r .4, ,.; - , 1. fiti ! 'mow' 'ilif:Cati ti:II:k1 . kfe.4 Z / k. I4, t.I . Ili i 64111?".. in. nal.": 0,:e. i :i 1 iPr :1.4tr;". ca. ,..9.,,w,rolkow.00!),,,". -
El Cine De Animación Estadounidense
El cine de animación estadounidense Jaume Duran Director de la colección: Lluís Pastor Diseño de la colección: Editorial UOC Diseño del libro y de la cubierta: Natàlia Serrano Primera edición en lengua castellana: marzo 2016 Primera edición en formato digital: marzo 2016 © Jaume Duran, del texto © Editorial UOC (Oberta UOC Publishing, SL) de esta edición, 2016 Rambla del Poblenou, 156, 08018 Barcelona http://www.editorialuoc.com Realización editorial: Oberta UOC Publishing, SL ISBN: 978-84-9116-131-8 Ninguna parte de esta publicación, incluido el diseño general y la cubierta, puede ser copiada, reproducida, almacenada o transmitida de ninguna forma, ni por ningún medio, sea éste eléctrico, químico, mecánico, óptico, grabación, fotocopia, o cualquier otro, sin la previa autorización escrita de los titulares del copyright. Autor Jaume Duran Profesor de Análisis y Crítica de Films y de Narrativa Audiovi- sual en la Universitat de Barcelona y profesor de Historia del cine de Animación en la Escuela Superior de Cine y Audiovi- suales de Cataluña. QUÉ QUIERO SABER Lectora, lector, este libro le interesará si usted quiere saber: • Cómo fueron los orígenes del cine de animación en los Estados Unidos. • Cuáles fueron los principales pioneros. • Cómo se desarrollaron los dibujos animados. • Cuáles han sido los principales estudios, autores y obras de este tipo de cine. • Qué otras propuestas de animación se han llevado a cabo en los Estados Unidos. • Qué relación ha habido entre el cine de animación y la tira cómica o los cuentos populares. Índice -
En Vogue Ana Popovic Artspower National Touring Theatre “The
An Evening with Jazz Trumpeter Art Davis Ana Popovic En Vogue Photo Credit: Ruben Tomas ArtsPower National Alyssa Photo Credit: Thomas Mohr Touring Theatre “The Allgood Rainbow Fish” Photo Courtesy of ArtsPower welcome to North Central College ometimes good things come in small Ana Popovic first came to us as a support act for packages. There is a song “Bigger Isn’t Better” Jonny Lang for our 2015 homecoming concert. S in the Broadway musical “Barnum” sung by When she started on her guitar, Ana had everyone’s the character of Tom Thumb. He tells of his efforts attention. Wow! I am fond of telling people who to prove just because he may be small in stature, he have not been in the concert hall before that it’s a still can have a great influence on the world. That beautiful room that sounds better than it looks. Ana was his career. Now before you think I have finally Popovic is the performer equivalent of my boasts lost it, there is a connection here. February is the about the hall. The universal comment during the smallest month, of the year, of course. Many people break after she performed was that Jonny had better feel that’s a good thing, given the normal prevailing be on his game. Lucky for us, of course, he was. But weather conditions in the month of February in the when I was offered the opportunity to bring Ana Chicagoland area. But this little month (here comes back as the headliner, I jumped at the chance! Fasten the connection!) will have a great influence on the your seatbelts, you are in for an amazing evening! fine arts here at North Central College with the quantity and quality of artists we’re bringing to you. -
Sesame Street Combining Education and Entertainment to Bring Early Childhood Education to Children Around the World
SESAME STREET COMBINING EDUCATION AND ENTERTAINMENT TO BRING EARLY CHILDHOOD EDUCATION TO CHILDREN AROUND THE WORLD Christina Kwauk, Daniela Petrova, and Jenny Perlman Robinson SESAME STREET COMBINING EDUCATION AND ENTERTAINMENT TO Sincere gratitude and appreciation to Priyanka Varma, research assistant, who has been instrumental BRING EARLY CHILDHOOD in the production of the Sesame Street case study. EDUCATION TO CHILDREN We are also thankful to a wide-range of colleagues who generously shared their knowledge and AROUND THE WORLD feedback on the Sesame Street case study, including: Sashwati Banerjee, Jorge Baxter, Ellen Buchwalter, Charlotte Cole, Nada Elattar, June Lee, Shari Rosenfeld, Stephen Sobhani, Anita Stewart, and Rosemarie Truglio. Lastly, we would like to extend a special thank you to the following: our copy-editor, Alfred Imhoff, our designer, blossoming.it, and our colleagues, Kathryn Norris and Jennifer Tyre. The Brookings Institution is a nonprofit organization devoted to independent research and policy solutions. Its mission is to conduct high-quality, independent research and, based on that research, to provide innovative, practical recommendations for policymakers and the public. The conclusions and recommendations of any Brookings publication are solely those of its author(s) and do not reflect the views of the Institution, its management, or its other scholars. Support for this publication and research effort was generously provided by the John D. and Catherine T. MacArthur Foundation and The MasterCard Foundation. The authors also wish to acknowledge the broader programmatic support of the William and Flora Hewlett Foundation, the LEGO Foundation, and the Government of Norway. Brookings recognizes that the value it provides is in its absolute commitment to quality, independence, and impact. -
Speed Kills / Hannibal Production in Association with Saban Films, the Pimienta Film Company and Blue Rider Pictures
HANNIBAL CLASSICS PRESENTS A SPEED KILLS / HANNIBAL PRODUCTION IN ASSOCIATION WITH SABAN FILMS, THE PIMIENTA FILM COMPANY AND BLUE RIDER PICTURES JOHN TRAVOLTA SPEED KILLS KATHERYN WINNICK JENNIFER ESPOSITO MICHAEL WESTON JORDI MOLLA AMAURY NOLASCO MATTHEW MODINE With James Remar And Kellan Lutz Directed by Jodi Scurfield Story by Paul Castro and David Aaron Cohen & John Luessenhop Screenplay by David Aaron Cohen & John Luessenhop Based upon the book “Speed Kills” by Arthur J. Harris Produced by RICHARD RIONDA DEL CASTRO, pga LUILLO RUIZ OSCAR GENERALE Executive Producers PATRICIA EBERLE RENE BESSON CAM CANNON MOSHE DIAMANT LUIS A. REIFKOHL WALTER JOSTEN ALASTAIR BURLINGHAM CHARLIE DOMBECK WAYNE MARC GODFREY ROBERT JONES ANSON DOWNES LINDA FAVILA LINDSEY ROTH FAROUK HADEF JOE LEMMON MARTIN J. BARAB WILLIAM V. BROMILEY JR NESS SABAN SHANAN BECKER JAMAL SANNAN VLADIMIRE FERNANDES CLAITON FERNANDES EUZEBIO MUNHOZ JR. BALAN MELARKODE RANDALL EMMETT GEORGE FURLA GRACE COLLINS GUY GRIFFITHE ROBERT A. FERRETTI SILVIO SARDI “SPEED KILLS” SYNOPSIS When he is forced to suddenly retire from the construction business in the early 1960s, Ben Aronoff immediately leaves the harsh winters of New Jersey behind and settles his family in sunny Miami Beach, Florida. Once there, he falls in love with the intense sport of off-shore powerboat racing. He not only races boats and wins multiple championship, he builds the boats and sells them to high-powered clientele. But his long-established mob ties catch up with him when Meyer Lansky forces him to build boats for his drug-running operations. Ben lives a double life, rubbing shoulders with kings and politicians while at the same time laundering money for the mob through his legitimate business. -
San Diego Public Library New Additions May 2009 [April 1, 2009 – May 14, 2009]
San Diego Public Library New Additions May 2009 [April 1, 2009 – May 14, 2009] Juvenile Materials 000 - Computer Science and Generalities CD-ROMs 100 - Philosophy & Psychology Compact Discs 200 - Religion DVD Videos/Videocassettes 300 - Social Sciences E Audiocassettes 400 - Language E Audiovisual Materials 500 - Science E Books 600 - Technology E CD-ROMs 700 - Art E Compact Discs 800 - Literature E DVD Videos/Videocassettes 900 - Geography & History E Foreign Language Audiocassettes E New Additions Audiovisual Materials Fiction Biographies Foreign Languages Graphic Novels Large Print Fiction Call # Author Title J FIC/APPLEGATE 3-4 Applegate, Katherine. Don't tap-dance on your teacher J FIC/AUCH Auch, Mary Jane. A dog on his own J FIC/BALLIETT Balliett, Blue, 1955- The Wright 3 J FIC/BASE Base, Graeme. The discovery of dragons J FIC/BAUER 3-4 Bauer, Marion Dane. The green ghost J FIC/BAUM Baum, L. Frank (Lyman Frank) The annotated Wizard of Oz : the wonderful Wizard of Oz J FIC/BAUM Baum, L. Frank (Lyman Frank). The road to Oz J FIC/BAUM Baum, L. Frank (Lyman Frank). The wonderful Wizard of Oz J FIC/BECK Beck, Ian. Tom Trueheart and the Land of Dark Stories J FIC/BELL Bell, Ted. Nick of time J FIC/BENTON 3-4 Benton, Jim. Attack of the 50-ft. Cupid J FIC/BENTON 3-4 Benton, Jim. Frantastic voyage J FIC/BENTON 3-4 Benton, Jim. Lunch walks among us J FIC/BENTON 3-4 Benton, Jim. The Fran that time forgot J FIC/BIRDSALL Birdsall, Jeanne. The Penderwicks on Gardam Street J FIC/BLUME Blume, Judy. -
Inmedia, 3 | 2013, « Cinema and Marketing » [Online], Online Since 22 April 2013, Connection on 22 September 2020
InMedia The French Journal of Media Studies 3 | 2013 Cinema and Marketing Electronic version URL: http://journals.openedition.org/inmedia/524 DOI: 10.4000/inmedia.524 ISSN: 2259-4728 Publisher Center for Research on the English-Speaking World (CREW) Electronic reference InMedia, 3 | 2013, « Cinema and Marketing » [Online], Online since 22 April 2013, connection on 22 September 2020. URL : http://journals.openedition.org/inmedia/524 ; DOI : https://doi.org/10.4000/ inmedia.524 This text was automatically generated on 22 September 2020. © InMedia 1 TABLE OF CONTENTS Cinema and Marketing When Cultural Demands Meet Industrial Practices Cinema and Marketing: When Cultural Demands Meet Industrial Practices Nathalie Dupont and Joël Augros Jerry Pickman: “The Picture Worked.” Reminiscences of a Hollywood publicist Sheldon Hall “To prevent the present heat from dissipating”: Stanley Kubrick and the Marketing of Dr. Strangelove (1964) Peter Krämer Targeting American Women: Movie Marketing, Genre History, and the Hollywood Women- in-Danger Film Richard Nowell Marketing Films to the American Conservative Christians: The Case of The Chronicles of Narnia Nathalie Dupont “Paris . As You’ve Never Seen It Before!!!”: The Promotion of Hollywood Foreign Productions in the Postwar Era Daniel Steinhart The Multiple Facets of Enter the Dragon (Robert Clouse, 1973) Pierre-François Peirano Woody Allen’s French Marketing: Everyone Says Je l’aime, Or Do They? Frédérique Brisset Varia Images of the Protestants in Northern Ireland: A Cinematic Deficit or an Exclusive