DOCSLIB.ORG

2016-Pcaaca-Program-With-Schedule

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

NATIONAL CONFERENCE NATIONAL CONFERENCE March 22-25, 2016 SHERATON HOTEL SEATTLE SEATTLE, WA Jennifer Loeb PCA/ACA Conference Coordinator Joseph H. Hancock, II PCA/ACA Executive Director of Events Drexel University Brendan Riley PCA/ACA Executive Director of Operations Columbia College Chicago Sandhiya John Editor Wiley-Blackwell Copyright 2016, PCA/ACA Additional information about the PCA/ACA available at pcaaca.org Table of Contents President’s Welcome 2 Conference Administration 4 Area Chairs 4 Officer 22 Board Members 23 Program Schedule Overview 25 Events & Ceremonies 25 Exhibits & Paper Table 29 Town Hall, Business & Board Meetings 30 Get-Togethers & Screenings 33 2016 Ray and Pat Browne Award Winners 37 EMP 37 Jane Caputi 39 Special Guests and Events 42 Schedule byTopic Area 47 Full daily schedule with paper titles 115 1 Dear PCA/ACA Conference Attendees, Welcome! We are so pleased that you have joined us in Seattle for what promises to be another stimulating and enriching conference. In addition to the hundreds of sessions available, we will have an address from our Eminent Speaker awardee, Dr. Jane Caputi, as well as honor the visually stunning Seattle museum EMP—located a short monorail ride away from the Sheraton—with this year’s Ray and Pat Browne Award for Distinguished Contributions to the Popular Arts. As always, there will be ample opportunities to connect with old friends and make new ones who have similar academic interests: coffee breaks, book exhibit room conversations, and Thursday’s all-conference reception. Graduate students and new-comers, please note that we will have a special reception in your honor on Wednesday evening. And everyone is invited to a town hall meeting on Friday to discuss any matters of interest with me and other PCA/ACA board members. And, as you depart Seattle at week’s end, be sure to mark your calendars for our 2017 meeting in beautiful San Diego. Have a great conference! Diane Calhoun-French, President 2 Conference Administration Area Chairs Aging and Senior Culture Frederick J. Augustyn, Jr. Academics and Collegiate Library of Congress Culture augustynfrederick5@gmail .com Arlene Caney Community College of American Indian Philadelphia Literatures and Cultures [email protected] Constance Bracewell University of Arizona Adaptation Film, TV, Lit., [email protected] and Electronic Gaming) Glenn Jellenik Richard Sax University of Central University of New Mexico- Arkansas Valencia Campus [email protected] [email protected] Adolescence in Film and American Literature Television Corey Taylor Kylo-Patrick Hart Rose-Hulman Institute of Texas Christian University Technology [email protected] [email protected] Advertising Animation Chris Swindell David S. Silverman Marshall University Kansas Wesleyan University [email protected] [email protected] African-American Culture Gaynell Sherrod Peter Chanthanakone Virginia Commonwealth University of Iowa University [email protected] [email protected] Age of Theodore Roosevelt & Popular Culture Daniel Murphy Hanover College [email protected] 4 Appalachian Studies Baby Boomers Culture Emily Satterwhite James Von Schilling Virginia Tech Northampton Community [email protected] College [email protected] Armed Conflict Robert McLaughlin BDSM/Kink/Fetish Illinois State University Michelle Martinez [email protected] Sam Houston State University [email protected] Sally Parry Biographies Illinois State University Susie Skarl [email protected] University of Nevada, Las Art & Design Culture Vegas Joy Sperling [email protected] Denison University Black Performing Arts [email protected] Michael Borshuk Vicky Pass Texas Tech University Salisbury College [email protected] [email protected] Jonafa Banbury Asian Popular Culture Independent Scholar John A. Lent [email protected] Drexel Hill, Pennsylvania [email protected] Body in Culture Lynn Sally Ying Xu Metropolitan College of New Drexel Hill, Pennsylvania York [email protected] [email protected] Australian and New Border Studies, Cultural Zealand Popular Culture Economy and Migration Glen Thomas Araceli Masterson-Algar Queensland University of Augustana College Technology [email protected] [email protected] 6 Brazilian Popular Culture Cemeteries and Manuel Martinez Gravemarkers Ohio Dominican University J. Joseph Edgette [email protected] Widener University [email protected] Monica Ayala-Martinez Denison University Children's Literature and [email protected] Culture Amie Doughty British Popular Culture SUNY Oneonta Frank Riga [email protected] Canisius College [email protected] Children's/YA Series Books and Dime Novels Maureen Thum James Keeline University of Michigan San Diego, California [email protected] [email protected] Business and Corporate Culture Circuses and Circus Diana K. Osborne Culture Spokane Community College Stacey Mascia [email protected] North Country Community College Caribbean & Transatlantic [email protected] Cultural Production & Issues Civil War and Carmen Gabriela Febles Reconstruction Susquehanna University Randal W. Allred [email protected] Brigham Young University, Hawaii Jorge Febles [email protected] University of North Florida [email protected] Collecting and Collectibles Celebrity in Culture Kevin M. Moist Michael Brody Penn State Altoona Potomac, Maryland [email protected] [email protected] 7 Comedy and Humor Dance and Dance Culture Lori Wilson Snaith Celeste Fraser Delgado University of West Georgia Dance Heritage Coalition [email protected] [email protected] Comics and Comic Art Jennifer Atkins Terence Wandtke Florida State University Judson University [email protected] [email protected] Disasters, Apocalypses, and Catastrophes Nicole Freim Robert Bell College of Coastal Georgia Loyola University New [email protected] Orleans [email protected] Communication and Digital Culture Robert Ficociello xtine Burrough University of Nebraska University of Texas, Dallas Kearney [email protected] [email protected] Copyright and Intellectual Eastern European Studies Property Jeffrey Johnson Brendan Riley Joint POW/MIA Accounting Columbia College Chicago Command [email protected] [email protected] Creative Fiction Writing Ecology and Culture Lisa Muir Margaret O'Shaughnessey Wilkes Community College University of North Carolina [email protected] at Chapel Hill [email protected] 8 Education, Teaching, Fashion, Style, History and Popular Appearance, Culture Consumption and Design Edward Janak Alphonso McClendon University of Wyoming Drexel University [email protected] [email protected] Eros, Pornography and Joseph Hancock Popular Culture Drexel University Ken Muir [email protected] Appalachian State University [email protected] Jessica Strubel University of North Texas Exercise and Fitness [email protected] Virginia Cowen University of Medicine & Fat Studies Dentistry of New Jersey Laura Jennings [email protected] University of South Carolina Upstate Fairy Tales [email protected] Linda Holland-Toll Mount Olive College Lesleigh Owen [email protected] Black Hills State University [email protected] Robin Gray Nicks University of Tennessee- Festivals and Faires Knoxville Kimberly Tony Korol-Evans [email protected] Independent Scholar [email protected] Amanda Caleb Film Misericordia University Donald E. Palumbo [email protected] East Carolina University Fan Culture and Theory [email protected] Katherine Larsen George Washington University [email protected] 10 Film Adaptation Gender and Media Studies David Moody Debbie Phillips SUNY, Oswego Muskingum College [email protected] [email protected] Film and History Gender Studies Cynthia J. Miller Carrie Marjorie Peirce Emerson College Azusa Pacific University [email protected] [email protected] Folklore Generation X Kathryn Edney Shay Rahm Regis College University of Central [email protected] Oklahoma [email protected] Food in Popular Culture Beverly Taylor German Literature and University of North Carolina Culture [email protected] Claude Desmarais University of British Columbia Game Studies [email protected] Nicholas Mizer Texas A&M Gothic in Literature, Film, [email protected] and Culture Louis Palmer Matthew Wysocki Castleton State College Flagler College [email protected] [email protected] Gay, Lesbian, and Queer Studies Bruce Drushel Miami University [email protected] 12 Horror Journalism and Media Carl Sederholm Culture Brigham Young University James Von Schilling [email protected] Northampton Community College Jim Iaccino [email protected] Chicago School of Professional Psychology Language Attitudes and [email protected] Popular Linguistics James Mitchell Kristopher Woofter Salve Regina University Concordia University, [email protected] Dawson College [email protected] Latin American Film and Media Indian Culture, Art and Melissa Fitch Media University of Arizona Rekha Menon [email protected] Berklee College of Music [email protected] Latin American Literature and Culture Internet Culture Patricia Montilla Colin Helb Western Michigan University Elizabethtown College [email protected] [email protected] Latin Americans and Mary Beth Ray Latinos: Identity Issues Plymouth State University and Cultural Stereotypes [email protected] Raul Rosales Drew University Jack London Life and [email protected] Works Gina Rossetti Law and
Recommended publications
  • Bill Rogers Collection Inventory (Without Notes).Xlsx

    Bill Rogers Collection Inventory (Without Notes).Xlsx

    Title Publisher Author(s) Illustrator(s) Year Issue No. Donor No. of copies Box # King Conan Marvel Comics Doug Moench Mark Silvestri, Ricardo 1982 13 Bill Rogers 1 J1 Group Villamonte King Conan Marvel Comics Doug Moench Mark Silvestri, Ricardo 1982 14 Bill Rogers 1 J1 Group Villamonte King Conan Marvel Comics Doug Moench Ricardo Villamonte 1982 12 Bill Rogers 1 J1 Group King Conan Marvel Comics Doug Moench Alan Kupperberg and 1982 11 Bill Rogers 1 J1 Group Ernie Chan King Conan Marvel Comics Doug Moench Ricardo Villamonte 1982 10 Bill Rogers 1 J1 Group King Conan Marvel Comics Doug Moench John Buscema, Ernie 1982 9 Bill Rogers 1 J1 Group Chan King Conan Marvel Comics Roy Thomas John Buscema and Ernie 1981 8 Bill Rogers 1 J1 Group Chan King Conan Marvel Comics Roy Thomas John Buscema and Ernie 1981 6 Bill Rogers 1 J1 Group Chan Conan the King Marvel Don Kraar Mike Docherty, Art 1988 33 Bill Rogers 1 J1 Nnicholos King Conan Marvel Comics Roy Thomas John Buscema, Danny 1981 5 Bill Rogers 2 J1 Group Bulanadi King Conan Marvel Comics Roy Thomas John Buscema, Danny 1980 3 Bill Rogers 1 J1 Group Bulanadi King Conan Marvel Comics Roy Thomas John Buscema and Ernie 1980 2 Bill Rogers 1 J1 Group Chan Conan the King Marvel Don Kraar M. Silvestri, Art Nichols 1985 29 Bill Rogers 1 J1 Conan the King Marvel Don Kraar Mike Docherty, Geof 1985 30 Bill Rogers 1 J1 Isherwood, Mike Kaluta Conan the King Marvel Don Kraar Mike Docherty, Geof 1985 31 Bill Rogers 1 J1 Isherwood, Mike Kaluta Conan the King Marvel Don Kraar Mike Docherty, Vince 1986 32 Bill Rogers
  • Samoan Submission Machines

    Samoan Submission Machines

    Samoan Submission Machines: Grappling with Representations of Samoan Identity in Professional Wrestling Theo Plothe1 Savannah State University [email protected] Amongst the myriad of characters to step foot in the squared circle, perhaps no ethnic group has been as celebrated or marginalized as the Samoans who have made their names in professional wrestling. The discussion of Samoan identity in the context of sport has examined Maori identity and masculinity in New Zealand, among other topics, but there has yet to be work which considers Samoans within professional wrestling. This research investigates Samoan identity through a content analysis of televised wrestling matches. This research identifies six primary stereotypes under which Samoan identity is portrayed. These portrayals of Samoan characters, I argue, flatten the representation of this ethnic group within wrestling and culture at large. Keywords: Samoans, identity, representation, gimmicks Introduction Among the myriad of characters to step foot in the squared circle, perhaps no ethnic group has been as celebrated or marginalized as the Samoans who have made their names in professional wrestling. This research investigates the identity of Samoans within professional wrestling, and the different ways they are constructed and presented to audiences. “Gimmicks,” characters portrayed by a wrestler “resulting in the sum of fictional elements, attire and wrestling ability” (Oliva and Calleja 3) utilized by Samoans have run the gamut from the wild uncivilized savage, to the sumo (both in villainous Japanese and comically absurd iterations), to the ultra-cool mogul who wears silk shirts and fancy shoes. Their ability to cut promos, an important facet of the modern gimmick allowing wrestlers to address their opponents and storylines, varies widely as well, but all lie within their Samoan identity.
  • The Girl in the Woods: on Fairy Stories and the Virgin Horror

    The Girl in the Woods: on Fairy Stories and the Virgin Horror

    Journal of Tolkien Research Volume 10 Issue 1 J.R.R. Tolkien and the works of Joss Article 3 Whedon 2020 The Girl in the Woods: On Fairy Stories and the Virgin Horror Brendan Anderson University of Vermont, [email protected] Follow this and additional works at: https://scholar.valpo.edu/journaloftolkienresearch Recommended Citation Anderson, Brendan (2020) "The Girl in the Woods: On Fairy Stories and the Virgin Horror," Journal of Tolkien Research: Vol. 10 : Iss. 1 , Article 3. Available at: https://scholar.valpo.edu/journaloftolkienresearch/vol10/iss1/3 This Peer-Reviewed Article is brought to you for free and open access by the Christopher Center Library at ValpoScholar. It has been accepted for inclusion in Journal of Tolkien Research by an authorized administrator of ValpoScholar. For more information, please contact a ValpoScholar staff member at [email protected]. Anderson: The Girl in the Woods THE GIRL IN THE WOODS: ON FAIRY STORIES AND THE VIRGIN HORROR INTRODUCTION The story is an old one: the maiden, venturing out her door, ignores her guardian’s prohibitions and leaves the chosen path. Fancy draws her on. She picks the flow- ers. She revels in her freedom, in the joy of being young. Then peril appears—a wolf, a monster, something with teeth for gobbling little girls—and she learns, too late, there is more to life than flowers. The girl is destroyed, but then—if she is lucky—she returns a woman. According to Maria Tatar (while quoting Catherine Orenstein): “the girl in the woods embodies ‘complex and fundamental human concerns’” (146), a state- ment at least partly supported by its appearance in the works of both Joss Whedon and J.R.R.
  • This Installation Explores the Final Girl Trope. Final Girls Are Used in Horror Movies, Most Commonly Within the Slasher Subgenre

    This Installation Explores the Final Girl Trope. Final Girls Are Used in Horror Movies, Most Commonly Within the Slasher Subgenre

    This installation explores the final girl trope. Final girls are used in horror movies, most commonly within the slasher subgenre. The final girl archetype refers to a single surviving female after a murderer kills off the other significant characters. In my research, I focused on the five most iconic final girls, Sally Hardesty from A Texas Chainsaw Massacre, Laurie Strode from Halloween, Ellen Ripley from Alien, Nancy Thompson from A Nightmare on Elm Street and Sidney Prescott from Scream. These characters are the epitome of the archetype and with each girl, the trope evolved further into a multilayered social commentary. While the four girls following Sally added to the power of the trope, the significant majority of subsequent reproductions featured surface level final girls which took value away from the archetype as a whole. As a commentary on this devolution, I altered the plates five times, distorting the image more and more, with the fifth print being almost unrecognizable, in the same way that final girls have become. Chloe S. New Jersey Blood, Tits, and Screams: The Final Girl And Gender In Slasher Films Chloe S. Many critics would credit Hitchcock’s 1960 film Psycho with creating the genre but the golden age of slasher films did not occur until the 70s and the 80s1. As slasher movies became ubiquitous within teen movie culture, film critics began questioning why audiences, specifically young ones, would seek out the high levels of violence that characterized the genre.2 The taboo nature of violence sparked a powerful debate amongst film critics3, but the most popular, and arguably the most interesting explanation was that slasher movies gave the audience something that no other genre was able to offer: the satisfaction of unconscious psychological forces that we must repress in order to “function ‘properly’ in society”.
  • Marble Hornets, the Slender Man, and The

    Marble Hornets, the Slender Man, and The

    DIGITAL FOLKLORE: MARBLE HORNETS, THE SLENDER MAN, AND THE EMERGENCE OF FOLK HORROR IN ONLINE COMMUNITIES by Dana Keller B.A., The University of British Columbia, 2005 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Film Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) December 2013 © Dana Keller, 2013 Abstract In June 2009 a group of forum-goers on the popular culture website, Something Awful, created a monster called the Slender Man. Inhumanly tall, pale, black-clad, and with the power to control minds, the Slender Man references many classic, canonical horror monsters while simultaneously expressing an acute anxiety about the contemporary digital context that birthed him. This anxiety is apparent in the collective legends that have risen around the Slender Man since 2009, but it figures particularly strongly in the Web series Marble Hornets (Troy Wagner and Joseph DeLage June 2009 - ). This thesis examines Marble Hornets as an example of an emerging trend in digital, online cinema that it defines as “folk horror”: a subgenre of horror that is produced by online communities of everyday people— or folk—as opposed to professional crews working within the film industry. Works of folk horror address the questions and anxieties of our current, digital age by reflecting the changing roles and behaviours of the everyday person, who is becoming increasingly involved with the products of popular culture. After providing a context for understanding folk horror, this thesis analyzes Marble Hornets through the lens of folkloric narrative structures such as legends and folktales, and vernacular modes of filmmaking such as cinéma direct and found footage horror.
  • Congressional Record-·Senate. 2871

    Congressional Record-·Senate. 2871

    r . .. .. : ..; -.., ,. ·.• 2826 CONGRESSIONAL RECORD-SENATE. MARCH 31, merce of St. Panl, Minn., heartily approving enlarged relations and for same purpose-ti<> the Select Committee on the .Alcoholic Liquor reciprocal trade with Canada-to the Committ;ee on Foreign Affairs. Traffic. By bir. DORSEY: Resolutions of Farmers' Alliance of Kearney, Also, petitionofl35citizensofStenbenCounty, NewYork, upon the Nebr., favoring the Butterworth options bill-to the Committee on Ag­ same subject-to the Select Committee on the Alcoholic Liquor Traffic. riculture. l3y Mr. RUSSELL: Petition of citizens of Mystic Bridge, Conn., ill By Mr. ELLIS: Proofs to accompany H. R. 4062, for the relief of favor of short method of spelling-to the Committee on Printing. John W. Alves-to the Committee on War Claims. By Mr. SMITH, of Arizona: Remonstrance against passage of lantl By Mr. FUNSTON: Petition of citizens of Lane, Kans., for passage court bill, by citizens of Arizona-to the Committee on Private Lanu of bill to relie-ve mortgage debtors-ro the Committee on Banking and Claims. Currency. By Mr. SNIDER: Resolutions of the Trades and Labor Assembly of By Mr. GEAR: Petition of S. P. Howe and 198 others, citizens of Minneapolis, Minn.. protesting against passage of a bill permittinK Iowa, asking that a law be enacted preventing the admission of obscene judges of elections to be all of one political party-to the Committee books to the mails-ro the Committee on the Post-Office and Post­ on Elections. Roads. Also, resolutions of the Board of Trade of St. Paul, Minn. , favoring Also, resolutions of Best Post, Grand Army of the Republic, Iowa, reciprocal trade relations with Canada-to the Committee on Commer<'e.
  • Sogni Rubatirubati

    Sogni Rubatirubati

    SogniSogni RubatiRubati © Di Jeff Hawkins, 2008. Tratto da http://counterfeitdreams.blogspot.com/ Traduzione in italiano © Simonetta Po per “Allarme Scientology” www.allarmescientology.it , 2009 Prefazione del traduttore Jeff Hawkins è stato staff della Chiesa di Scientology per 35 anni, la maggioranza dei quali in Sea Org. Per tutta la sua carriera si è occupato di promozione e marketing, ha tra l'altro lavorato, curato e diretto le riviste interne e ha progettato e lanciato alcune tra le campagne pubblicitarie di maggior successo della Chiesa di Scientology. Ha lavorato a Pubs WW a Edimburgo, partecipato al trasferimento a Copenhagen di quella che sarebbe diventata la New Era Publications, concluso la carriera a Golden Era Productions oltre a collaborazioni con Bridge Publications e ASI (Author Services Inc.) Il suo è un racconto dettagliato della vita di staff e mostra la schizofrenia delle decine e decine di organizzazioni Scientology, la loro farraginosa burocrazia, il complicato organigramma. Parla dell'indifferenza verso il vero merito del lavoro svolto, della follia delle "statistiche", di come venga premiata l'obbedienza piuttosto che la creatività e il buon senso, spesso messo da parte per compiacere i capi di turno. E di come, in definitiva, a vincere sia sempre l'ottusità, in quello che dovrebbe invece essere il regno per eccellenza della razionalità (caratteristica dell'Essere "chiarito" con la "tecnologia" di Hubbard) e dell'intelligenza al suo massimo livello. Ciononostante quello di Hawkins è un racconto pacato e sereno che non scade mai nel vittimismo, ma nemmeno nell'apologia. Con Hawkins si ripercorrono quattro decenni fondamentali per la storia della Chiesa di Scientology: gli anni della costituzione della Sea Org come organizzazione veramente "del mare", imbarcata sulla piccola flotta privata del "Commodoro".
  • Language and Monstrosity in the Literary Fantastic

    Language and Monstrosity in the Literary Fantastic

    ‘Impossible Tales’: Language and Monstrosity in the Literary Fantastic Irene Bulla Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2018 Irene Bulla All rights reserved ABSTRACT ‘Impossible Tales’: Language and Monstrosity in the Literary Fantastic Irene Bulla This dissertation analyzes the ways in which monstrosity is articulated in fantastic literature, a genre or mode that is inherently devoted to the challenge of representing the unrepresentable. Through the readings of a number of nineteenth-century texts and the analysis of the fiction of two twentieth-century writers (H. P. Lovecraft and Tommaso Landolfi), I show how the intersection of the monstrous theme with the fantastic literary mode forces us to consider how a third term, that of language, intervenes in many guises in the negotiation of the relationship between humanity and monstrosity. I argue that fantastic texts engage with monstrosity as a linguistic problem, using it to explore the limits of discourse and constructing through it a specific language for the indescribable. The monster is framed as a bizarre, uninterpretable sign, whose disruptive presence in the text hints towards a critique of overconfident rational constructions of ‘reality’ and the self. The dissertation is divided into three main sections. The first reconstructs the critical debate surrounding fantastic literature – a decades-long effort of definition modeling the same tension staged by the literary fantastic; the second offers a focused reading of three short stories from the second half of the nineteenth century (“What Was It?,” 1859, by Fitz-James O’Brien, the second version of “Le Horla,” 1887, by Guy de Maupassant, and “The Damned Thing,” 1893, by Ambrose Bierce) in light of the organizing principle of apophasis; the last section investigates the notion of monstrous language in the fiction of H.
  • PADRAIC Mckinley Editor

    PADRAIC Mckinley Editor

    PADRAIC McKINLEY Editor FEATURES DIRECTORS PRODUCERS/STUDIOS BOSS LEVEL Joe Carnahan Scott Putman, Frank Grillo Emmett/Furla/Oasis Films WHEELMAN Jeremy Rush George Parra, Frank Grillo / Netflix PRIDE AND PREJUDICE Burr Steers Sue Baden-Powell, Marc Butan, Lauren Selig AND ZOMBIES Allison Shearmur / Lionsgate WILD CARD Simon West Steve Chasman, Brian Pitt, Jib Polhemus Recut Jason Statham / Lionsgate HOMEFRONT Gary Fleder Avi Lerner, John Thompson Open Road Films / Millennium CHARLIE ST. CLOUD Burr Steers Michael Fottrell, Marc Platt Universal Pictures 17 AGAIN Burr Steers Jennifer Gibgot, Adam Shankman Dara Weintraub / New Line Cinema THE EXPRESS Gary Fleder Derek Dauchy, John Davis, Arne Schmidt Davis Entertainment / Universal Pictures ALFIE Charles Shyer Sean Daniel, Diana Phillips, Elaine Pope Paramount Pictures IF ONLY Gil Junger Basil Iwanyk, Jeffrey Silver, Scott Strauss Tapestry Films / Sony IGBY GOES DOWN Burr Steers Lisa Tornell, David Rubin, Marco Weber MGM TELEVISION AMERICAN GODS Season 2 Various Directors Jesse Alexander, Reid Shane Editor, Executive Producer Dante DiLoreto / Fremantle Media / Starz FIGHT WORLD Docu-Series Padraic McKinley Todd Lubin, John Gerstel / Matador / Netflix Editor, Director KINGDOM Pilot & Series Various Directors Byron Balasco, Adam Davidson Supervising Editor, Producer, Director Endemol USA / DirecTV ANIMAL KINGDOM Christopher Chulack Terri Murphy, Lou Wells One Episode Warner Bros. / TNT BEAUTY AND THE BEAST Pilot Gary Fleder Sherri Cooper, Jennifer Levin, Tony Thomas Paul Junger Witt / CBS
  • Resurrection in Daniel 12 and Its Contribution to the Theology of the Book of Daniel

    Resurrection in Daniel 12 and Its Contribution to the Theology of the Book of Daniel

    Andrews University Digital Commons @ Andrews University Dissertations Graduate Research 1996 Resurrection in Daniel 12 and its Contribution to the Theology of the Book of Daniel Artur A. Stele Andrews University Follow this and additional works at: https://digitalcommons.andrews.edu/dissertations Part of the Biblical Studies Commons, and the Religious Thought, Theology and Philosophy of Religion Commons Recommended Citation Stele, Artur A., "Resurrection in Daniel 12 and its Contribution to the Theology of the Book of Daniel" (1996). Dissertations. 148. https://digitalcommons.andrews.edu/dissertations/148 This Dissertation is brought to you for free and open access by the Graduate Research at Digital Commons @ Andrews University. It has been accepted for inclusion in Dissertations by an authorized administrator of Digital Commons @ Andrews University. For more information, please contact [email protected]. Thank you for your interest in the Andrews University Digital Library of Dissertations and Theses. Please honor the copyright of this document by not duplicating or distributing additional copies in any form without the author’s express written permission. Thanks for your cooperation. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted.
  • Riche Productions Current Slate

    Riche Productions Current Slate

    Lafayette Pictures / RicheProductions Movies Previously Released from Lafayette Pictures - Riche Productions Movie World Wide Box Office Empire Records $273,188 Mousehunt $122,417,389 The Mod Squad $13,263,993 Deep Blue Sea $164,648,142 Duets $6,620, 242 The Family Man $124,745,083 Tomcats $23,430, 027 Starsky & Hutch $170,268,750 Bride Wars $114,663,461 Southpaw $71,553,328 - approximate to date – 3/12/17 The Legend of Tarzan $356,643,061 Total: $1,168,526,664 $1.1 Billion Dollars in Box Office Sales Project in Current Release: 1. SOUTHPAW: The Weinstein Company/Wanda - Logline: Father/daughter story set against the world of boxing. Think The Champ meets Raging Bull. - Elements: Screenplay by Kurt Sutter (Sons of Anarchy). Director Antoine Fuqua (Training Day, Olympus Has Fallen, The Equalizer), Stars Academy Award Nominated Jake Gyllenhaal (Nightcrawler, End of Watch), Academy Award Winner Forest Whitaker (The Last King of Scotland), Rachel McAdams (True Detective, Sherlock Holmes, Midnight in Paris), Tony Winner Oona Laurence (Matilda), 50 Cent. -Eminem produced and recorded two original songs and released soundtrack under Interscope/Shady Records. Additional Southpaw revenue streams will include soundtrack and merchandise income. -Currently in theaters both domestically and in foreign countries. Current Box Office Domestic and Early International release at 21 days in release is 57 million dollars. 2. TARZAN: Warner Bros. - Elements: Director David Yates (Harry Potter 4, 5, & 6) Screenplay by: Adam Cozad (Jack Ryan: The Shadow Recruit). Director David Yates (Harry Potter 4, 5, & 6) Stars: Alexander Skarsgard (True Blood), Margot Robbie (The Wolf of Wall Street), Academy Award Nominated Samuel L.
  • Animagazin 5. Sz. (2013. Szeptember 16.)

    Animagazin 5. Sz. (2013. Szeptember 16.)

    Őszi anime premierek (a kimaradt TV soro- Sato Junichi és az zatok a későbbi olda- Amazing Twins lakon kerülnek bemu- Hírek AniMagazin Sato Junichi a Sailor Moon, Ka- tatásra): // leido Star stb alkotója új animével jelentkezik. A címe Zetsumetsu Kigu Szeptember: Shōjo Amazing Twins. Satónak 10 4-én: Hazai hírek Watanabe Shinichiro év óta ez az első saját munkája. Mari - Genshiken Nidaime új animéje Okada (Ano Hana) fogja írni a for- Special (BD) gatókönyvet és segédkezik a törté- 5-én: Rendezvények A Cowboy Bebop és a Samu- netben is, Takehito Harada pedig a - Tamagotchi! Miracle rai Champloo rendezője új anime karakter dizájnért felel. A főhős To- Friends (TV) Íme itt vannak a következő tv-sorozatot készít, melynek címe doroki Amane egy őszinte, érzékeny, Space Dandy. A főszereplő Dandy ám kissé buta lány és minden helyzet- 7-én: hónapokban megrendezésre kerülő ☆ robotjával és macskájával Meow-val ben igyekszik teljes erővel küzdeni. - Captain Harlock (Film) conok időpontjai. Cosplayer Expo: 2013. 09. 21. karöltve átszelik az univerzumot ed- 11-én: (tehát ehét szombat), helyszín: Mil- dig felfedezetlen földönkívüli fajok ANN - Free! Special (BD) lenáris után kutatva. A műfaját tekintve 13-án: Őszi Mondocon: 2013. 10. 5.-6., vígjáték lesz. Az anime 2014 január- - Chihayafuru (OAD) helyszín: Hungexpo jában startol, az animációs stúdió a - Terra e… Film Extra Bones lesz. (BD) ANN 14-én: - Code Geass: Boukoku no Akito 2 – Hikisaka- Anime reshi Yokuryuu (Film) - Takanashi Rikka Kai: Chuunibyou demo Koi Monogatari folytatás ga Shitai! (Film) 19-én: A monogatari történetek újabb - Yahari Ore no Seishun darabja a Hanamonogatari jövőre Love Comedy wa Machi- kerül a tv képernyőkre.