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Goosebumps, YTV, and Canadian Children's Television Pat Bonner A
Reading Against the Goo: Goosebumps, YTV, and Canadian Children’s Television Pat Bonner A Thesis In The Mel Hoppenheim School of Cinema Presented in Partial Fulfilment of the Requirements For the Degree of Master of Arts (Film Studies) at Concordia University Montréal, Quebec, Canada August 2019 ©Pat Bonner, 2019 ii CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Pat Bonner Entitled: Reading Against the Goo: Goosebumps, YTV, and Canadian Children’s Television and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Film Studies) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final Examining Committee: __________________________________________Chair Catherine Russell, PhD __________________________________________ Examiner (Internal) Marc Steinberg, PhD __________________________________________ Examiner (External) Charles Acland, PhD __________________________________________ Supervisor Joshua Neves, PhD Approved by __________________________________________ Chair of Department or Graduate Program Director __________ 2019 _______________________________________ Dean of Faculty, Dr. Rebecca Duclos iii ABSTRACT This thesis examines the oversight of Canadian children’s television through the Canadian-American co-venture Goosebumps (1995-1998) and the Canadian specialty children’s network YTV. Grounding Goosebumps within the North American post-network television landscape, this thesis argues that the show anticipates hypercommercialism, a term used to define “the way in which advertisers tend to colonize media spaces” (Asquith 2012). This thesis proposes that by detaching YTV and Goosebumps from the threatening connotations of hypercommercialism, scholars can better engage with the show’s reception. It further contends that Goosebumps is imbued with sensorial and perceptual operations which can help children achieve the “mastery of intertextuality” (Kinder 1999). -
SUNSCREEN FILM FESTIVAL 2016 , |FL1 SECTION SECTION SECTION SECTION Table of TABLE OF
11 th ANNUAL SECTION SECTION CONTENT sunscreenCONTENT FILM FESTIVAL Presented by 2016 PROGRAM GUIDE SOUTH BAY - LOS ANGELES April 28 - May 1 ST. PETERSBURGSUNSCREEN FILM FESTIVAL 2016 , |FL1 SECTION SECTION SECTION SECTION Table of OF TABLE WHEN ALL OF YOU GET CONTENTS CONTENT BIG AND FAMOUS AND CONTENTS Welcome 4 CONTENT Box Office Information 5 Box Offices GO TO HOLLYWOOD Tickets & Passes Special Events Workshops PARTIES AND DRIVE Awards Ceremony & After Party AD Festival Schedule 6 - 7 Workshops & Panels 8 - 10 FLASHY CARS, Special Events Schedule 12 Opening Night Gala 13 Celebrity Guests 14 JUSTPAGE REMEMBER, Special Guests 15 - 20 Film Info and Schedule 22 - 48 Thursday • April 28 23 • 24 YOU’LL GET MORE FOR Friday • April 29 25 • 31 Saturday • April 30 32 • 40 YOUR MOVIE HERE. Sundauy • May 1 41 • 47 Sponsors 49 - 51 Get more for your movie here. PROUD SPONSOR OF THE SUNSCREEN FILM FESTIVAL 2 SUNSCREEN FILM FESTIVAL 2016 | 3 Sunscreen Film Festival ad 5x8.indd 1 4/7/2016 4:24:18 PM BOX OFFICE INFORMATION BOX OFFICE Regular Box Office opens Thursday, April 28 at the primary venue: American Stage, 163 3rd Street, North., St. Petersburg, Florida 33701. WELCOME BOX OFFICES INFORMATION Online Book tickets anytime day or night! Visit our website: www.SunscreenFilmFestival.com Festival Office American Stage. 163 3rd Street, North., St. Petersburg, Florida 33701 SOUTH BAY - LOS ANGELES Telephone Call (727) 259-8417 • Hours: 9:00 am - 5:00 pm • Monday - Sunday Visa and Mastercard, AMEX, Discover accepted at box office (at door) and Paypal accepted for advanced, online tickets and pass purchases. -
Goosebumps Monster Who Has Escaped from Your Manuscript to Roam the Streets of Madison
When it is your turn and the draw pile is out of cards, another player must gather the discarded cards and shuffle them to make a new draw pile. Monster Mayhem Cards The Landmarks on the path are: RL Stine’s House, Madison Police Station, the Graveyard, Play these cards during your turn. the Highschool, and the Amusement Park. When you are on a Landmark, you are safe from Landmarks the effects of Monster Mayhem cards - except Found Your Book! Landmarks are the only R.L. Stine's spaces that 2 or more players can occupy at the same time. NOTE: The End is NOT a Instructions Landmark and 3 of a Kind and Monster Mayhem cards cannot be used to reach it. house Contents: Game Board, 6 Monster Characters, 65 Cards (nine sets of 1-6 and 11 Monster Mayhem Cards) You’re a Goosebumps monster who has escaped from your manuscript to roam the streets of Madison. The only threat to your continued monster mayhem is the magical typewriter of R.L.Stine. So it’s a race across town to shortcut through the Graveyard Object FOUND YOUR BOOK! make sure you capture the typewriter and can never again be trapped between the pages of a book! Pal of the Praying Mantis Hitch a ride in the If you land exactly on the Graveyard Shortcut sign on the path then you may proceed to the top tombstone. Nothings gets in your way when you’re Move ahead 6 and send the lead player back to their previous with the biggest monster on the block. -
Alice Syfy Mini Series Torrent Download WE LOVE INDONESIA
alice syfy mini series torrent download WE LOVE INDONESIA. Neverland Mini Series on SYFY Torrent : Syfy gamble huge featuring its two-night authentic miniseries occasion Neverland and yes it paid back. The actual best of Part One particular involving Neverland came A couple of.6 000 0000 overall readers from 9-11 p.michael. in Saturday nighttime, upwards Five percent make up the wire network's most recent miniseries Alice (the bring up to date about Alice in Wonderland) via 09. Describes associated with Alice drew A couple of.Three or more trillion viewers. watch Neverland miniseries today, a prequel from Peter Pan and to watch Neverland streaming online and available in torrent links, Megavideo, Sockshare, VideoBB, Videozer, and more. Neverland Mini Series on SYFY. In the advertiser-coveted grown ups 18-49 group, Neverland -- which usually began Syfy's next yearly Countdown to be able to Christmas time - - averaged practically One million audiences. In the elderly 25-54 demo, the two-hour telecast enticed One.Tough luck million readers. The final a part of Neverland broadcast about Syfy about Friday nighttime; ratings to the telecast is going to be accessible overdue Thursday or even earlier Friday. It is just a prequel to T.Mirielle. Barrie's traditional Peter Pan history glaring Rhys Ifans, Keira Knightley, Ould - Friel, Bob Hoskins, Raoul Trujillo and also Charlie Rowe because Chris Skillet. Neverland is manufactured by Dublin-based Similar Films on behalf of MNG Motion pictures, in colaboration with Syfy and also Atmosphere Films Hi-def and is written by RHI Amusement Watch Neverland Mini Series on SYFY Online Free or Download Neverland Mini Series on SYFY. -
Rl-Stine.Pdf
R.L. S&ne, born Robert Lawrence, was born in Columbus Ohio in 1943. He began wri&ng at the early age of nine, upon making a discovery that forever changed his life. It was in the late aernoon that Robert found an old family typewriter in the ac. It was said that he took this old typewriter to his room where he spent hours upon hours typing stories and jokes. His mother was said to have insisted that Robert stop typing and go outside and play. Robert felt going outside was boring and would oFen choose to write instead. His discovery later paid off in life because he never stopped wri&ng. AFer graduang from Ohio State University in 1965, Robert pursued his life’s dream of becoming a writer. He set off to New York where he wrote many books for kids. He created a humor magazine known as, Bananas which he contributed to for ten years. In those &mes he wrote under an alias known as, Jovial Bob S&ne. R.L. S&ne soon married a woman named Jane Waldhorn in 1969. Jane was an editor and writer herself, and she knew Robert’s talent had to be known. It was later that her and her partner formed their own publishing company known as, Parachute Press. This company would later help create all of Robert’s popular book series. In 1986, Robert wrote his first teen horror novel en&tled, Blind Date. It became an instant best seller and piqued his interest to pursue scary novels. -
Program at Cal State Fullerton (‘11-‘13)
The New American Theatre presents The World Premiere BOXING LESSONS written by JOHN BUNZEL directed by JACK STEHLIN* Produced by JEANNINE WISNOSKY STEHLIN EVE DANZEISEN* STEPHEN TYLER HOWELL ERIC CURTIS JOHNSON* LUKE McCLURE BRUCE NOZICK* SUSAN WILDER* JOHN IACOVELLI JOSEPHINE WANG Scenic Design Lighting Design CHRISTOPHER MOSCATIELLO FLORENCE KEMPER BUNZEL Sound Design Costume Design DAVID SAEWERT LUCY POLLAK Propmaster Publicity VICTORIA HOFFMAN* AVK CREATIVE Casting Graphics DEREK R. COPENHAVER* Production Stage Manager *member of Actors Equity Association THE NEW AMERICAN THEATRE 1312 N. Wilton Pl. Hollywood, CA 90028 [email protected] NewAmericanTheatre.com This performance is supported, in The New American Theatre part, by the Los Angeles County (formerly Circus Theatricals) Board of Supervisors through the Los is a member of the LA Stage Alliance. Angeles County Arts Commission. Facebook.com/NewAmericanTheatre @NewAmericanThtr @NewAmericanTheatre BOXING LESSONS / 1 CAST (in order of appearance) Judy...............................................................................EVE DANZEISEN* Ned....................................................................................LUKE McCLURE Sheriff Bob.......................................................ERIC CURTIS JOHNSON* Meg..................................................................................SUSAN WILDER* Steve...............................................................STEPHEN TYLER HOWELL Billy..................................................................................BRUCE -
Biofuturity, Disability, and Crip Communities in Anglophone Speculative Fiction
UNIVERSITY OF CALIFORNIA, SAN DIEGO The Dis-Topic Future: Biofuturity, Disability, and Crip Communities in Anglophone Speculative Fiction A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Literature by Amanda Martin Sandino Committee in charge: Professor Shelley Streeby, Chair Professor Michael Davidson Professor Brian Goldfarb Professor Ari Heinrich Professor Sarah Nicolazzo 2018 Copyright Amanda Martin Sandino, 2018 All rights reserved. The Dissertation of Amanda Martin Sandino is approved, and it is acceptable in quality and form for publication on microfilm and electronically: ________________________________________________________________ ________________________________________________________________ ________________________________________________________________ ________________________________________________________________ ________________________________________________________________ (Chair) University of California, San Diego 2018 iii Dedication This dissertation is dedicated to my chronic pain support network—nothing about us without us! iv Epigraph “They're looking for this fearsome wizard only to discover that he's nothing but a little tiny fellow. I mean, I don't think the point is that he's tiny. I think the point is, you know, things that we believe we lack are already inside of us just wanting to be found.” – George Crabtree, “Victoria Cross,” Murdoch Mysteries “You don't speak of dreams as unreal. They exist. They leave a mark behind them.” – Ursula K. Le Guin, The Lathe of Heaven “Art is not neutral. It either upholds or disrupts the status quo, advancing or regressing justice. We are living now inside the imagination of people who thought economic disparity and environmental destruction were acceptable costs for their power. It is our right and responsibility to write ourselves into the future. All organizing is science fiction. -
The Haunted Mask
THE HAUNTED MASK Goosebumps - 11 R.L. Stine (An Undead Scan v1.5) 1 1 “What are you going to be for Halloween?” Sabrina Mason asked. She moved her fork around in the bright yellow macaroni on her lunch tray, but didn’t take a bite. Carly Beth Caldwell sighed and shook her head. The overhead light on the lunchroom ceiling made her straight brown hair gleam. “I don’t know. A witch, maybe.” Sabrina’s mouth dropped open. “You? A witch?” “Well, why not?” Carly Beth demanded, staring across the long table at her friend. “I thought you were afraid of witches,” Sabrina replied. She raised a forkful of macaroni to her mouth and started to chew. “This macaroni is made of rubber,” she complained, chewing hard. “Remind me to start packing a lunch.” “I am not afraid of witches!” Carly Beth insisted, her dark eyes flashing angrily. “You just think I’m a big scaredy-cat, don’t you?” Sabrina giggled. “Yes.” She flipped her black ponytail behind her shoulders with a quick toss of her head. “Hey, don’t eat the macaroni. Really, Carly Beth. It’s gross.” She reached across the table to keep Carly Beth from raising her fork. “But I’m starving !” Carly Beth complained. The lunchroom grew crowded and noisy. At the next table, a group of fifth-grade boys were tossing a half-full milk carton back and forth. Carly Beth saw Chuck Greene ball up a bright red fruit rollup and shove the whole sticky thing in his mouth. “Yuck!” She made a disgusted face at him. -
Word Search 'Crisis on Infinite Earths'
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INFORM ATION to USERS This Manuscript Has Been Reproduced
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 6ce, 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 afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road, Arm Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 THE EXPLORATION OF MIDDLE SCHOOL STUDENTS' INTERESTS IN AND ATTRACTIONS TO THE WRITINGS OF R. L. STINE DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Stacia A. -
Peter Pan Jr - Full Synopsis Peter Pan and the Other Inhabitants of Neverland Open the Show by Introducing the Audience to Their World ("Neverland")
Peter Pan Jr - Full Synopsis Peter Pan and the other inhabitants of Neverland open the show by introducing the audience to their world ("Neverland"). Meanwhile, in the Darling Nursery ("Prologue"), Wendy, Michael, and John are playing before bed as Mrs.Darling and Mr.Darling get ready to go out. Nana, the family dog, and Liza encourage the children to go to bed. Before leaving, Mrs. Darling sings a lullaby with the children to say goodnight ("Tender Shepherd"). As soon as the parents have gone, Peter follows Tinker Bell into the room, searching for Peter’s shadow. Wendy is awakened by the commotion and quickly befriends the mysterious visitor. The Darling children soon set off to Neverland with Peter, travelling the only way possible ("I’m Flying"). Back in Neverland, the Pirates search for the Lost Boys ("Pirate March"). After discovering the Lost Boys’ underground home, Captain Hook and his first mate Smee devise a plan ("Hook’s Tango"), but is chased away by the Crocodile. The Lost Boys remain in peril as the Brave Girls, led by Tiger Lily, arrive on the scene ("Brave Girl Dance"). Peter and the Darlings reach Neverland, frightening the Brave Girls. Finally safe, the Lost Boys celebrate the arrival of their new “mother” ("Wendy"). Captain Hook’s first attempt to poison the Lost Boys is thwarted by their new guardian, and the pirates must devise a new plan ("Hook’s Tarantella"). The next day, the Lost Boys learn a lesson from Peter, their “father” ("I Won’t Grow Up"). When they discover that the pirates have captured Tiger Lily, the Lost Boys help to free her. -
Disney Channel’S That’S So Raven Is Classified in BARB As ‘Entertainment Situation Comedy US’
Children’s television output analysis 2003-2006 Publication date: 2nd October 2007 ©Ofcom Contents • Introduction • Executive summary • Children’s subgenre range • Children’s subgenre range by channel • Children’s subgenre range by daypart: PSB main channels • Appendix ©Ofcom Introduction • This annex is published as a supplement to Section 2 ‘Broadcaster Output’ of Ofcom’s report The future of children’s television programming. • It provides detail on individual channel output by children’s sub-genre for the PSB main channels, the BBC’s dedicated children’s channels, CBBC and CBeebies, and the commercial children’s channels, as well as detail on genre output by day-part for the PSB main channels. (It does not include any children’s output on other commercial generalist non-terrestrial channels, such as GMTV,ABC1, Sky One.) • This output analysis examines the genre range within children’s programming and looks at how this range has changed since 2003. It is based on the BARB Children’s genre classification only and uses the BARB subgenres of Children’s Drama, Factual, Cartoons, Light entertainment/quizzes, Pre-school and Miscellaneous. • It is important to note that the BARB genre classifications have some drawbacks: – All programme output that is targeted at children is not classified as Children’s within BARB. Some shows targeted at younger viewers, either within children’s slots on the PSB main channels or on the dedicated children’s channels are not classified as Children’s. For example, Disney Channel’s That’s so raven is classified in BARB as ‘Entertainment Situation Comedy US’. This output analysis is not based on the total output of each specific children’s channel, e.g.