Providence Invests $100 Million in Hulu
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Cablefax Dailytm Thursday — January 9, 2020 What the Industry Reads First Volume 31 / No
www.cablefaxdaily.com, Published by Access Intelligence, LLC, Tel: 301-354-2101 Cablefax DailyTM Thursday — January 9, 2020 What the Industry Reads First Volume 31 / No. 006 Quick Bites: Quibi Not ‘Shrinking TV’ For Mobile Viewing In just over a year, short-form content streamer Quibi has been able to raise $1bln in funding while receiving the back- ing of major Hollywood studios, but are consumers ready to embrace the app? CEO Meg Whitman and founder Jeffrey Katzenberg used the company’s CES keynote Wednesday to dispel any consumer skepticism regarding Quibi, calling it the world’s first mobile-only premium entertainment platform. “Mobile phones are the most widely-distributed, democra- tized entertainment platform the world has ever seen,” Katzenberg said. The idea behind the platform is to deliver movie- quality experiences in quick bites (known as Quibis) for Millennial and Gen Z audiences that take advantage of all of the capabilities modern smartphones offer. To do so, Quibi had to tackle the usual challenges that come with mobile viewing, including the inability to watch content in both portrait and landscape modes. “It means creating a technology platform optimized for people on the go and giving them a great entertainment experience in those in-between moments,” Whit- man said. “We’re not shrinking TV onto phones. We’re creating something new.” Chief product officer Tom Conrad took to the stage to unveil Turnstyle, a new way to watch that allows viewers to move between a full-screen landscape mode and a full-screen portrait mode experience at any time. Conrad illustrated Turnstyle by showing the short film “Nest.” When the phone was held in portrait mode, viewers were able to see an intruder trying to break into a woman’s house through her Google Nest doorbell camera. -
The Dominant Eye: Dominant for Parvo- but Not for Magno-Biased Stimuli?
vision Article The Dominant Eye: Dominant for Parvo- But Not for Magno-Biased Stimuli? Brian K. Foutch 1,* and Carl J. Bassi 2 1 Rosenberg School of Optometry, University of the Incarnate Word, San Antonio, TX 78209, USA 2 College of Optometry, University of Missouri-St Louis, St. Louis, MO 63121, USA; [email protected] * Correspondence: [email protected]; Tel.: +1-210-930-8162 Received: 4 September 2019; Accepted: 8 March 2020; Published: 12 March 2020 Abstract: Eye dominance is often defined as a preference for the visual input of one eye to the other. Implicit in this definition is the dominant eye has better visual function. Several studies have investigated the effect of visual direction or defocus on ocular dominance, but there is less evidence connecting ocular dominance and monocular visual thresholds. We used the classic “hole in card” method to determine the dominant eye for 28 adult observers (11 males and 17 females). We then compared contrast thresholds between the dominant and non-dominant eyes using grating stimuli biased to be processed more strongly either by the magnocellular (MC) or parvocellular (PC) pathway. Using non-parametric mean rank tests, the dominant eye was more sensitive overall than the non-dominant eye to both stimuli (z = 2.54, p = 0.01). The dominant eye was also more sensitive − to the PC-biased stimulus (z = 2.22, p = 0.03) but not the MC-biased stimulus (z = 1.16, p = 0.25). We − − discuss the clinical relevance of these results as well as the implications for parallel visual pathways. Keywords: dominant eye; contrast; parvocellular; magnocellular 1. -
The University of Chicago Looking at Cartoons
THE UNIVERSITY OF CHICAGO LOOKING AT CARTOONS: THE ART, LABOR, AND TECHNOLOGY OF AMERICAN CEL ANIMATION A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CINEMA AND MEDIA STUDIES BY HANNAH MAITLAND FRANK CHICAGO, ILLINOIS AUGUST 2016 FOR MY FAMILY IN MEMORY OF MY FATHER Apparently he had examined them patiently picture by picture and imagined that they would be screened in the same way, failing at that time to grasp the principle of the cinematograph. —Flann O’Brien CONTENTS LIST OF FIGURES...............................................................................................................................v ABSTRACT.......................................................................................................................................vii ACKNOWLEDGMENTS....................................................................................................................viii INTRODUCTION LOOKING AT LABOR......................................................................................1 CHAPTER 1 ANIMATION AND MONTAGE; or, Photographic Records of Documents...................................................22 CHAPTER 2 A VIEW OF THE WORLD Toward a Photographic Theory of Cel Animation ...................................72 CHAPTER 3 PARS PRO TOTO Character Animation and the Work of the Anonymous Artist................121 CHAPTER 4 THE MULTIPLICATION OF TRACES Xerographic Reproduction and One Hundred and One Dalmatians.......174 -
Toy Story: How Pixar Reinvented the Animated Feature
Brown, Noel. " An Interview with Steve Segal." Toy Story: How Pixar Reinvented the Animated Feature. By Susan Smith, Noel Brown and Sam Summers. London: Bloomsbury Academic, 2017. 197–214. Bloomsbury Collections. Web. 2 Oct. 2021. <http:// dx.doi.org/10.5040/9781501324949.ch-013>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 2 October 2021, 03:24 UTC. Copyright © Susan Smith, Sam Summers and Noel Brown 2018. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 1 97 Chapter 13 A N INTERVIEW WITH STEVE SEGAL N o e l B r o w n Production histories of Toy Story tend to focus on ‘big names’ such as John Lasseter and Pete Docter. In this book, we also want to convey a sense of the animator’s place in the making of the fi lm and their perspective on what hap- pened, along with their professional journey leading up to that point. Steve Segal was born in Richmond, Virginia, in 1949. He made his fi rst animated fi lms as a high school student before studying Art at Virginia Commonwealth University, where he continued to produce award- winning, independent ani- mated shorts. Aft er graduating, Segal opened a traditional animation studio in Richmond, making commercials and educational fi lms for ten years. Aft er completing the cult animated fi lm Futuropolis (1984), which he co- directed with Phil Trumbo, Segal moved to Hollywood and became interested in com- puter animation. -
Complete Directory
Complete Directory Name Primary Appointment Tel: (212) 938- xxxx Academic Programs Academic Affairs 5658 Fax Dean's Office Academic Affairs 5714 Pak, Jean Academic Affairs 4313 Vice President/Dean for Academic Academic Affairs 5515 Paulino, Yodania Accounts Payable 5669 Orehek, Frank Administration 5582 Vice President Administration and Administration and Finance 5666 Alumni Association Alumni Affairs 5603 Wall Phone 18th floor Alumni Alumni Commons Caf 5588 Lomparte, Francisco Alumni Relations 5604 Assoc Dean Graduate Program Associate Dean 5540 Alonso, Jose-Manuel Biological and Vision Sciences 5573 Aquilante, Kathy Biological and Vision Sciences 5775 Backus, Benjamin Biological and Vision Sciences 1541 Beaton, Ann Biological and Vision Sciences 5799 Bloomfield, Stewart Biological and Vision Sciences 5532 Ciuffreda, Kenneth Biological and Vision Sciences 5765 Duckman, Robert Biological and Vision Sciences 5857 Dul, Mitchell Biological and Vision Sciences 4164 Gundel, Ralph Biological and Vision Sciences 5868 Kruger, Philip Biological and Vision Sciences 5759 Llerena-Law, Christina Biological and Vision Sciences 4169 McPeek, Robert Biological and Vision Sciences 5762 Picarelli, John Biological and Vision Sciences 5784 Pola, Jordan Biological and Vision Sciences 5758 Rapp, Jerry Biological and Vision Sciences 5786 Reinach, Peter Biological and Vision Sciences 5938 Richdale, Kathryn Biological and Vision Sciences 4165 Rubinson, Kalman Biological and Vision Sciences N/A Sack LAB, Robert Biological and Vision Sciences 5793 Sack, Robert Biological -
Chapter Fourteen Men Into Space: the Space Race and Entertainment Television Margaret A. Weitekamp
CHAPTER FOURTEEN MEN INTO SPACE: THE SPACE RACE AND ENTERTAINMENT TELEVISION MARGARET A. WEITEKAMP The origins of the Cold War space race were not only political and technological, but also cultural.1 On American television, the drama, Men into Space (CBS, 1959-60), illustrated one way that entertainment television shaped the United States’ entry into the Cold War space race in the 1950s. By examining the program’s relationship to previous space operas and spaceflight advocacy, a close reading of the 38 episodes reveals how gender roles, the dangers of spaceflight, and the realities of the Moon as a place were depicted. By doing so, this article seeks to build upon and develop the recent scholarly investigations into cultural aspects of the Cold War. The space age began with the launch of the first artificial satellite, Sputnik, by the Soviet Union on October 4, 1957. But the space race that followed was not a foregone conclusion. When examining the United States, scholars have examined all of the factors that led to the space technology competition that emerged.2 Notably, Howard McCurdy has argued in Space and the American Imagination (1997) that proponents of human spaceflight 1 Notably, Asif A. Siddiqi, The Rocket’s Red Glare: Spaceflight and the Soviet Imagination, 1857-1957, Cambridge Centennial of Flight (Cambridge: Cambridge University Press, 2010) offers the first history of the social and cultural contexts of Soviet science and the military rocket program. Alexander C. T. Geppert, ed., Imagining Outer Space: European Astroculture in the Twentieth Century (New York: Palgrave Macmillan, 2012) resulted from a conference examining the intersections of the social, cultural, and political histories of spaceflight in the Western European context. -
AGE Qualitative Summary
AGE Qualitative Summary Age Gender Race 16 Male White (not Hispanic) 16 Male Black or African American (not Hispanic) 17 Male Black or African American (not Hispanic) 18 Female Black or African American (not Hispanic) 18 Male White (not Hispanic) 18 Malel Blacklk or Africanf American (not Hispanic) 18 Female Black or African American (not Hispanic) 18 Female White (not Hispanic) 18 Female Asian, Asian Indian, or Pacific Islander 18 Male Asian, Asian Indian, or Pacific Islander 18 Female White (not Hispanic) 18 Female White (not Hispanic) 18 Female Black or African American (not Hispanic) 18 Male White (not Hispanic) 19 Male Hispanic (unspecified) 19 Female White (not Hispanic) 19 Female Asian, Asian Indian, or Pacific Islander 19 Male Asian, Asian Indian, or Pacific Islander 19 Male Asian, Asian Indian, or Pacific Islander 19 Female Native American or Alaskan Native 19 Female White (p(not Hispanic)) 19 Male Hispanic (unspecified) 19 Female Hispanic (unspecified) 19 Female White (not Hispanic) 19 Female White (not Hispanic) 19 Male Hispanic/Latino – White 19 Male Hispanic/Latino – White 19 Male Native American or Alaskan Native 19 Female Other 19 Male Hispanic/Latino – White 19 Male Asian, Asian Indian, or Pacific Islander 20 Female White (not Hispanic) 20 Female Other 20 Female Black or African American (not Hispanic) 20 Male Other 20 Male Native American or Alaskan Native 21 Female Don’t want to respond 21 Female White (not Hispanic) 21 Female White (not Hispanic) 21 Male Asian, Asian Indian, or Pacific Islander 21 Female White (not -
Retrofuture Hauntings on the Jetsons
City University of New York (CUNY) CUNY Academic Works Publications and Research Queens College 2020 No Longer, Not Yet: Retrofuture Hauntings on The Jetsons Stefano Morello CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/qc_pubs/446 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] de genere Rivista di studi letterari, postcoloniali e di genere Journal of Literary, Postcolonial and Gender Studies http://www.degenere-journal.it/ @ Edizioni Labrys -- all rights reserved ISSN 2465-2415 No Longer, Not Yet: Retrofuture Hauntings on The Jetsons Stefano Morello The Graduate Center, City University of New York [email protected] From Back to the Future to The Wonder Years, from Peggy Sue Got Married to The Stray Cats’ records – 1980s youth culture abounds with what Michael D. Dwyer has called “pop nostalgia,” a set of critical affective responses to representations of previous eras used to remake the present or to imagine corrective alternatives to it. Longings for the Fifties, Dwyer observes, were especially key to America’s self-fashioning during the Reagan era (2015). Moving from these premises, I turn to anachronisms, aesthetic resonances, and intertextual references that point to, as Mark Fisher would have it, both a lost past and lost futures (Fisher 2014, 2-29) in the episodes of the Hanna-Barbera animated series The Jetsons produced for syndication between 1985 and 1987. A product of Cold War discourse and the early days of the Space Age, the series is characterized by a bidirectional rhetoric: if its setting emphasizes the empowering and alienating effects of technological advancement, its characters and its retrofuture aesthetics root the show in a recognizable and desirable all-American past. -
News and Documentary Emmy Winners 2020
NEWS RELEASE WINNERS IN TELEVISION NEWS PROGRAMMING FOR THE 41ST ANNUAL NEWS & DOCUMENTARY EMMY® AWARDS ANNOUNCED Katy Tur, MSNBC Anchor & NBC News Correspondent and Tony Dokoupil, “CBS This Morning” Co-Host, Anchor the First of Two Ceremonies NEW YORK, SEPTEMBER 21, 2020 – Winners in Television News Programming for the 41th Annual News and Documentary Emmy® Awards were announced today by The National Academy of Television Arts & Sciences (NATAS). The News & Documentary Emmy® Awards are being presented as two individual ceremonies this year: categories honoring the Television News Programming were presented tonight. Tomorrow evening, Tuesday, September 22nd, 2020 at 8 p.m. categories honoring Documentaries will be presented. Both ceremonies are live-streamed on our dedicated platform powered by Vimeo. “Tonight, we proudly honored the outstanding professionals that make up the Television News Programming categories of the 41st Annual News & Documentary Emmy® Awards,” said Adam Sharp, President & CEO, NATAS. “As we continue to rise to the challenge of presenting a ‘live’ ceremony during Covid-19 with hosts, presenters and accepters all coming from their homes via the ‘virtual technology’ of the day, we continue to honor those that provide us with the necessary tools and information we need to make the crucial decisions that these challenging and unprecedented times call for.” All programming is available on the web at Watch.TheEmmys.TV and via The Emmys® apps for iOS, tvOS, Android, FireTV, and Roku (full list at apps.theemmys.tv). Tonight’s show and many other Emmy® Award events can be watched anytime, anywhere on this new platform. In addition to MSNBC Anchor and NBC. -
Archons (Commanders) [NOTICE: They Are NOT Anlien Parasites], and Then, in a Mirror Image of the Great Emanations of the Pleroma, Hundreds of Lesser Angels
A R C H O N S HIDDEN RULERS THROUGH THE AGES A R C H O N S HIDDEN RULERS THROUGH THE AGES WATCH THIS IMPORTANT VIDEO UFOs, Aliens, and the Question of Contact MUST-SEE THE OCCULT REASON FOR PSYCHOPATHY Organic Portals: Aliens and Psychopaths KNOWLEDGE THROUGH GNOSIS Boris Mouravieff - GNOSIS IN THE BEGINNING ...1 The Gnostic core belief was a strong dualism: that the world of matter was deadening and inferior to a remote nonphysical home, to which an interior divine spark in most humans aspired to return after death. This led them to an absorption with the Jewish creation myths in Genesis, which they obsessively reinterpreted to formulate allegorical explanations of how humans ended up trapped in the world of matter. The basic Gnostic story, which varied in details from teacher to teacher, was this: In the beginning there was an unknowable, immaterial, and invisible God, sometimes called the Father of All and sometimes by other names. “He” was neither male nor female, and was composed of an implicitly finite amount of a living nonphysical substance. Surrounding this God was a great empty region called the Pleroma (the fullness). Beyond the Pleroma lay empty space. The God acted to fill the Pleroma through a series of emanations, a squeezing off of small portions of his/its nonphysical energetic divine material. In most accounts there are thirty emanations in fifteen complementary pairs, each getting slightly less of the divine material and therefore being slightly weaker. The emanations are called Aeons (eternities) and are mostly named personifications in Greek of abstract ideas. -
Dragnet 55-02-08 286 the Big Gap.Pdf
,A 1 J + . -Y icy + AV A A Iff N X i • 4 .A h ' DATE MMSTERFIELD 1 118 NBC q#286 R . EA SE . .. .FEBRUARY 8, 1955 DIRECTOR. , . .JACK WEBB SPONSOR . CHESTERFIELD CIGARETTES PER . .FRANK,BURT AGENCY. CUNNINGHAM-WALSH IC . .-., . .WALTER SCHUMAN N SQRIPT . JEAN MILES BOUND . BUD . TO=, SON ' & _ WAVNF' KFNWQRTrW _ENGINEER . RAOUL MURPHY LG 0190220 BIG GAP SGT . JOE FRIDAY . .JACK WEBS OFF9 FRANK SMITH . .BEN ALEXANDER FRED ALPIN. .JACK KRUSCHEN SARAH HUNT. .VIRGINIA GREGG GARFIELD HUNT. .VIC RODMAN PETE (DBL.) . JAKE - BARTENDER . .HERB ELLIS PEG. GEORGIA ELLIS CLEAVER (SUSPECT) . .HARRY BARTEILL WILCOXSON (DBL .) . ., . LG 0190221 DRAGNET RADIO 273/55 OPENING 1 ANNCR : Chesterfield brings you Dragnet . 2 MUSIC : HARP UP AND OU T 3 GIRL : Put a smile in your smoking ! 4 ANNCR : Buy Chesterfield . So smooth . so satisfying . , 5 Chesterfie LG 0190222 -1- NNSIC : HARP UP AND OUT : Put a smile in your smoking . ►1GIRL ENN : Next time you buy cigarettes - Stop. Remember this In--the whole wide world, no cigar tte satisfies lik e Che s to rf ie` ti r-.,,,,,,~ SIC : DRAGNET THEME $1 UNDER ' ANNCR : Ladies . Gentlemen . The storyyou are about to hear is due . The names have been changed to protect th e innocent . rR ROLL 10 WgB-:--~-Dragnet,- brought- bo-.-you - by Chesterfield . -- 11 MUSIC : UP AND FADE FOR 12 FENN : (EASILY) You're a detective sergeant . You're assigned 13 to Bunco-Fugitive Detail . A Pawnbroker tells you he 14 suspects a swindle . He isn't sure . Your job . .checlk 15 it ou x i 16 MUsic : UP AND FADE FOR 17 (FIRST COMMERCIAL INSERT) LG 0190223 A I FIRST COMMERCIA L MUSIC : HN UP AND OUT 3 GIRL: Put a smile in your smoking ! 4 FENN: Next time you buy cigarettes . -
Extensions of Remarks
April 26, 1990 EXTENSIONS OF REMARKS 8535 EXTENSIONS OF REMARKS BENEFITS OF AUTOMATION First-class mail delivery performance was "The mail is not coming in here so we ELUDE POSTAL SERVICE at a five-year low last year, and complaints have to slow down," to avoid looking idle, about late mail rose last summer by 35 per said C. J. Roux, a postal clerk. "We don't cent, despite a sluggish 1 percent growth in want to work ourselves out of a job." HON. NEWT GINGRICH mall volume. The transfer infuriated some longtime OF GEORGIA Automation was to be the service's hope employees, who had thought that they IN THE HOUSE OF REPRESENTATIVES for a turnaround. But efforts to automate would be protected in desirable jobs because have been plagued by poor management and of their seniority. Thursday, April 26, 1990 planning, costly changes of direction, inter "They shuffled me away like an old piece Mr. GINGRICH. Mr. Speaker, as we look at nal scandal and an inability to achieve the of furniture," said Alvin Coulon, a 27-year the Postal Service's proposals to raise rates paramount goal of moving the mall with veteran of the post office and one of those and cut services, I would encourage my col fewer people. transferred to the midnight shift in New Or With 822 new sorting machines like the leans. "No body knew nothing" about the leagues to read the attached article from the one in New Orleans installed across the Washington Post on the problems of innova change. "Nobody can do nothing about it," country in the last two years, the post of he said.