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Demands Year Later
THURSDAY, NOVEMBER 17, 2016 DAILYEMERALD.COM THURSDAY DEMANDS YEAR LATER NOV. 17 MARKS THE ANNIVERSARY OF The Black Student 12Task Force’s 12 demands for a safe space on campus. Five1 have been fulfilled and the Black community is fighting for progress and awareness on campus. DARK KNIGHT: THE MUSICAL AT UO LETTER TO THE EDITOR FROM THE BLACK STUDENT TASK FORCE COMIC: ELECTION DIVIDES THE U.S. Traditional Greek & Indian Food 992 Willamette Street Eugene, OR 97401 (541) 343-9661 24/7 Eugene Airport Shuttle Get Your Spins On. Drink Wheel Thursdays at 35443 www.omnishuttle.com $ SAVE $ Fly EUG 541-461-7959 1-800-741-5097 What color do you bleed? Show it by donating blood. Between November 1-20, give blood on behalf of the Ducks and help save a life. Donate at Lane Blood Center or any of our local blood drives. We’ll be on the UO campus November 14 – 19 at the EMU. MORNING JOB FOR Make your appointment today! STRONG BICYCLIST Walk-ins welcome. Deliver the Lane Blood Center • 2211 Willamette Street • Eugene, OR • 97405 Emerald 6-8am Laneblood.org • 541-484-9111 Mondays & Thursdays. Delivery is done with our cargo bikes. All participants may enter for a chance to win two tickets to the Civil War football game. Apply in person at Suite 302, EMU or email [email protected] www.CivilWarBloodDrive.com PAGE 2 | EMERALD | THURSDAY, NOVEMBER 17, 2016 EMERALD MEDIA GROUP & DARK KNIGHT: THE ARTS MUSICAL RISES AT CULTURE POCKET PLAYHOUSE ➡ SARAROSA DAVIES, @SROSIEDOSIE Riley Mulvihill, director of Juliet. He hated the process, but Pocket Playhouse’s most recent then fell in love with performing. -
The History of the Louisiana State University School of Music
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1968 The iH story of the Louisiana State University School of Music. Charlie Walton Roberts Jr Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Roberts, Charlie Walton Jr, "The iH story of the Louisiana State University School of Music." (1968). LSU Historical Dissertations and Theses. 1458. https://digitalcommons.lsu.edu/gradschool_disstheses/1458 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. This dissertation has been microfilmed exactly as received 68-16,326 ROBERTS, Jr., Charlie Walton, 1935- THE HISTORY OF THE LOUISIANA STATE UNIVER SITY SCHOOL OF MUSIC. Louisiana State University and Agricultural and Mechanical College, Ed.D., 1968 Music University Microfilms, Inc., Ann Arbor, Michigan THE HISTORY OF THE LOUISIANA STATE UNIVERSITY SCHOOL OF MUSIC A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Education i n The Department of Education by Charlie Walton Roberts, Jr. B.Mu.Ed., Louisiana State University, 1957 M.A., Louisiana Polytechnic Institute, 1964 May, 1968 ACKNOWLEDGMENT The author acknowledges with gratitude the assistance of Dr. William M. Smith, his major professor, for his guidance throughout this study and his graduate program at Louisiana State University. -
Concordia University Presents
ConcordiaConcordia UniversityUniversity presentspresents THE 30th ANNUAL SOCIETY FOR ANIMATION STUDIES CONFERENCE | MONTREAL 2018 We would like to begin by acknowledging that Concordia University is located on unceded Indigenous lands. The Kanien’kehá:ka Nation is recognized as the custodians of the lands and waters on which we gather today. Tiohtiá:ke/ Montreal is historically known as a gathering place for many First Nations. Today, it is home to a diverse population of Indigenous and other peoples. We respect the continued connections with the past, present and future in our ongoing relationships with Indigenous and other peoples within the Montreal community. Please clickwww.concordia.ca/about/indigenous.html here to visit Indigenous Directions Concordia. TABLE OF CONTENTS Welcomes 4 Schedule 8-9 Parallel Sessions 10-16 Keynote Speakers 18-20 Screenings 22-31 Exhibitions 33-36 Speakers A-B 39-53 Speakers C-D 54-69 Speakers E-G 70-79 Speakers H-J 80-90 Speakers K-M 91-102 Speakers N-P 103-109 Speakers R-S 110-120 Speakers T-Y 121-132 2018 Team & Sponsors 136-137 Conference Map 138 3 Welcome to Concordia! On behalf of Concordia’s Faculty of Fine Arts, welcome to the 2018 Society for Animation Studies Conference. It’s an honour to host the SAS on its thirtieth anniversary. Concordia University opened a Department of Cinema in 1976 and today, the Mel Hoppenheim School of Cinema is the oldest film school in Canada and the largest university-based centre for the study of film animation, film production and film studies in the country. -
The Stanocola Refinery Band: Industry, Tradition, and Community
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School June 2019 The tS anocola Refinery Band: Industry, Tradition, and Community Katlin L. Harris Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Musicology Commons Recommended Citation Harris, Katlin L., "The tS anocola Refinery Band: Industry, Tradition, and Community" (2019). LSU Master's Theses. 4942. https://digitalcommons.lsu.edu/gradschool_theses/4942 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. THE STANOCOLA REFINERY BAND: INDUSTRY, TRADITION, AND COMMUNITY A Thesis Submitted to the Graduate FAculty of the LouisiAna StAte University and Agricultural and MechanicAl College in partiAl fulfillment of the requirements for the degree of MAster of Music in The School of Music by KAtlin Lynette HArris B.M., Methodist University, 2017 August 2019 TABLE OF CONTENTS ABSTRACT ................................................................................................................................... iii CHAPTER 1. INTRODUCTION ................................................................................................... 1 CHAPTER 2. MUSIC AND INDUSTRY ..................................................................................... -
Making 'Em Move
SEPT 2017 GAZETTE ■ Vol. 45, No. 9 Making ’Em Move A HISTORY OF ANIMATION THE ADVENTURES OF PRINCE ACHMED, Sept. 16, 19 164 N. State Street ALSO: Recently Restored, Irish American Hooley www.siskelfilmcenter.org 1979, George T. Nierenberg, USA, 59 min. “The films, which I consider the two best ever made about the art, didn’t just record tap history; they became part of it, helping to stoke a revival.” —Brian Seibert, The New York Times Three veteran African American tap-dance masters—Bunny Briggs, Chuck Green, and Howard “Sandman” Sims—tell their stories and dance their hearts out in a documentary that single- handedly launched a tap revival. This 2K restoration of Nierenberg’s joyous tribute sparkles anew as the three stars perform at the Harlem club Small’s Paradise. Preceded by ABOUT TAP (1985, George T. Nierenberg, USA, 25 min.), featuring Green, Jimmy Slyde, and Steve Condos. Both in DCP digital. (BS) September 1—7 Fri., 9/1 at 2 pm and 6 pm; Sat., 9/2 at 8 pm; Sun., 9/3 at 5:15 pm; Mon., 9/4 at 3 pm; Tue., 9/5 at 6 pm; Wed., 9/6 at 7:45 pm; Thu., 9/7 at 6 pm CHICAGO PREMIERE! Polina(POLINA, DANSER SA VIE) 2016, Valérie Müller and Angelin Preljocaj, France, 108 min. With Anastasia Shevtsova, Juliette Binoche, Jérémie Bèlingard “Thrilling…a film for those who love dance.” —Vittoria Scarpa, Cineuropa Trained rigorously from childhood for the Bolshoi, young ballerina Polina (Shevtsova) turns her back on ballet stardom in order to work in France under a strict but soulful avant-garde choreographer (Binoche). -
OFF-RAMP Saturday 12-1 P.M.; Sunda with J Support All the Great Programming on KPCC, Including Off-Ramp
OFF-RAMP Saturday 12-1 p.m.; Sunda with J Support all the great programming on KPCC, including Off-Ramp. SHARE THIS: Facebook (16) Twitter (8) Google+ Email Print 1 Comments Add your comments Listen Now [5 min 17 sec] • Download Off-Ramp Charles Solomon reviews The Animation Show of Shows Off Ramp animation critic Charles Solomon | Off-Ramp | January 9th, 2013, 10:33am Frédéric Back Still from "The Man Who Planted Trees" (1987) by Frédéric Back. Almost since the art form began, there's been a split between animation as a studio product and animation as a vehicle for individual expression. The enormous succe features and TV shows has kept the work of the major animation studios uppermost in the minds of American audiences recently. But beginning with the pioneer cartoonist and filmmaker Winsor McCay - - back in the early 1900's -- independent artists have treated animation as an art as personal, flexible and immediate as painting or sculpture. Their work is an entirely different vision of what an animated film can be, as the new DVD box set The Animation Show of Shows richly proves. Volume 3 just came out. The artists who create these films may teach or support themselves with other jobs or work at a government-sponsored body, like the National Film Board of Canada. Some are students, and some are professionals pursuing their visions in their spare time. They're united by a commitment to the art of animation. M any of the films in Show of Shows use techniques that are too impractical or personal for large scale production. -
ARTS and HUMANITIES >> Total: $1,616,691
2005 grants awarded arts and Humanities >> ToTal: $1,616,691 Typified by introspection and emotion, the Arts and Humanities focus on understanding and interpreting the human experience. Our donors believe that culture and expression are the products of society, and that healthy cultural and economic communities need to support a diverse artistic atmosphere. Through grants in this area, our donors are supporting cultural opportunities. Arts Council of Greater Baton Rouge $55,885 Louisiana Association of Museums $1,000 Arts Council of New Orleans $10,000 Louisiana Naval War Memorial Foundation $2,500 Ballet Austin $3,000 Louisiana Preservation Alliance $2,750 Baton Rouge Center for World Affairs $3,000 Louisiana Public Broadcasting $5,750 Baton Rouge Gallery $3,000 LSU Foundation, LSU Museum of Art $43,050 Baton Rouge Little Theater $7,500 LSU Foundation, Patrons of LSU Opera $11,500 Baton Rouge Opera Guild Inc. $7,324 Mid-City Dance Project Inc. $2,000 Baton Rouge Symphony $30,266 Museo de Arte de Puerto Rico $50,000 Baton Rouge Symphony League $350 Musical Arts Society of New Orleans $1,250 Buddy Stewart Memorial Music Foundation $4,000 National D-Day Museum Foundation Inc. $15,125 Children’s Museum of Lake Charles $4,000 National Trust for Historic Preservation $5,000 Community Fund for the Arts $52,500 National Trust for the Historic Preservation, Shadows on the Teche $100 Contemporary Arts Center $5,000 New Orleans Center for Creative Arts Institute $5,000 Douglas Manship Sr. Theater Complex LLC $50,600 New Orleans Museum of Art $250 Foundation for Historical Louisiana Inc. -
Shock the Monkey a Vr Film by Nicolas Blies & Stéphane Hueber-Blies
SHOCK THE MONKEY A VR FILM BY NICOLAS BLIES & STÉPHANE HUEBER-BLIES An experiment of anticipation in virtual reality on the privatization of our imagination. Will you be able to regain your freedom? A production by “The advertising industry that is used to create consumers is a phenomenon that has developed in the freest countries. 100 years ago, it became clear that it would be more difficult to control the population by force. The freedom gained was far too great. We needed new ways to control people. With this new objective, the advertising industry exploded to make consumers. The idea is to control everyone, to transform society into a perfect system. A system based on a duo. This duo is you and television, or today, you and the Internet, that shows you what an ideal life looks like, what you should have. And you will spend your time and energy to get it. (...) We create desires, we lock the population into the role of consumers. (...) Consumers who must be spectators, not participants in our democracies. Noam Chomsky “ 2 SUMMARY 2046. SOMA is an activist against the dominant system. It is also the code name for the spirit liberation program she and her team have been running for several months. A program that seeks to stem the privatization of our minds by multinationals and consumerist ideology. SOMA kidnaps you and encourages you to free yourself from this conditioning. With your permission, she infiltrates your brain. You then begin a psychedelic journey into the depths of your imagination to allow you to regain your free will. -
LOUISIANA STATE UNIVERSITY DIVISION of STRATEGIC COMMUNICATIONS RECORDS Record Group A0020 Inventory
LOUISIANA STATE UNIVERSITY DIVISION OF STRATEGIC COMMUNICATIONS RECORDS Record Group A0020 Inventory Compiled by Barry Cowan Louisiana State University Archives Special Collections, Hill Memorial Library Louisiana State University Libraries Baton Rouge, Louisiana Updated, 2014 Revised by Michelle Melancon, 2018 Updated, 2021 DIVISION OF STRATEGIC COMMUNICATIONS RECORDS A0020 1930-2017 LSU LIBRARIES SPECIAL COLLECTIONS CONTENTS OF INVENTORY SUMMARY ................................................................................................................................................ 3 HISTORICAL NOTE ................................................................................................................................. 4 SCOPE AND CONTENT NOTE ............................................................................................................... 5 LIST OF SUBGROUPS AND SERIES ..................................................................................................... 6 SERIES DESCRIPTIONS .......................................................................................................................... 7 INDEX TERMS ........................................................................................................................................ 14 CONTAINER LIST .................................................................................................................................. 16 Use of materials. If you wish to examine items in the record group, please place a request via the -
2015 UCLA Festival of Preservation
OCT 15 GAZETTE ■20 Vol. 43, No. 10 2015 UCLA Festival of WHITE ZOMBIE, Oct. 30, 31 Friday Preservation matinees at 2pm! PLUS: WIM WENDERS TICKETS AVAILABLE AT OUR BOX OFFICE OR WEBSITE: $11 General • $7 Students • $6 Members www.siskelfilmcenter.org FREE SCHEDULE NOT FOR SALE 164 N State Street (312) 846-2600 THE AMAZING NINA SIMONE CHICAGO PREMIERE! 2015, Jeff Lieberman, USA, 108 min. Nina Simone was unique. She defied labels—musical, sexual, political. Extensively researched and drawing the inside story from over 50 interviews with family, friends, band members, and lovers, this in-depth documentary follows the journey of her life and TWO-WEEK RUN! music, including childhood in a segregated small town, October 23—29 youth as a classical piano Fri. at 2:00 pm, 6:00 pm, and prodigy, redefinition as a 8:15 pm; bar singer, rise to stardom Sat. at 3:15 pm and 8:00 pm; in the late 1950s (“I Loves Sun. at 5:15 pm; You, Porgy”), emergence as Mon. and Tue. at 7:30 pm; a fiery activist (“Mississippi Wed. at 6:00 pm and 8:15 pm; Goddam”), complicated Thu. at 6:00 pm and 8:30 pm bisexual love-life, struggle October 30—November 5 with bipolar disorder, self- Fri. and Mon. at 7:45 pm; exile to Liberia and France, Sun. at 4:45 pm; and late-life comeback. Thu. at 8:15 pm DCP digital. (MR) CHICAGO PREMIERE! 2015, Jafar Panahi, Iran, 82 min. The resourceful Panahi (OFFSIDE), still laboring under a 20-year ban on filmmaking, creates this biting new serio-comic work with surveillance cams mounted on the dashboard of a taxi in which he is the bemused driver. -
BULLET TIME 57W Nederlands Twee Kogels, Gemaakt Om Te Doden
BULLET TIME 57w Nederlands Twee kogels, gemaakt om te doden, worden midden in hun dodelijke vlucht verliefd op elkaar. Het overkomt Stanley en Daisy, de twee kogels die door cowboys Jesse en Pedro tijdens een ouderwetse wild-west shootout op elkaar worden afgevuurd. In plaats van voor hun dodelijke doel, kiezen de kogels voor de liefde, met desastreuze gevolgen voor de cowboys. 49w Engels A desolate street in a small village in the Old West. Two cowboys face each other in a good-old- fashioned shootout! But when both of the colts fire their deadly bullets, those bullets immediately fall in love with each other, forgetting what they're supposed to do! This has dramatic consequences... 17w Engels A good old-fashioned western shoot-out, in which both the fired bullets fall in love with each other... English title: Bullet Time Original title: Bullet Time production: Merlijn Passier Productions producer: Merlijn Passier executive producer: Zamire Thijssen script: Merlijn Passier, Frodo Kuipers, Rudi Brekelmans director: Frodo Kuipers animation: Frodo Kuipers, Elian van der Heiden, Peter Schop backgrounds: Frodo Kuipers compositing & special effects: Jeffrey Schreuders music: Alex Debicki sound: Jeroen Nadorp, Robin van der Heiden (Bob Kommer Studio’s) voices: Simon Zwiers, Luciënne van Eeden, Frodo Kuipers voice recording: Alex Debicki, Koen Donker, Simon Zwiers length in minutes: 5'30” filmformat: DCP, 4K ProRes, 2K ProRes, (2.39), 25 fps, color sound: 5.1, dolby digital release: november 2016 version: international, no dialogues genre: animation -
Festival Runway, Limp Into the Air (Barely Missing the Trees) and Splutter up Into the Clouds
1 DIRECTOR’S MESSAGE Malcolm Turner Greetings to fans, first-timers and the animatedly curious. DIRECTOR Despite the crazed improbability of it all, MIAF is still here doing its thing. It certainly suffers from the so-called ‘bumble bee’ syndrome. That is to say, on paper there’s no way Melbourne International you can prove it will fly. Somehow though, Air MIAF has found a way to bump down the Animation Festival runway, limp into the air (barely missing the trees) and splutter up into the clouds. Dunno how we do it, to be honest. It certainly wouldn’t happen without the support of ACMI, Screen Australia and each and every one of the sponsors. Nor would it happen without the core crew who give up a great deal of their time and varying slivers of their sanity to make this thing work. And it definitely wouldn’t happen without the filmmakers. It surprises alot of people (including me sometimes) just how many short animated films are being made. We get over 2,000 entries every year and the vast majority of them are made for the simple reason that somebody has felt compelled to create them – in much the same way that a painter feels compelled to paint a picture or a playwright feels compelled to create an imaginary universe, populated with a fictional tribe who have something on their mind they want to share. Animation, as a technological achievement, surrounds us and is woven into so many elements of our daily lives. It is a workhorse technology that is pressed into service by any number of plump jockeys who vie for our scarce and shattered attentions as we go through our day.