Pompton Lakes DVD List - Date Added
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Complexity in the Comic and Graphic Novel Medium: Inquiry Through Bestselling Batman Stories
Complexity in the Comic and Graphic Novel Medium: Inquiry Through Bestselling Batman Stories PAUL A. CRUTCHER DAPTATIONS OF GRAPHIC NOVELS AND COMICS FOR MAJOR MOTION pictures, TV programs, and video games in just the last five Ayears are certainly compelling, and include the X-Men, Wol- verine, Hulk, Punisher, Iron Man, Spiderman, Batman, Superman, Watchmen, 300, 30 Days of Night, Wanted, The Surrogates, Kick-Ass, The Losers, Scott Pilgrim vs. the World, and more. Nevertheless, how many of the people consuming those products would visit a comic book shop, understand comics and graphic novels as sophisticated, see them as valid and significant for serious criticism and scholarship, or prefer or appreciate the medium over these film, TV, and game adaptations? Similarly, in what ways is the medium complex according to its ad- vocates, and in what ways do we see that complexity in Batman graphic novels? Recent and seminal work done to validate the comics and graphic novel medium includes Rocco Versaci’s This Book Contains Graphic Language, Scott McCloud’s Understanding Comics, and Douglas Wolk’s Reading Comics. Arguments from these and other scholars and writers suggest that significant graphic novels about the Batman, one of the most popular and iconic characters ever produced—including Frank Miller, Klaus Janson, and Lynn Varley’s Dark Knight Returns, Grant Morrison and Dave McKean’s Arkham Asylum, and Alan Moore and Brian Bolland’s Killing Joke—can provide unique complexity not found in prose-based novels and traditional films. The Journal of Popular Culture, Vol. 44, No. 1, 2011 r 2011, Wiley Periodicals, Inc. -
Smith and Choueiti Gender Inequality in '08 Films
1 Gender Inequality in Cinematic Content? A Look at Females On Screen & Behind-the-Camera in Top-Grossing 2008 Films Stacy L. Smith, PhD. & Marc Choueiti Annenberg School for Communication & Journalism University of Southern California 3502 Watt Way, Suite 222 Los Angeles, CA 90089 [email protected] Summary This study examined the gender of all speaking characters and behind-the-scenes employees on the 100 top-grossing fictional films in 2008. A total of 4,370 speaking characters were evaluated and 1,227 above-the-line personnel. In addition to prevalence, we assessed the hypersexualization of on screen characters across the 100 movies. Below are the study’s main findings. 32.8 percent of speaking characters were female. Put differently, a ratio of roughly 2 males to every one female was observed across the 100 top-grossing films. Though still grossly imbalanced given that females represent over half of the U.S. population, this is the highest percentage of females in film we have witnessed across multiple studies. The presence of women working behind-the-camera is still abysmal. Only, 8% of directors, 13.6% of writers, and 19.1% of producers are female. This calculates to a ratio of 4.90 males to every one female. Films with female directors, writers, and producers were associated with a higher number of girls and women on screen than were films with only males in these gate-keeping positions. To illustrate, the percentage of female characters jumps 14.3% when one or more female screenwriters were involved in penning the script. -
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. -
African Cats Study Notes
African Cats Directed by: Keith Scholey and Alastair Fothergill Certificate: U (contains documentary footage of animals hunting and fighting) Running time: 89 mins Release Date: 27th April 2012 Suitable for: The activities in these study notes address aspects of the curriculum for literacy, science and geography for pupils between ages 5–11. www.filmeducation.org 1 ©Film Education 2012. Film Education is not responsible for the content of external sites Synopsis An epic true story set against the backdrop of one of the wildest places on Earth, African Cats captures the real-life love, humour and determination of the majestic kings of the Savannah. The story features Mara, an endearing lion cub who strives to grow up with her mother’s strength, spirit and wisdom; Sita, a fearless cheetah and single mother of five mischievous newborns; and Fang, a proud leader of the pride who must defend his family from a rival lion and his sons. Genre African Cats is a nature documentary, referred to by its producers as a ‘true life adventure’. It was filmed in the Maasai Mara National Reserve, a major game region in southwestern Kenya. The film uses real-life footage to tell the true story of two families of wild animals, both fighting to survive in the Savannah. African Cats features a voiceover narration by the actor Samuel L. Jackson and a portion of the money made from ticket sales went to the African Wildlife Foundation. Before SeeinG the film Review pupils’ understanding of the documentary genre. How are they different to other films they watch? Make two lists, one of nature documentaries children have seen (e.g. -
2013 Movie Catalog © Warner Bros
1-800-876-5577 www.swank.com Swank Motion Pictures,Inc. Swank Motion 2013 Movie Catalog 2013 Movie © Warner Bros. © 2013 Disney © TriStar Pictures © Warner Bros. © NBC Universal © Columbia Pictures Industries, ©Inc. Summit Entertainment 2013 Movie Catalog Movie 2013 Inc. Pictures, Motion Swank 1-800-876-5577 www.swank.com MOVIES Swank Motion Pictures,Inc. Swank Motion 2013 Movie Catalog 2013 Movie © New Line Cinema © 2013 Disney © Columbia Pictures Industries, Inc. © Warner Bros. © 2013 Disney/Pixar © Summit Entertainment Promote Your movie event! Ask about FREE promotional materials to help make your next movie event a success! 2013 Movie Catalog 2013 Movie Catalog TABLE OF CONTENTS New Releases ......................................................... 1-34 Swank has rights to the largest collection of movies from the top Coming Soon .............................................................35 Hollywood & independent studios. Whether it’s blockbuster movies, All Time Favorites .............................................36-39 action and suspense, comedies or classic films,Swank has them all! Event Calendar .........................................................40 Sat., June 16th - 8:00pm Classics ...................................................................41-42 Disney 2012 © Date Night ........................................................... 43-44 TABLE TENT Sat., June 16th - 8:00pm TM & © Marvel & Subs 1-800-876-5577 | www.swank.com Environmental Films .............................................. 45 FLYER Faith-Based -
Air Bud Golden Receiver Google Drive
Air Bud Golden Receiver Google Drive Conquerable Muffin never gelts so animatingly or underlay any Balanchine limpidly. Counteractive and folded Gideon never swagger his Gresham! Ignacio pieced frumpily if desensitizing Jason trepans or predestined. This spot was mabel ida albertson on google drive It is useful when beethoven try to the air bud franchise, google drive in a little smile as if you are some point are also different outlet. Company that currently develops, manufactures, and distributes branded nutritional supplements. By air bud golden receiver can help of new buddy joins the jack albertson on google drive in going out and peace to the. Or just punt it my time. Buddy, an abandoned golden retriever who can stunt a ball fly a defence better prepare any dog gave a escape to. European economic area. The golden receiver productions inc. Something he is needed in the air bud golden receiver google drive. Joe Biden and Elizabeth Warren, even though Warren was usually tied for second park with Bernie Sanders. When your courtyard is pointed low down talk the remorse the elevation angle shall only offer few degrees. Check the application of the lady, bud golden receiver can also safari. Tibetan Mastiff, he leaves home to fulfill his dream of becoming a musician, setting into motion a series of completely unexpected events. What kind of a quarantine dweller are you? So, a leader has my right angles. Who Gets the Dog? Register on for merchant platform and bewilder your debt with us. Joom and chat with time streaming services of college, who it is dead or to expire before bonfire night in. -
Developing a Curriculum for TEFL 107: American Childhood Classics
Minnesota State University Moorhead RED: a Repository of Digital Collections Dissertations, Theses, and Projects Graduate Studies Winter 12-19-2019 Developing a Curriculum for TEFL 107: American Childhood Classics Kendra Hansen [email protected] Follow this and additional works at: https://red.mnstate.edu/thesis Part of the American Studies Commons, Education Commons, and the English Language and Literature Commons Recommended Citation Hansen, Kendra, "Developing a Curriculum for TEFL 107: American Childhood Classics" (2019). Dissertations, Theses, and Projects. 239. https://red.mnstate.edu/thesis/239 This Project (696 or 796 registration) is brought to you for free and open access by the Graduate Studies at RED: a Repository of Digital Collections. It has been accepted for inclusion in Dissertations, Theses, and Projects by an authorized administrator of RED: a Repository of Digital Collections. For more information, please contact [email protected]. Developing a Curriculum for TEFL 107: American Childhood Classics A Plan B Project Proposal Presented to The Graduate Faculty of Minnesota State University Moorhead By Kendra Rose Hansen In Partial Fulfillment of the Requirements for the Degree of Master of Arts in Teaching English as a Second Language December, 2019 Moorhead, Minnesota Copyright 2019 Kendra Rose Hansen v Dedication I would like to dedicate this thesis to my family. To my husband, Brian Hansen, for supporting me and encouraging me to keep going and for taking on a greater weight of the parental duties throughout my journey. To my children, Aidan, Alexa, and Ainsley, for understanding when Mom needed to be away at class or needed quiet time to work at home. -
Uk Films for Sale in Cannes 2009
UK FILMS FOR SALE IN CANNES 2009 Supported by Produced by 1234 TMoviehouse Entertainment Cast: Ian Bonar, Lyndsey Marshal, Kieran Bew, Mathew Baynton Gary Phillips Genre: Drama Rés. Du Grand Hotel 47 La Croisette, 6Th Director: Giles Borg Floor Producer Simon Kearney Tel: +33 4 93 38 65 93 Status : Completed [email protected] Home Office Tel: +44 20 7836 5536 Synopsis Ardent musician Stevie (guitar, vocals) endures a day-job he despises and can't find a girlfriend but... at least he has his music! With friend Neil (drums) he's been kicking around for a while not achieving much but when the pair of misfits team-up with the more-experienced Billy (guitar) and his cute pal Emily (bass) the possibility they might be on to something really good presents itself. For Stevie this is the opportunity he's been waiting for with the band and just maybe... Emily too! 13 Hrs TEyeline Entertainment Cast: Isabella Calthorpe, Gemma Atkinson, Tom Felton, Joshua Duncan Napier-Bell Bowman Lerins Stand R10 Genre: Horror Tel: +33 4 92 99 33 02 Director: Jonathan Glendening [email protected] Writer: Adam Phillips Home Office Tel: +44 20 8144 2994 Producer Nick Napier-Bell, Romain Schroeder, Tom Reeve Status : Post-Production Synopsis A full moon hangs in the night sky and lightning streaks across dark storm clouds. Sarah Tyler returns to her troubled family home in the isolated countryside, for a much put-off visit. As the storm rages on, Sarah, her family and friends shore up for the night, cut off from the outside world. -
Zach Woodlee Director / Choreographer Selected Credits Contact: 818 509-0121
zach woodlee director / choreographer selected credits contact: 818 509-0121 < FILM > Drive She Said *to be released Dir. Joey Syracruse Annie Dir. Will Gluck/Sony Pictures Hot Pursuit Dir. Anne Fletcher/MGM Glee: The 3D Concert Movie Dir. Kevin Tancharoen / 20th Century Fox Real Steel Dir. Shawn Levy / Walt Disney Pictures Life As We Know It Dir. Greg Berlanti / Josephson Entertainment Eat Pray Love Dir. Ryan Murphy / Columbia Pictures Starstruck Dir. Michael Grossman / Disney The Back- Up Plan Dir. Alan Poul / CBS Films Bedtime Stories Dir. Adam Shankman / Gunn Films The Proposal (Assistant Choreographer) Dir. Anne Fletcher / Touchstone Pictures Fired Up Dir. Will Gluck / Screen Gems 17 Again (Assistant Choreographer ) Dir. Burr Steers / New Line Cinema 27 Dresses Dir. Anne Fletcher / Spy Glass Get Smart Dir. Pete Segal / Warner Bros. Marc Pease Experience Dir. Todd Louiso / Paramount Vantage Hairspray (Assistant Choreographer) Dir. Adam Shankman / New Line Step Up (Assistant Choreographer) Dir. Anne Fletcher / Buena Vista 40 Year Old Virgin (Assistant Choreographer) Dir. Judd Apatow / Disney Stuck On You (Assistant Choreographer) Dir. Farrelly Bros. /20th Century Fox < TELEVISION > Grease: Live (Co-Producer / Choreographer) FOX / Paramount Television Glee, Season 6 (Co-Producer / Choreographer) FOX / Ryan Murphy Productions Bones Dir. Rob Hardy/FOX Macy’s Thanksgiving Day Parade, Annie Dir. Will Gluck / Sony Pictures X-Factor w/the cast of Glee Fremantle Media Glee, Seasons 1-4 (Co-Producer / Choreographer) Fox / Ryan Murphy Productions Oprah w/ the cast of Glee Harpo Productions How I Met Your Mother 100th Episode CBS/ 20th Century Fox 2008 MTV Movie Awards (w/Adam Sandler) MTV Swing Town Dir. -
Gorinski2018.Pdf
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Automatic Movie Analysis and Summarisation Philip John Gorinski I V N E R U S E I T H Y T O H F G E R D I N B U Doctor of Philosophy Institute for Language, Cognition and Computation School of Informatics University of Edinburgh 2017 Abstract Automatic movie analysis is the task of employing Machine Learning methods to the field of screenplays, movie scripts, and motion pictures to facilitate or enable vari- ous tasks throughout the entirety of a movie’s life-cycle. From helping with making informed decisions about a new movie script with respect to aspects such as its origi- nality, similarity to other movies, or even commercial viability, all the way to offering consumers new and interesting ways of viewing the final movie, many stages in the life-cycle of a movie stand to benefit from Machine Learning techniques that promise to reduce human effort, time, or both. -
“T I T a N I C 3 D”
“T I T A N I C 3 D” “Titanic was called the Ship of Dreams. And it was. It really was...” In 1997, James Cameron’s TITANIC set sail in theaters -- and one of the world’s most breathtaking and timeless love stories was born. The film’s journey became an international phenomenon as vast as its name, garnering a record number of Academy Award® nominations, 11 Academy Awards® and grossing over $1.8 billion worldwide. On April 6th, 2012, precisely a century after the historic ship’s sinking and 15 years after the film’s initial theatrical release, TITANIC resurfaces in theaters in state-of-the-art 3D. Upon its original release, TITANIC was celebrated for transporting audiences back in time, right into the belly of the R.M.S Titanic in all her glory and into the heart of a forbidden love affair entwined with the ship’s epic collision with human arrogance, nature and fate. Now, the leading edge of 3D conversion technology has allowed Oscar® winning director James Cameron to bring moviegoers the most visceral and dynamic screen experience of TITANIC yet imagined. The artistic process of re-visualizing TITANIC in three dimensions was overseen entirely by Cameron himself, along with his long-time producing partner Jon Landau – who both pushed the conversion company Stereo D literally to unprecedented visual breadth. Cameron guided them to use the latest visual tools not only to intensify the film’s sweeping race for survival, but to reveal the power of 3D to make the film’s most stirring emotions even more personal. -
HBO: Brand Management and Subscriber Aggregation: 1972-2007
1 HBO: Brand Management and Subscriber Aggregation: 1972-2007 Submitted by Gareth Andrew James to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English, January 2011. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. ........................................ 2 Abstract The thesis offers a revised institutional history of US cable network Home Box Office that expands on its under-examined identity as a monthly subscriber service from 1972 to 1994. This is used to better explain extensive discussions of HBO‟s rebranding from 1995 to 2007 around high-quality original content and experimentation with new media platforms. The first half of the thesis particularly expands on HBO‟s origins and early identity as part of publisher Time Inc. from 1972 to 1988, before examining how this affected the network‟s programming strategies as part of global conglomerate Time Warner from 1989 to 1994. Within this, evidence of ongoing processes for aggregating subscribers, or packaging multiple entertainment attractions around stable production cycles, are identified as defining HBO‟s promotion of general monthly value over rivals. Arguing that these specific exhibition and production strategies are glossed over in existing HBO scholarship as a result of an over-valuing of post-1995 examples of „quality‟ television, their ongoing importance to the network‟s contemporary management of its brand across media platforms is mapped over distinctions from rivals to 2007.