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February 26, 2021 Amazon Warehouse Workers In
February 26, 2021 Amazon warehouse workers in Bessemer, Alabama are voting to form a union with the Retail, Wholesale and Department Store Union (RWDSU). We are the writers of feature films and television series. All of our work is done under union contracts whether it appears on Amazon Prime, a different streaming service, or a television network. Unions protect workers with essential rights and benefits. Most importantly, a union gives employees a seat at the table to negotiate fair pay, scheduling and more workplace policies. Deadline Amazon accepts unions for entertainment workers, and we believe warehouse workers deserve the same respect in the workplace. We strongly urge all Amazon warehouse workers in Bessemer to VOTE UNION YES. In solidarity and support, Megan Abbott (DARE ME) Chris Abbott (LITTLE HOUSE ON THE PRAIRIE; CAGNEY AND LACEY; MAGNUM, PI; HIGH SIERRA SEARCH AND RESCUE; DR. QUINN, MEDICINE WOMAN; LEGACY; DIAGNOSIS, MURDER; BOLD AND THE BEAUTIFUL; YOUNG AND THE RESTLESS) Melanie Abdoun (BLACK MOVIE AWARDS; BET ABFF HONORS) John Aboud (HOME ECONOMICS; CLOSE ENOUGH; A FUTILE AND STUPID GESTURE; CHILDRENS HOSPITAL; PENGUINS OF MADAGASCAR; LEVERAGE) Jay Abramowitz (FULL HOUSE; GROWING PAINS; THE HOGAN FAMILY; THE PARKERS) David Abramowitz (HIGHLANDER; MACGYVER; CAGNEY AND LACEY; BUCK JAMES; JAKE AND THE FAT MAN; SPENSER FOR HIRE) Gayle Abrams (FRASIER; GILMORE GIRLS) 1 of 72 Jessica Abrams (WATCH OVER ME; PROFILER; KNOCKING ON DOORS) Kristen Acimovic (THE OPPOSITION WITH JORDAN KLEPPER) Nick Adams (NEW GIRL; BOJACK HORSEMAN; -
ANNUAL REPORT 2015 16 A70 TV Acad Ad.Qxp Layout 1 7/8/16 11:43 AM Page 1
ANNUAL REPORT 2015 16_A70_TV_Acad_Ad.qxp_Layout 1 7/8/16 11:43 AM Page 1 PROUD MEMBER OF »CBS THE TELEVISION ACADEMY 2 ©2016 CBS Broadcasting Inc. MESSAGE FROM THE CHAIRMAN AND CHIEF EXECUTIVE OFFICER AS THE QUANTITY AND QUALITY OF CONTENT HAVE INCREASED in what is widely regarded as television’s second Golden Age, so have employment opportunities for the talented men and women who create that programming. And as our industry, and the content we produce, have become more relevant, so has the relevance of the Television Academy increased as an essential resource for television professionals. In 2015, this was reflected in the steady rise in our membership — surpassing 20,000 for the first time in our history — as well as the expanding slate of Academy-sponsored activities and the heightened attention paid to such high-profile events as the Television Academy Honors and, of course, the Creative Arts Awards and the Emmy Awards. Navigating an industry in the midst of such profound change is both exciting and, at times, a bit daunting. Reimagined models of production and distribution — along with technological innovations and the emergence of new over-the-top platforms — have led to a seemingly endless surge of creativity, and an array of viewing options. As the leading membership organization for television professionals and home to the industry’s most prestigious award, the Academy is committed to remaining at the vanguard of all aspects of television. Toward that end, we are always evaluating our own practices in order to stay ahead of industry changes, and we are proud to guide the conversation for television’s future generations. -
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B4 the MESSENGER, Friday, March 9, 2012 6:30 7:30 8:30 9:30
B4 B4 THE MESSENGER, Friday, March 9, 2012 03/9 6AM 6:30 7AM 7:30 8AM 8:30 9AM 9:30 10AM 10:30 11AM 11:30 WBKO ^ 5:30 AM Kentucky (N) Good Morning America Andrew Garfield; Richard Blais. (N) Å Live! With Kelly (N) Å The View (N) Å WBKO at Midday (N) % Today Kathy Bates; Elizabeth Olsen. (N) Å The 700 Club (N) Å WHAG News at 12:00PM (N) _ _ Paid Program Storm Stories Å Eyewitness News Daybreak (N) Local 7 News Lifestyles Family Feud Å Family Feud Å Animal Adv Å Swift Justice Å Judge Mathis Å 3 ( 5:00 The Daily Buzz Å Better (N) Å Cash Cab Å Cash Cab Å The Cosby Show Å The Cosby Show Å Law & Order: Criminal Intent Å C ) 5:00 QVC This Morning Perricone MD Cosmeceuticals Kitchen Innovations LizClaiborne New York Fashion. Q Check Style Edition . * 14 News Sunrise (N) Å Today Kathy Bates; Elizabeth Olsen. (N) Å Today (N) Å Today (N) Å :15 Midday With Mike (N) Å 9 + 5:00 Eyewitness News Daybreak (N) Å Good Morning America Andrew Garfield; Richard Blais. (N) Å Live! With Kelly (N) Å The View (N) Å FreeCruise Paid Program ) , Arthur (EI) Å Martha Speaks Å Curious George Å Cat in the Hat Å Super Why! Å Dinosaur Train Å Sesame Street (EI) Å Sid the Science Å WordWorld (EI) Å Super Why! Å Barney & Friends Å L ` Morning News Å Morning News Å CBS This Morning Ewan McGregor; Grant Hill. (N) Å The Doctors (N) Å The Price Is Right (N) Å The Young and the Restless (N) Å & 2 BBC World News Å Kentucky Health Å Body Electric Å TV 411 Å GED Connection Å GED Connection Å Paint This-Jerry Å Quilt in a Day Å Knitting Daily Å Beads, Baubles Å Charlie Rose Å WGN / Paid Program Paid Program Bewitched Å Dream of Jeannie Å Matlock “The Ghost” Å Matlock “The Class” Å In the Heat of the Night “Discovery” Å In the Heat of the Night Å INSP 1 Int’nl Fellowship Life Today Å Creflo Dollar Å Feed the Children Victory Today Life Today Å Joseph Prince Å Joyce Meyer Å Humanitarian Int’nl Fellowship The Waltons “The Idol” TBN 5 Spring Praise-A-Thon Spring Praise-A-Thon HGTV 7 Destination De Marriage/Const. -
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Journal of Ethnic and Cultural Studies Copyright 2020 2020, Vol. 7, No. 3, 142-162 ISSN: 2149-1291 http://dx.doi.org/10.29333/ejecs/392 Racism’s Back Door: A Mixed-Methods Content Analysis of Transformative Sketch Comedy in the US from 1960-2000 Jennifer Kim1 Independent Scholar, USA Abstract: Comedy that challenges race ideology is transformative, widely available, and has the potential to affect processes of identity formation and weaken hegemonic continuity and dominance. Outside of the rules and constraints of serious discourse and cultural production, these comedic corrections thrive on discursive and semiotic ambiguity and temporality. Comedic corrections offer alternate interpretations overlooked or silenced by hegemonic structures and operating modes of cultural common sense. The view that their effects are ephemeral and insignificant is an incomplete and misguided evaluation. Since this paper adopts Hegel’s understanding of comedy as the spirit (Geist) made material, its very constitution, and thus its power, resides in exposing the internal thought processes often left unexamined, bringing them into the foreground, dissecting them, and exposing them for ridicule and transformation. In essence, the work of comedy is to consider all points of human processing and related structuration as fair game. The phenomenological nature of comedy calls for a micro-level examination. Select examples from The Smothers Brothers Comedy Hour (1968), The Richard Pryor Show (1977), Saturday Night Live (1990), and Chappelle’s Show (2003) will demonstrate representative ways that comedy attacks and transforms racial hegemony. Keywords: comedy, cultural sociology, popular culture, race and racism, resistance. During periods of social unrest, what micro-level actions are available to the public? Or, how does a particular society respond to inequities that are widely shared and agreed upon as intolerable aspects of a society? One popular method to challenge a hegemonic structure, and to survive it, is comedy. -
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Oct 29 04 03 :18p ESTHERVILLE PRINTING 7123624201 p .2 FOR INSTRUCTIONS, SEE BACK OF FORM FORM DISCLOSURE SUMMARY PAGE DR-2 I DISCLOSURE COMMITTEE NAME (Must be same as on Statement of Organization) (Rev . 07/2003) REPORT For Office Use Only Comm . # Logged In IMPORTANT: Indicate type of committee you are reporting for 1-1 Scanned (t )Statewide/Legislative Candidate (2 )Statewide PAC( 3 )State Party (4 )CountyA-ocal Candidate (5 )County PAC ( 6 )Ballot IssuelFranchise Committee (7 )County/City Central Committee Computer -_-~ Audited CANDIDATE COMMITTEES ONLY: Candidate Name Political Party ~_~ rtvr, 8~L:41Er RPbfut~r`;'rT;th Office Sought District (if Senate or House) U110- to I? 7<eonc' 7 SIGNATURE Or TEE-Rio-ierson filing this report) TELEPHONE DATE SIGNED Late filed reports ar nd criminal penalties. SEE INSTRUCTIONS ON BACK AND COIV1 NCE: ELECTION l(2)NON-ELECTION YEAR. [CHECK IF AMENDMENT TO REPORT DAT~d L Local Committees, enter Date of Election L [~ Check if this is final (termination) report and atta orm DR-3 County & Local Committees, enter County in which is held (You must continue to file reports until a Notice of Dissolution is filed.) Election STATEMENT OF CASH ON HAND CASH ON HAND at the beginning of the reporting period . (This is the total of all monies held by the committee, This amount MUST be the same as the cash on hand at the end of the last reporting period, or must be zero if this is first report filed.) .. .. ..... ..... .. .. ... ... .. ... .. $ ADD TOTAL MONEY TAKEN IN THIS PERIOD Schedule A: Cash Contribufions total (Attach Schedule A) (`also see in-kind below) .. -
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. -
Sandra Araújo Martins Morais.Cdr
Os desenhos animados e as crianças. Um estudo multicaso sobre as preferências de UMinho 2008 Sandra Araújo Martins Morais desenhos animados por crianças do 1º Ciclo do Ensino Básico. Univer Instit S S Ciclo doEnsinoBásico. desenhos animadosporcriançasdo1º es Os desenhosanimadoseascrianças.Um etem a n tudo multicasosobreaspreferênciasde d b ut ro ra o deEstudosdaCriança sidade doMinho d A e 2 ra 0 0 ú 8 jo M a r ti n s M o ra is Universidade do Minho Instituto de Estudos da Criança Sandra Araújo Martins Morais Os desenhos animados e as crianças. Um estudo multicaso sobre as preferências de desenhos animados por crianças do 1º Ciclo do Ensino Básico. Tese de Mestrado em Estudos da Criança Especialização em Tecnologias de Informação e Comunicação Trabalho efectuado sob a orientação do Professor Doutor Amadeu Vinhal Gonçalves Alvarenga Setembro de 2008 É AUTORIZADA A REPRODUÇÃO INTEGRAL DESTA TESE APENAS PARA EFEITOS DE INVESTIGAÇÃO, MEDIANTE DECLARAÇÃO ESCRITA DO INTERESSADO, QUE A TAL SE COMPROMETE; Universidade do Minho, ___/___/______ Assinatura: ________________________________________________ Aos meus pais por me terem ensinado a caminhar, Ao Dalmo por me ter ensinado a sonhar, Ao meu tio João Xavier por me ter ensinado a acreditar. Agradecimentos Investigar é escolher caminhos. De todos os percursos que fomos trilhando, tomámos inúmeras opções. Desistimos de muitos trajectos, encontrámos muitos outros que nunca se haviam desenhado na nossa mente. Apesar de o processo de escolha ser intrinsecamente solitário, encontrámos sempre pessoas que nos foram de grande valia, quer a nível intelectual, quer emocional. Gostaríamos de deixar perpetuado nestas folhas o nosso agradecimento ao Professor Doutor Amadeu Alvarenga pela sua orientação, dedicação e estímulos. -
A Dpics-Ii Analysis of Parent-Child Interactions
WHAT ARE YOUR CHILDREN WATCHING? A DPICS-II ANALYSIS OF PARENT-CHILD INTERACTIONS IN TELEVISION CARTOONS Except where reference is made to the work of others, the work described in this dissertation is my own or was done in collaboration with my advisory committee. This dissertation does not include proprietary or classified information. _______________________ Lori Jean Klinger Certificate of Approval: ________________________ ________________________ Steven K. Shapiro Elizabeth V. Brestan, Chair Associate Professor Associate Professor Psychology Psychology ________________________ ________________________ James F. McCoy Elaina M. Frieda Associate Professor Assistant Professor Psychology Experimental Psychology _________________________ Joe F. Pittman Interim Dean Graduate School WHAT ARE YOUR CHILDREN WATCHING? A DPICS-II ANALYSIS OF PARENT-CHILD INTERACTIONS IN TELEVISION CARTOONS Lori Jean Klinger A Dissertation Submitted to the Graduate Faculty of Auburn University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Auburn, Alabama December 15, 2006 WHAT ARE YOUR CHILDREN WATCHING? A DPICS-II ANALYSIS OF PARENT-CHILD INTERACTIONS IN TELEVISION CARTOONS Lori Jean Klinger Permission is granted to Auburn University to make copies of this dissertation at its discretion, upon request of individuals or institutions and at their expense. The author reserves all publication rights. ________________________ Signature of Author ________________________ Date of Graduation iii VITA Lori Jean Klinger, daughter of Chester Klinger and JoAnn (Fetterolf) Bachrach, was born October 24, 1965, in Ashland, Pennsylvania. She graduated from Owen J. Roberts High School as Valedictorian in 1984. She graduated from the United States Military Academy in 1988 and served as a Military Police Officer in the United States Army until 1992. -
We'll Have a Gay Ol'time: Trangressive Sexulaity and Sexual Taboo In
We’ll have a gay ol’ time: transgressive sexuality and sexual taboo in adult television animation By Adam de Beer Thesis Presented for the Degree of DOCTOR OF PHILOSOPHY in Film Studies in the Faculty of Humanities and the Centre for Film and Media Studies UNIVERSITY OF CAPE TOWN UniversityFebruary of 2014Cape Town Supervisor: Associate Professor Martin P. Botha The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town Declaration I declare that this thesis is my own unaided work. It is submitted for the degree of Doctor of Philosophy at the University of Cape Town. It has not been submitted before for any other degree or examination at any other university. Adam de Beer February 2014 ii Abstract This thesis develops an understanding of animation as transgression based on the work of Christopher Jenks. The research focuses on adult animation, specifically North American primetime television series, as manifestations of a social need to violate and thereby interrogate aspects of contemporary hetero-normative conformity in terms of identity and representation. A thematic analysis of four animated television series, namely Family Guy, Queer Duck, Drawn Together, and Rick & Steve, focuses on the texts themselves and various metatexts that surround these series. The analysis focuses specifically on expressions and manifestations of gay sexuality and sexual taboos and how these are articulated within the animated diegesis. -
Sailor Mars Meet Maroku
sailor mars meet maroku By GIRNESS Submitted: August 11, 2005 Updated: August 11, 2005 sailor mars and maroku meet during a battle then fall in love they start to go futher and futher into their relationship boy will sango be mad when she comes back =:) hope you like it Provided by Fanart Central. http://www.fanart-central.net/stories/user/GIRNESS/18890/sailor-mars-meet-maroku Chapter 1 - sango leaves 2 Chapter 2 - sango leaves 15 1 - sango leaves Fanart Central A.whitelink { COLOR: #0000ff}A.whitelink:hover { BACKGROUND-COLOR: transparent}A.whitelink:visited { COLOR: #0000ff}A.BoxTitleLink { COLOR: #000; TEXT-DECORATION: underline}A.BoxTitleLink:hover { COLOR: #465584; TEXT-DECORATION: underline}A.BoxTitleLink:visited { COLOR: #000; TEXT-DECORATION: underline}A.normal { COLOR: blue}A.normal:hover { BACKGROUND-COLOR: transparent}A.normal:visited { COLOR: #000020}A { COLOR: #0000dd}A:hover { COLOR: #cc0000}A:visited { COLOR: #000020}A.onlineMemberLinkHelper { COLOR: #ff0000}A.onlineMemberLinkHelper:hover { COLOR: #ffaaaa}A.onlineMemberLinkHelper:visited { COLOR: #cc0000}.BoxTitleColor { COLOR: #000000} picture name Description Keywords All Anime/Manga (0)Books (258)Cartoons (428)Comics (555)Fantasy (474)Furries (0)Games (64)Misc (176)Movies (435)Original (0)Paintings (197)Real People (752)Tutorials (0)TV (169) Add Story Title: Description: Keywords: Category: Anime/Manga +.hack // Legend of Twilight's Bracelet +Aura +Balmung +Crossovers +Hotaru +Komiyan III +Mireille +Original .hack Characters +Reina +Reki +Shugo +.hack // Sign +Mimiru -
Hourglass 07-22-06 FINAL .Indd
SSgt.gt. MMikeike EEllisonllison aandnd nnewew ddog,og, JJake,ake, pparticipatearticipate iinn ccanineanine ttraining.raining. FForor mmore,ore, sseeee PPageage 33.. ((PhotoPhoto bbyy LLt.t. MMichaelichael BBucher)ucher) wwww.smdc.army.mil/KWAJ/Hourglass/hourglass.htmlww.smdc.army.mil/KWAJ/Hourglass/hourglass.html COMMENTARY Reed looking forward to command I am honored and humbled to have calls each day. I’ve seen the letters to assumed command of U.S. Army the editor from last year when the bugle Kwajalein Atoll last week. As your calls began. As a proud U.S. Army of- commander, I know you bring the same fi cer, the bugle calls are as important sense of mission pride to your roles as me to as they were to Col. Stipe. You I am bringing to my new role. We are all will see me stop, face the fl ag and show here to support the missions of the U.S. my respect to my country and Soldiers Army and USAKA/RTS, and I will help who have given their lives for our free- align my messages so we all know what dom. Yes, respect which is universal to direction we are marching. life skills as well as – one of the seven Let me fi rst take the time to give you Army core values. I also realize not a little insight into my thoughts. I take the island during the past week and everyone on the installation has served the seven core values of the US Army during my visit last April. Being new in in the armed forces, but I would ask very seriously.