May 2021 Edition
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
As Writers of Film and Television and Members of the Writers Guild Of
July 20, 2021 As writers of film and television and members of the Writers Guild of America, East and Writers Guild of America West, we understand the critical importance of a union contract. We are proud to stand in support of the editorial staff at MSNBC who have chosen to organize with the Writers Guild of America, East. We welcome you to the Guild and the labor movement. We encourage everyone to vote YES in the upcoming election so you can get to the bargaining table to have a say in your future. We work in scripted television and film, including many projects produced by NBC Universal. Through our union membership we have been able to negotiate fair compensation, excellent benefits, and basic fairness at work—all of which are enshrined in our union contract. We are ready to support you in your effort to do the same. We’re all in this together. Vote Union YES! In solidarity and support, Megan Abbott (THE DEUCE) John Aboud (HOME ECONOMICS) Daniel Abraham (THE EXPANSE) David Abramowitz (CAGNEY AND LACEY; HIGHLANDER; DAUGHTER OF THE STREETS) Jay Abramowitz (FULL HOUSE; MR. BELVEDERE; THE PARKERS) Gayle Abrams (FASIER; GILMORE GIRLS; 8 SIMPLE RULES) Kristen Acimovic (THE OPPOSITION WITH JORDAN KLEEPER) Peter Ackerman (THINGS YOU SHOULDN'T SAY PAST MIDNIGHT; ICE AGE; THE AMERICANS) Joan Ackermann (ARLISS) 1 Ilunga Adell (SANFORD & SON; WATCH YOUR MOUTH; MY BROTHER & ME) Dayo Adesokan (SUPERSTORE; YOUNG & HUNGRY; DOWNWARD DOG) Jonathan Adler (THE TONIGHT SHOW STARRING JIMMY FALLON) Erik Agard (THE CHASE) Zaike Airey (SWEET TOOTH) Rory Albanese (THE DAILY SHOW WITH JON STEWART; THE NIGHTLY SHOW WITH LARRY WILMORE) Chris Albers (LATE NIGHT WITH CONAN O'BRIEN; BORGIA) Lisa Albert (MAD MEN; HALT AND CATCH FIRE; UNREAL) Jerome Albrecht (THE LOVE BOAT) Georgianna Aldaco (MIRACLE WORKERS) Robert Alden (STREETWALKIN') Richard Alfieri (SIX DANCE LESSONS IN SIX WEEKS) Stephanie Allain (DEAR WHITE PEOPLE) A.C. -
48 Annual Daytime Emmy Awards NOMINATIONS – June 25Th
48th Annual Daytime Emmy Awards NOMINATIONS – June 25th Please read below and check your entries for the correct spelling, title, and to make sure nobody who is eligible is missing. This list marks everyone who is officially a Daytime Emmy nominee in these categories and is the list we will use to verify statue orders in the event of a win. To make changes to this list, please read below carefully for the instructions: Please send an email to Daytime Administration at [email protected] with the subject line “Nominee Corrections and Additions – June 25th” and list the following information in the body of the email: Category Show Title Entrant’s Name Entrant’s Title # of Episodes in 2020 (if a Series) Job Description (if an off-list title)** **All off-list titles, or individuals with less than the required minimum percentage of episodes, are subject to approval by the Awards Committee. All changes made prior to the ceremony on June 25th will be gratis for this year. We accept changes for $150 per change for 30 days after the ceremony. Changes beyond 30 days after the ceremony will not be accepted under any circumstances. Deadlines are established by the ceremony date in which that category is rewarded. This list will be updated with accepted changes once a week on Fridays at 5pm ET! OUTSTANDING DRAMA SERIES The Bold and the Beautiful CBS Bradley P. Bell, Executive Producer Edward J. Scott, Supervising Producer Casey Kasprzyk, Supervising Producer Cynthia J. Popp, Producer Mark Pinciotti, Producer Ann Willmott, Producer Days of Our Lives -
PDF of Credits
ALANA DA FONSECA EXECUTIVE MUSIC PRODUCER – SONGWRITER MOTION PICTURES EUROVISION (Music Producer, Vocal Arranger) David Dobkin, dir. Netflix THE ADDAMS FAMILY (Music Producer) Greg Tiernan, Conrad Vernon, dirs. MGM GOOD BOYS (Executive Music Producer) Gene Stupnitsky, dir. Universal Pictures PITCH PERFECT 3 (Executive Music Producer) Trish Sie, dir. Universal Pictures POMS (Executive Music Producer) Zara Hayes, dir. STX ISN’T IT ROMANTIC (Music Producer) Todd Strauss-Schulson, dir. Warner Bros. THE SECRET LIFE OF PETS (Producer “We Go Together”) Chris Renaud, dir. Universal Pictures PITCH PERFECT 2 (Arranger/Vocal Arranger) Elizabeth Banks, dir. Universal Pictures ALVIN AND THE CHIPMUNKS: THE ROAD CHIP (Executive Music Producer) Walt Becker, dir. Fox 2000 PITCH PERFECT (Additional Vocal Arranger) Jason Moore, dir. Universal Pictures HANNAH MONTANA: THE MOVIE (Producer “Let’s Do This”) Peter Chelsom dir. Walt Disney Studios 3349 Cahuenga Blvd. West Los Angeles, California 90068 Tel. 818-380-1918 Fax 818-380-2609 ALANA DA FONSECA EXECUTIVE MUSIC PRODUCER – SONGWRITER TELEVISION JULIE AND THE PHANTOMS (Vocal Arranger/Vocal Producer, Songwriter) Kenny Ortega, dir. Netflix TROLLS: THE BEAT GOES ON (Executive Music Producer, Songwriter) Hannah Friedman, creator Netflix DWA UNNANOUNCED SHOW (Executive Music Producer, Songwriter) DreamWorks Animation ALVINNN!!! AND THE CHIPMUNKS (Executive Music Producer, Songwriter) Janice Karman, creator Nickelodeon LIVE SHOW TROLLS LIVE TOURING SHOW (Music Producer) SONGWRITER NAKED (Writer “Nobody But You”) Michael Tiddes, dir. Netflix STAR (TV) (Writer “Honeysuckle”) Lee Daniels, Tom Donaghy, creators Fox ALVIN AND THE CHIPMUNKS: THE ROAD CHIP (Writer “Home”) Walt Becker, dir. Fox 2000 POWER (TV) (Writer “Old Flame”) Courtney A. Kemp, creator Starz FIFTY SHADES OF GREY (Writer “Awakening”) Sam Taylor-Johnson, dir. -
Song & Music in the Movement
Transcript: Song & Music in the Movement A Conversation with Candie Carawan, Charles Cobb, Bettie Mae Fikes, Worth Long, Charles Neblett, and Hollis Watkins, September 19 – 20, 2017. Tuesday, September 19, 2017 Song_2017.09.19_01TASCAM Charlie Cobb: [00:41] So the recorders are on and the levels are okay. Okay. This is a fairly simple process here and informal. What I want to get, as you all know, is conversation about music and the Movement. And what I'm going to do—I'm not giving elaborate introductions. I'm going to go around the table and name who's here for the record, for the recorded record. Beyond that, I will depend on each one of you in your first, in this first round of comments to introduce yourselves however you wish. To the extent that I feel it necessary, I will prod you if I feel you've left something out that I think is important, which is one of the prerogatives of the moderator. [Laughs] Other than that, it's pretty loose going around the table—and this will be the order in which we'll also speak—Chuck Neblett, Hollis Watkins, Worth Long, Candie Carawan, Bettie Mae Fikes. I could say things like, from Carbondale, Illinois and Mississippi and Worth Long: Atlanta. Cobb: Durham, North Carolina. Tennessee and Alabama, I'm not gonna do all of that. You all can give whatever geographical description of yourself within the context of discussing the music. What I do want in this first round is, since all of you are important voices in terms of music and culture in the Movement—to talk about how you made your way to the Freedom Singers and freedom singing. -
A Linguistic and Conceptual Study of American Public Discourse
Beyond the Issues: A Linguistic and Conceptual Study of American Public Discourse by Pamela Sue Morgan B.A. (University of Tulsa) 1974 B.A. (University of Arizona) 1976 M.A. (University of California, Santa Barbara) 1981 M.A. (University of California, Berkeley) 1993 Ph.D. (University of California, Santa Barbara) 1985 A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Linguistics in the GRADUATE DIVISION of the UNIVERSITY OF CALIFORNIA, BERKELEY Committee in charge: Professor George Lakoff, Co-Chair Professor Eve Sweetser, Co-Chair Professor Robin Lakoff Professor David Collier Spring 1998 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Beyond the Issues: A Linguistic and Conceptual Study of American Public Discourse © 1998 by Pamela Sue Morgan Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. The dissertation of Pamela Sue Morgan is approved: Date 18 /f?8 Co-Chair Date ^ /h^. Date o =oJ2 ^ ^ ' ? £ s' Date University of California, Berkeley Spring 1998 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Abstract Beyond the Issues: A Linguistic and Conceptual Study of American Public Discourse by Pamela Sue Morgan Doctor of Philosophy in Linguistics University of California, Berkeley Professor George Lakoff, Co-Chair Professor Eve Sweetser, Co-Chair Cultural cognitive models (CCMs) are learned and shared by members of cultural communities and serve as shortcuts to the presentation and understanding of communicative events, including public discourse. They are made up of "frames," here defined as prototypical representations of recurrent cultural experiences or historical references that contain culturally-agreed-upon sets of participants, event scenarios, and evaluations. -
Screendollars
Monday, May 24, 2021 | No. 169 When Star Wars opened May 25, 1977 no one but Steven Spielberg thought it would be a hit. George Lucas had been turned down by Universal, United Artists and Disney before pitching 20th Century Fox his sci-fi epic inspired by 1930's serials like Flash Gordon and Buck Rogers, the 1966 TV series Star Trek and Frank Herbert's 1965 novel Dune. Fox creative affairs chief Alan Ladd, Jr. greenlighted SW, but Fox's distribution arm never considered it a likely hit. Fox marketers wanted to change the title because moviegoers might think Star Wars was about the Vietnam War or, perhaps, superstars Elizabeth Taylor and Richard Burton's divorce. When Lucas screened a rough cut for some director pals, they weren't impressed. Brian De Palma reportedly called it the "worst movie" ever made. Spielberg, however, predicted SW would be "the biggest movie of all time." Lucas thought SW was doomed and skipped its premiere to vacation with Spielberg in Hawaii where they heard SW was a boxoffice phenomenon and then came up with a new project to do together -- Raiders of the Lost Ark (1981), the first Indiana Jones blockbuster. Exhibitors were reluctant to book SW, thinking only kids and sci-fi buffs would buy tickets, so it opened at just 32 theatres. Two days later, it was in 43 theatres and a week later in 157. It peaked in mid-August at 1,096, a very wide run then. Produced for $11 million, its original release did $461 million domestically and $196 million abroad – huge numbers at Theatrical Poster for Star Wars, the time. -
International Feature Film Award Rules
RULE THIRTEEN SPECIAL RULES FOR THE INTERNATIONAL FEATURE FILM AWARD The unprecedented coronavirus/COVID-19 global pandemic mandated the closure of commercial motion picture theaters worldwide. Until further notice and for the 93rd Awards year only, country selected films that had a previously planned theatrical release but are initially made available through a reputable commercial streaming distribution service or video on demand may qualify for awards consideration in the International Feature category for the 93rd Academy Awards under these provisions: Provide to The Academy documentation (original document(s) and an English translation) of government mandated theater/cinema closure dates, previously planned theatrical release and steaming distribution or video on demand agreements. The film be made available on the secure Academy Screening Room member site within 60 days of the film being officially selected; That it meets all other eligibility requirements. When theaters reopen in accordance with national and local specified guidelines and criteria, and on a date to be determined by the Academy, this rules exemption will no longer apply. All films released thereafter will be expected to comply with the standard International Feature Film category theatrical qualifying requirements. In order for films to more easily meet theatrical exhibition requirements, the Academy will allow films to qualify outside the country of origin, provided the film is theatrically exhibited outside of the United States and its territories for at least seven consecutive days in a commercial motion picture theater for paid admission. The International Feature Executive Committee will evaluate all matters of rules and eligibility. Film festivals have been impacted by the coronavirus/COVID-19 pandemic. -
The Path to the Next Normal
The path to the next normal Leading with resolve through the coronavirus pandemic May 2020 Cover image: © Cultura RF/Getty Images Copyright © 2020 McKinsey & Company. All rights reserved. This publication is not intended to be used as the basis for trading in the shares of any company or for undertaking any other complex or significant financial transaction without consulting appropriate professional advisers. No part of this publication may be copied or redistributed in any form without the prior written consent of McKinsey & Company. The path to the next normal Leading with resolve through the coronavirus pandemic May 2020 Introduction On March 11, 2020, the World Health Organization formally declared COVID-19 a pandemic, underscoring the precipitous global uncertainty that had plunged lives and livelihoods into a still-unfolding crisis. Just two months later, daily reports of outbreaks—and of waxing and waning infection and mortality rates— continue to heighten anxiety, stir grief, and cast into question the contours of our collective social and economic future. Never in modern history have countries had to ask citizens around the world to stay home, curb travel, and maintain physical distance to preserve the health of families, colleagues, neighbors, and friends. And never have we seen job loss spike so fast, nor the threat of economic distress loom so large. In this unprecedented reality, we are also witnessing the beginnings of a dramatic restructuring of the social and economic order—the emergence of a new era that we view as the “next normal.” Dialogue and debate have only just begun on the shape this next normal will take. -
Graduate Showcase
Graduate entertainment | media | arts | technology GAMES Continuing the original's ground-breaking approach Music Production – contributed to the game in roles to artistic direction, innovative gameplay, and such as Visual Eff ects Artist, Motion Capture Studio engrossing storytelling, The Last of Us Part II was Technician, Sound Designer, Dialogue Designer, built by large, collaborative teams at Naughty and more. Dog Studios and Sony Interactive Entertainment, "Our team was huge, we had almost 80 people just including more than 20 Full Sail grads. animating,” says Computer Animation grad and Alumni from multiple degree programs – including Cinematic Animator Drew Kedra. Game Art, Game Design, Game Development, Computer Animation, Film, Recording Arts, and Laura Sardinha Kidde TOP 25 Schools to study Lead User Interface Designer GAME DESIGN Blizzard Entertainment "I always played games my whole life. I always loved by Princeton Review 2014–2016, 2018-2020 games. And very early on in my life, I knew [I wanted to work at] Blizzard because of the Diablo games," says Game Design master’s grad Laura Sardinha Kidde. "It was my fi rst online RPG, and I was amazed by it." Today, Laura works as a Lead User Interface Designer with Blizzard, contributing her skills in art, design, and delegation to the video game developer's massively popular MMORPG, World of Warcraft. In her current role, she oversees UI features for all World of Warcraft expansions and patches, while working with her team to implement user feedback and maintain the artistic integrity of the beloved fantasy franchise. Nive Rajasekaran Mark Diaz Client Gaming Membership Gameplay Programmer Specialist id Software (DOOM franchise) Xbox at Microsoft Mark Diaz graduated from the Game Development program in 2014. -
Tarnished Image Latin America Perceives the United States
Tarnished Image Latin America Perceives the United States The Latin America he United States’ image problem in Declining U.S. support for development Working Group Latin America is nothing new. U.S. and disaster relief adds to the sense Education Fund conducts military interventions, support for that neighborly generosity is on the public education to Tdictatorships in the Southern Cone wane and the United States is only out encourage U.S. policies and abusive militaries in Central America, for itself. Finally, hardening policies on that promote human and its reputation as an overbearing immigration—visually represented by superpower is too pervasive in history, the increasingly fortified U.S.-Mexican rights, justice and peace and too recent, to be ignored or forgotten. border—figuratively and literally divide in Latin America. At the same time, the United States’ the United States from Latin America. The LAWGEF serves democratic traditions, its constitution, its a coalition of political ideals, and its popular culture nongovernmental, and vibrant economy, have been widely Rough Seas at Mar del Plata religious, humanitarian, admired in Latin America, and are so still. President Bush’s striking unpopularity in and grassroots Latin America hit the front pages with organizations. Much has been made of a recent “turn to a splash in November 2005, with the the left” in Latin America, which is indeed fractious Summit of the Americas in a significant trend. Some commentators Mar del Plata, Argentina. In an article have used this to explain the apparent entitled “Latin America doesn’t like growth of Anti-American public sentiment Bush,” Bolivia’s El Diario led off: “The in the hemisphere. -
Racial Conflict Are U.S
Published by CQ Press, an Imprint of SAGE Publications, Inc. www.cqresearcher.com Racial Conflict Are U.S. policies discriminatory? ac e-centered conflicts in several U.S. cities have led to the strongest calls for policy reforms since the turbulent civil rights era of the 1960s. Propelled R largely by videos of violent police confrontations with African-Americans, protesters have taken to the streets in Chicago, New York and other cities demanding changes in police tactics. meanwhile, students — black and white — at several major universities have pressured school presidents to deal aggressively Demonstrators on Christmas Eve protest an alleged with racist incidents on campus. And activists in the emerging cover-up of a video showing a white Chicago police officer shooting 17-year-old African-American Laquan Black Lives matter movement are charging that “institutional racism” McDonald 16 times. The shooting — and others in which white police officers killed black suspects, often unarmed — has added fuel to a persists in public institutions and laws a half century after legally nationwide debate about systemic racism. sanctioned discrimination was banned. Critics of that view argue that moral failings in the black community — and not institutional racism — e xplain why many African-Americans lack parity with whites in such areas as wealth, employment, housing and educa - I tional attainment. B ut those who cite institutional racism say enor - THIS REPORT N THE ISSUES ......................27 mous socioeconomic gaps and entrenched housing and school S BACKGROUND ..................33 segregation patterns stem from societal decisions that far outweigh I CHRONOLOGY ..................35 individuals’ life choices. D CURRENT SITUATION ..........40 E CQ Researcher • Jan. -
Imdb CELEBRATES the 93RD ACADEMY AWARDS with a ONE-HOUR PRE-SHOW: Imdb BEFORE the AWARDS, PRESENTED by TOYOTA
IMDb CELEBRATES THE 93RD ACADEMY AWARDS WITH A ONE-HOUR PRE-SHOW: IMDb BEFORE THE AWARDS, PRESENTED BY TOYOTA Actress Garcelle Beauvais Joins IMDb Co-Hosts Dave Karger and Ian de Borja to Discuss Hollywood’s Biggest Night During a Special One-Hour Show on Sunday, April 25 at 3 pm ET/12 pm PT on IMDb.com, Twitter, YouTube and Twitch WHAT: IMDb (www.imdb.com), the world's most popular and authoritative source for movie, TV and celebrity content, will host IMDb Before the Awards, presented by Toyota. Fresh off an unpredictable year in Hollywood, IMDb will prepare and excite audiences for the biggest night in movies with a one-hour pre- show to break down all things Oscars including predictions, historic firsts, and more. WHO: Co-Hosts Dave Karger (IMDb Special Correspondent) and Ian de Borja (host of the IMDb podcast Movies That Changed My Life) will be joined by special guest, actress Garcelle Beauvais (Coming 2 America, Real Housewives of Beverly Hills, The Real). The trio will discuss this year’s nominated movies, talent and filmmakers as well as share their predictions for the 93rd Academy Awards ceremony. The show will also feature exclusive interviews with the stars of nominated films including Ma Rainey’s Black Bottom, Mank, Minari, Sound of Metal and more. WHY: As the world's most popular and trusted entertainment destination, IMDb invites fans to celebrate Hollywood’s biggest night with a global community of passionate moviegoers. IMDb helps customers explore the world of TV and movies and decide what to watch during awards season and throughout the year.