A Farewell to Peter Coneylegacy of Great Teaching, a Legacy of How Things Are Done in a Collaborative Spirit
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Climate History Spanning the Past 17,000 Years at the Bottom of a South Island Lake
VOL. 98 NO. 10 OCT 2017 Lakebed Cores Record Shifting Winds Cell Phone App Aids Irrigation Earth & Space Science News Red/Blue and Peer Review A New Clue about CO2 UPTAKE Act Now to Save on Registration and Housing Early Registration Deadline: 3 November 2017, 11:59 P.M. ET Housing Deadline: 15 November 2017, 11:59 P.M. ET fallmeeting.agu.org Earth & Space Science News Contents OCTOBER 2017 PROJECT UPDATE VOLUME 98, ISSUE 10 12 Shifting Winds Write Their History on a New Zealand Lake Bed A team of scientists finds a year-by-year record of climate history spanning the past 17,000 years at the bottom of a South Island lake. PROJECT UPDATE 18 Growing More with Less Using Cell Phones and Satellite Data Researchers from the University of Washington and Pakistan are using 21st-century technology to revive farming as a profitable profession in the Indus 24 Valley. OPINION COVER Red/Blue Assessing a New Clue 10 and Peer Review Healthy skepticism has long formed the to How Much Carbon Plants Take Up foundation of the scientific peer review Current climate models disagree on how much carbon dioxide land ecosystems take up process. Will anything substantively new be for photosynthesis. Tracking the stronger carbonyl sulfide signal could help. gleaned from a red team/blue team exercise? Earth & Space Science News Eos.org // 1 Contents DEPARTMENTS Editor in Chief Barbara T. Richman: AGU, Washington, D. C., USA; eos_ [email protected] Editors Christina M. S. Cohen Wendy S. Gordon Carol A. Stein California Institute Ecologia Consulting, Department of Earth and of Technology, Pasadena, Austin, Texas, USA; Environmental Sciences, Calif., USA; wendy@ecologiaconsulting University of Illinois at cohen@srl .caltech.edu .com Chicago, Chicago, Ill., José D. -
REYNOLDS, Brian
BRIAN J. REYNOLDS DIRECTOR OF PHOTOGRAPHY https://vimeopro.com/user5249916/brian-j-reynolds-director-of-photography TELEVISION DOLLY PARTON’S HEARTSTRINGS: Netflix Prod: Patrick Sean Smith, Sam Haskell, Dir: Joe Lazarov THESE OLD BONES (Anthology Feature) Dolly Parton, Hudson Hickman DO UNTO OTHERS (MOW) Lifetime Prod: Julie Jarrett-Insogna, Stefanie Ziev Dir: Seth Jarret DOLLY PARTON’S (MOW) NBC/Warner Bros. Prod: Sam Haskell, Hudson Hickman Dir: Stephen Herek CIRCLE OF LOVE COAT OF MANY COLORS (MOW) NBC/Warner Bros. Prod: Sam Haskell, Hudson Hickman Dir: Stephen Herek MANHATTAN LOVE STORY (Season 1) ABC Prod: Jeff Lowell, Peter Traugott, Robin Schwartz Dir: Michael Fresco 90210 (Seasons 4 & 5) CBS/The CW Prod: Michael Pendell, Patricia Carr, Lara Olsen Dir: Various UNITED STATES OF TARA (Eps. 305-308) DreamWorks/Showtime Prod: Darryl Frank, Dan Kaplow Dir: Various THE GOOD GUYS (Pilot & Series) Fox TV Studios/FOX Prod: Matt Nix Dir: Tim Matheson BETTER OFF TED (Season 2) 20th Century Fox/ABC Prod: Marc Solakian, Michael Shipley Dir: Michael Fresco LIMELIGHT (Pilot) Warner Bros./ABC Prod: K.J. Steinberg, McG Dir: David Semel THE CLOSER (Seasons 1-4) Warner Bros./TNT Prod: Michael Robin, Greer Shephard Dir: Michael Robin CLEANER (Pilot) CBS Paramount/A&E Prod: Jonathan Prince, Robert Paul Munic Dir: David Semel TRUST ME (Pilot) Warner Horizon/TNT Prod: Hunt Baldwin, John Coveny Dir: Michael Robin THE VIRGIN OF AKRON OHIO (Pilot) Fox TV Studios/Lifetime Prod: Cary Brokaw, Jordan Budde Dir: Randall Zisk IMPERFECT UNION (Pilot) TNT Prod: -
Examining Television Narrative Structure
Butler University Digital Commons @ Butler University Scholarship and Professional Work - Communication College of Communication 2002 Re(de)fining Narrative Events: Examining Television Narrative Structure M. J. Porter D. L. Larson Allison Harthcock Butler University, [email protected] K. B. Nellis Follow this and additional works at: https://digitalcommons.butler.edu/ccom_papers Part of the Communication Commons Recommended Citation Porter, M.J., Larson, D.L., Harthcock, A., & Nellis, K.B. (2002). Re(de)fining narrative events: Examining television narrative structure, Journal of Popular Film and Television, 30, 23-30. Available from: digitalcommons.butler.edu/ccom_papers/9/ This Article is brought to you for free and open access by the College of Communication at Digital Commons @ Butler University. It has been accepted for inclusion in Scholarship and Professional Work - Communication by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. Re(de)fining Narrative Events: Examining Television Narrative Structure. This is an electronic version of an article published in Porter, M.J., Larson, D.L., Harthcock, A., & Nellis, K.B. (2002). Re(de)fining narrative events: Examining television narrative structure, Journal of Popular Film and Television, 30, 23-30. The print edition of Journal of Popular Film and Television is available online at: http://www.tandf.co.uk/journals/VJPF Television's narratives serve as our society's major storyteller, reflecting our values and defining our assumptions about the nature of reality (Fiske and Hartley 85). On a daily basis, television viewers are presented with stories of heroes and villains caught in the recurring turmoil of interrelationships or in the extraordinary circumstances of epic situations. -
Directors Tell the Story Master the Craft of Television and Film Directing Directors Tell the Story Master the Craft of Television and Film Directing
Directors Tell the Story Master the Craft of Television and Film Directing Directors Tell the Story Master the Craft of Television and Film Directing Bethany Rooney and Mary Lou Belli AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Focal Press is an imprint of Elsevier 225 Wyman Street, Waltham, MA 02451, USA The Boulevard, Langford Lane, Kidlington, Oxford, OX5 1GB, UK © 2011 Bethany Rooney and Mary Lou Belli. Published by Elsevier Inc. All rights reserved No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. Details on how to seek permission, further information about the Publisher’s permissions policies and our arrangements with organizations such as the Copyright Clearance Center and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/permissions. This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as may be noted herein). Notices Knowledge and best practice in this field are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility. -
The Narrative Functions of Television Dreams by Cynthia A. Burkhead A
Dancing Dwarfs and Talking Fish: The Narrative Functions of Television Dreams By Cynthia A. Burkhead A Dissertation Submitted in Partial Fulfillment of the Requirements for the Ph.D. Department of English Middle Tennessee State University December, 2010 UMI Number: 3459290 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT Dissertation Publishing UMI 3459290 Copyright 2011 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 DANCING DWARFS AND TALKING FISH: THE NARRATIVE FUNCTIONS OF TELEVISION DREAMS CYNTHIA BURKHEAD Approved: jr^QL^^lAo Qjrg/XA ^ Dr. David Lavery, Committee Chair c^&^^Ce~y Dr. Linda Badley, Reader A>& l-Lr 7i Dr./ Jill Hague, Rea J <7VM Dr. Tom Strawman, Chair, English Department Dr. Michael D. Allen, Dean, College of Graduate Studies DEDICATION First and foremost, I dedicate this work to my husband, John Burkhead, who lovingly carved for me the space and time that made this dissertation possible and then protected that space and time as fiercely as if it were his own. I dedicate this project also to my children, Joshua Scanlan, Daniel Scanlan, Stephen Burkhead, and Juliette Van Hoff, my son-in-law and daughter-in-law, and my grandchildren, Johnathan Burkhead and Olivia Van Hoff, who have all been so impressively patient during this process. -
Directors Guild of America Creative Rights Handbook 2011 - 2014
DIRECTORS GUILD OF AMERICA CREATIVE RIGHTS HANDBOOK 2011 - 2014 Los Angeles, CA (310) 289-2000 New York, NY (212) 581-0370 Chicago, IL (312) 644-5050 www.dga.org Taylor Hackford, President • Jay D. Roth, National Executive Director Dear Colleague, As Co-Chairs of the DGA Creative Rights Committee, we spend a lot of time talking to Directors about their Theatrical Creative Rights work problems. Often we nd that trouble begins with Committee TABLE OF CONTENTS those who are unclear about or unaware of creative Jonathan Mostow Steven Soderbergh rights protections they already have as members of the Co-Chair Co-Chair Directors Guild of America. David Ayer Taylor Hackford Donald Petrie CREATIVE RIGHTS CHECKLISTS Some DGA Directors have voiced frustration over Michael Bay John Lee Hancock Sam Raimi Checklists of DGA Directors’ creative rights, practices in the editing room; they did not know John Carpenter Curtis Hanson Brett Ratner codied in this handbook that the DGA Basic Agreement protects them from .…..................….…….…….…….…….….3 interference when they are preparing their cut. Some omas Carter Mary Lambert Jay Roach television Directors have expressed concern about being Martha Coolidge Jonathan Lynn Tom Shadyac excluded from the looping and dubbing process; they Wes Craven Michael Mann Brad Silberling were unaware that they, like feature Directors, have SUMMARY OF CREATIVE RIGHTS Andy Davis Frank Marshall Penelope Spheeris the right to participate in both. And many Directors A summary of a Director’s creative rights did not realize that, because they are Guild members, Roger Donaldson McG Betty omas under the Directors Guild of America Basic they have a right to additional cutting time if necessary David Fincher E. -
People, Land & Water
Thinking Globally but Guiding the Local Message for the 1906 Centennial Photo courtesy California Historical Society By Stephanie Hanna earthquake will occur in this region and Macelwane Award for signifi cant contri- what additional risk and damage might butions to the geophysical sciences by a s the pace of events builds occur from a similar magnitude earth- young scientist of outstanding ability. toward a crescendo on quake that begins either south or north When asked what draws her from April 18, 2006, for the of this area and “steps over” to devastate research to her dedication to public Centennial of the Great San areas further along the San Andreas outreach on earthquake hazards and Francisco Earthquake, Mary Fault. preparedness, Zoback said, “I think it’s ALou Zoback’s work week extends into the Early in her career with USGS, Zoback my personality. When I see problems, I weekend and often well into the evening. headed the International Lithosphere want them to be fi xed. The study of geol- She is currently regional coordinator for Program’s World Stress Map Project. A ogy and geophysics shows us that earth- the USGS Earthquake Hazards Program team of 40 scientists from 30 countries quakes are not random events and that in Northern California and chairs the focused on compiling, standardizing they will happen again where they have steering committee of federal, state, local data collection and interpreting geologic happened before, so we must help society and private partners making up the 1906 and geophysical data on the modern-day be prepared.” Centennial Alliance. -
JOE GALLAGHER Director of Photography ! REELS/WEBSITE
! JOE GALLAGHER Director of Photography ! REELS/WEBSITE Television & Film ! PROJECT DIRECTOR STUDIO / PRODUCTION CO. BILLIONS (season 4, 1 ep. + season 6) Matthew McLoota Showtime EP: Brian Koppelman, David Levien, Andrew Ross Sorkin CHARMED (seasons 2-3) Various CW / CBS Television Studios EP: Craig Shapiro, Elizabeth Kruger PROVEN INNOCENT (season 1) Various Fox EP: David Elliot, Stacy Greenberg, Danny Strong CHAMBERS (season1, 1 ep.) Tony Goldwyn Netflix EP: Leah Rachel, Akela Cooper, Stephen Gaghan GET SHORTY (season 2) Various Epix / MGM Television EP: Davey Holmes, Adam Arkin, Dan Nowak REVERIE (season 1) Various NBC / Amblin Television EP: Mickey Fisher, Justin Falvey, Darryl Frank SALVATION (pilot) Various CBS / Secret Hideout EP: Alex Kurtzman, Heather Kadin, Peter Lenkov HAP AND LEONARD (season 2) Various Sundance / Nightshade EP: Jim Mickle, Nick Damici, Nick Shumaker MASTERS OF SEX (season 4) Various Showtime / Timberman/Beverly Productions EP: Michelle Ashford, Sarah Timberman, Colin Bucksey BLUNT TALK (pilot + series) Various Starz / Media Rights Capitol Prod: Jonathan Ames, Seth MacFarlane BOSCH (season 2) Various Amazon Studios / Fabrik Entertainment EP: Michael Connelly, Eric Overmyer, Pieter Jan Brugge MATADOR (pilot + series) Robert Rodriguez El Rey Network / Georgeville TV Prod: Alex Kurtzman, Roberto Orci THE GOLDBERGS (seasons 1-2) Various Happy Madison / Sony Pictures Television Prod: Seth Gordon, Adam Goldberg VEGAS (series) Various CBS Prod: James Mangold, Cathy Konrad RING OF FIRE (tv movie) Allison Anders Lifetime -
Frons Launches Soap Sensation
et al.: SU Variety II SPECIAL 'GOIN' HOLLYWOOD' EDITION II NEWSPAPER Second Class P.O. Entry Supplement to Syracuse University Magazine CURTIS: IN MINIS Role Credits! "War" Series Is All-Time Screen Dream Syracuse- We couldn't pos sibly get 'em all, but in these 8 By RENEE LEVY series "Winds of War," based on to air in late spring and the entire pages find another 40-plus SU Hollywood- The longest. The Herman Wouk 's epic World War II package will air in Europe next year. alumni getting billboards on most demanding. The hardest. The novels, "War and Remembrance" Curtis, exec producer, director the boulevard. In our research, most expensive. That's the story was shot in 757 locations in 10 and co-scribe of the teleplay, spent we discovered a staggering net behind Dan Curtis 'SO's block countries, using more than 44,000 two years filming and a year and a work of Syracusans in the busi buster miniseries " War and Re actors and extras and nearly 800 half editing "War and Remem ness-producers, directors, membrance," which aired the first sets. The production- the longest brance," a project he originally actors, editors, and more! We 18 of its 30 hours in November on in television history--cost an es considered undoable-particular soon realized that all of them ABC-TV. timated $ 105 million to make. The ly because of the naval battles and would not fit, and to those left A sequel to Curtis's 1983 maxi- concluding 12 hours are expected the depiction of the Holocaust. -
People, Land & Water
At 5:12 in the morning on April 18, 1906, the Bay Area was literally thrown from bed by what was dubbed “The Great San Francisco Earthquake” and has become the most famous earthquake in U.S. history. 4 PEOPLE, LAND & WATER ★ April 2006 The Great San Francisco Earthquake A Moment of Magnitude for By David Hebert n December 1904, a University of California at Berkeley geology professor named Andrew Lawson wrote the following in the university’s America and for Science newspaper: “History and records show that earthquakes in this locality have never been of Ia violent nature, as so far as I can judge from the na- ture of recent disturbances and from accounts of past occurrences there is not occasion for alarm at present.” Less than two years later, he might have considered a retraction. At 5:12 in the morning on April 18, 1906, the Bay Area was literally thrown from bed by what was dubbed “The Great San Francisco Earthquake” and has become the most famous earthquake in U.S. history. Starting under the Pacifi c, just off the coast of the San Francisco peninsula, the magnitude-7.9 temblor grew until it had caused shaking and damage along nearly 300 miles of the then-unknown San Andreas Fault in Northern California. Strong shaking lasted for nearly a minute, and in some places along the fault, the earth moved more than 25 feet. For those who were there, it was surely a singular experience. “My sensations … were of being on ship in a gale pounding against the rocks, being thrown this way and that, then up in the air, and dropped with a sickening thud that took away my breath,” said Melissa Stewart McKee Carnahan in her 1908 book documenting her personal experiences of the earthquake. -
Sagawkit Acceptancespeechtran
Screen Actors Guild Awards Acceptance Speech Transcripts TABLE OF CONTENTS INAUGURAL SCREEN ACTORS GUILD AWARDS ...........................................................................................2 2ND ANNUAL SCREEN ACTORS GUILD AWARDS .........................................................................................6 3RD ANNUAL SCREEN ACTORS GUILD AWARDS ...................................................................................... 11 4TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 15 5TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 20 6TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 24 7TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 28 8TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 32 9TH ANNUAL SCREEN ACTORS GUILD AWARDS ....................................................................................... 36 10TH ANNUAL SCREEN ACTORS GUILD AWARDS ..................................................................................... 42 11TH ANNUAL SCREEN ACTORS GUILD AWARDS ..................................................................................... 48 12TH ANNUAL SCREEN ACTORS GUILD AWARDS .................................................................................... -
Celebrating 125 Years of the U.S. Geological Survey
Celebrating 125 Years of the U.S. Geological Survey Circular 1274 U.S. Department of the Interior U.S. Geological Survey Celebrating 125 Years of the U.S. Geological Survey Compiled by Kathleen K. Gohn Circular 1274 U.S. Department of the Interior U.S. Geological Survey U.S. Department of the Interior Gale A. Norton, Secretary U.S. Geological Survey Charles G. Groat, Director U.S. Geological Survey, Reston, Virginia: 2004 Free on application to U.S. Geological Survey, Information Services Box 25286, Denver Federal Center Denver, CO 80225 For more information about the USGS and its products: Telephone: 1-888-ASK-USGS World Wide Web: http://www.usgs.gov/ Any use of trade, product, or firm names in this publication is for descriptive purposes only and does not imply endorsement by the U.S. Government. Although this report is in the public domain, permission must be secured from the individual copyright owners to reproduce any copyrighted materials contained within this report. Suggested citation: Gohn, Kathleen K., comp., 2004, Celebrating 125 years of the U.S. Geological Survey : U.S. Geological Survey Circular 1274, 56 p. Library of Congress Cataloging-in-Publication Data 2001051109 ISBN 0-607-86197-5 iii Message from the Today, the USGS continues respond as new environmental to map, measure, and monitor challenges and concerns emerge Director our land and its resources and and to seize new enhancements to conduct research that builds to information technology that In the 125 years since its fundamental knowledge about make producing and present- creation, the U.S. Geological the Earth, its resources, and its ing our science both easier and Survey (USGS) has provided processes, contributing relevant faster.