DOCSLIB.ORG

In This Issue

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Winter 2011 ~ Editors Ll. Doug Davis Gordon College 419 College Drive A publication of the Science Fiction Research Association Barnesville, GA 30204 [email protected] "' In this issue Jason Embry Georgia Gwinnett College SFRA Review Business 100 University Center Lane Lawrenceville, GA 30043 Continuity of Leadership in Interesting Times 2 [email protected] SFRA Business Managing Editor "Come Gather'Round People .. :' 2 Janice M. Bogstad Calling All Hands 3 University of Wisconsin, Eau Claire January 2011 Meeting Minutes 4 lOS Garfield Avenue State of the Finances 5 Eau Claire, W1 54702-50 l 0 SFRA 2011 Update 5 [email protected] Remembering Neil Barron 6 Nonfiction Editor Feature Michael Klein Genre Fiction in the (Pre)College Composition Classroom 7 James Madison University MSC 2103 Harrisonburg, VA22807 Nonfiction Reviews [email protected] The Animal Fable in Science Fiction and Fantasy 11 Fiction Editor Animal Alterity: Science Fiction and the Question of the Animal 11 Jim Davis Fiction Reviews Troy University Smith274 The Wesleyan Anthology of Science Fiction 12 Troy, AL 36082 The Strange Affair of Spring Heeled Jack 14 [email protected] The Dervish House 15 Cinco de Mayo 17 Media Editor The Fuller Memorandum 17 Ritch Calvin Media Reviews SUNY Stony Brook WOSIS Melville Library The Road 17 Stony Brook, NY 11794-3360 Inception 18 [email protected] Scott Pilgrim vs. the World 20 Battlestar Galactica: The Plan 21 The SFRA Review (ISSN 1068-395X) Caprica: Season 1 22 is published four times a year by the Paradox 24 Science Ficiton Research Associa­ FreakAngels 25 tion (SFRA), and distributed to SFRA Don't Look Back 27 members. Individual issues are not for sale; however, all issues after 256 Year Zero 28 are published to SFRAS Website Announcements (http://www.sfra.org/) no fewer than 10 weeks after paper publication. For Calls for Papers 30 information about SFRA and mem­ bership, see the back cover. SFRA thanks the University of Wisconsin­ Submissions Eau Claire for ist assistance in produc­ The SFRA Review encourages submissions of reviews, review essays that cover several related texts, inter­ ing the SFRA Review. views, and feature articles. Submission guidelines are available at http://www.sfra.org/ or by inquiry to the appropriate editor. All submitters must be current SFRA members. Contact the Editors for other submis­ sions or for correspondence. SFRA Review Business SFRA Business EDITORS' MESSAGE PRESIDENT'S MESSAGE Continuity of Leadership "Come Gather 'Round People.. :' in Interesting Times Ritch Calvin Doug Davis and Jason Embry All that you touch You change, AS WE SIT to write our first editorial for this, the two All that you Change hundred and ninety fifth issue of the SFRA Review, Changes you. the rest of the world is marveling at the intensity of The only lasting truth the popular revolutions now sweeping several of the Is Change. globe's autocratic states. Social-network-fueled calls God for changes of leadership are being met with tanks and Is Change. thugs, and we cheer the courage of people willing to put their lives at stake for the causes of free association, IN OCTAVIA BUTLER'S NOVEL The Parable of the workers' rights and the abolition of total state power. Talents, she constructs a character and a religion that Meanwhile, we quietly celebrate our own transition of exalts the role, importance and inevitability of change. leadership. For once again, the executive and adminis­ While Butler's novel, and the ideas contained therein, trative leadership of the Science Fiction Research As­ have not been universally accepted, they nevertheless sociation has largely changed hands-and with nary a raise the specter of change and the ways in which peo­ hiccup to disturb the peace of our own congress. This ple, individually and collectively, might adjust to those smooth process of transition is the surest sign of a changes. healthy organization. However, I am "writing" this column in between Yet as they indicate in their editorials below, our new bouts of snow shoveling. We have had a record amount executive board is also caught up in the global high­ of snow this month, with more expected before we tech revolutionary spirit of the 21st century. They too close out January, 2011. While doubtless impossible have grand plans to integrate new communication to pin the snow on any one factor-La Nifia, global technologies into the workings of the SFRA and revo­ warming, etc.-change does seem to be on the way. lutionize how we as an organization conduct our daily Climatologists now suggest that, by the year 2050, the business. It is only fitting, then, that this year's annual local weather (on Long Island) will be the same as the SFRA conference will take place on an international local weather ill Atlanta today. Good or bad, can't say. stage in Poland, a nation that over the past decades has What does all this have to do with science fiction and experienced its own share of inspiring political transi­ the SFRA? Well, over the past two years, the Executive tion and social change. Committee {Lisa Yaszek, Mack Hassler, Patrick Sharp, For our editorial part, we know that we have inher­ Adam Frisch, and I) dubbed itself the "transitional EC:' ited a good publication and we desire to continue the We recognized (at least some of) the changes occur­ previous editorial board's initiatives to make the SFRA ring-in science fiction, in academia and scholarshi~, Review a worldly space both for insightful commentary in publishing, in computing and technology, and m across media and for helpful feature articles that keep communications. We could have continued to oper­ our membership abreast of the latest trends in science ate according to the extant models and methods or we fiction media, scholarship and pedagogy. To that end, could embrace the changes and attempt to incorporate editor Jason Embry has contributed a feature article on them into the SFRA and the Executive Committee. his experience using science fiction in the remedial col­ Historically, each new Executive Committee traveled lege writing classroom. We invite all members of the to meet, often at the President's location. This year, in SFRA to contribute reviews, interviews and feature ar­ part because of scheduling issues, and in part because ticles to this publication that demonstrate, always and of techD.ology, we decided to change that. We held our in their own ways, that science fiction is the truest art first EC meeting Saturday, January 22 via teleconfer- of our global moment. • 2 SFRA Review 295 Winter 2011 ence. We will hold several follow-up meetings via Sky­ Apart from the positions on the Executive Com­ pe conference call. Breaking the EC meeting into a se­ mittee and the SFRA Review, we have created a num­ ries of shorter, technologically enabled meetings allows ber of new, largely technology-related positions. Matt us more flexibility. In addition, the Skype meetings will Holtmeier continues to serve as the webmaster. The save the organization a good deal of money. And let's previous EC ushered in a shift to a new, Drupal-based face it, when I take that Skype conference call via my website. Through that site, we hope to continue to in­ iPhone as I sit in my back yard or wander through the novate membership, renewals, resources, databases, store, I really will feel like the age of Dick Tracy-or and so on-send us your ideas, as well! Our media and Philip K. Dick-is upon us. PR director is R. Nicole Smith, who has a huge list of As the themes at the Eaton conference (February innovations in terms of social media. Please stay tuned 2011) and the upcoming SFRA conference indicate, SF for these changes. Thanks to both for their input and has become truly global-which is not to suggest that efforts. SF has not always been global. However, technological Historically, the EC has brought quite a number of changes make production, distribution and consump­ issues before the membership by way of the business tion of global SF possible in new ways. We certainly meeting, usually held on the Sunday morning of the hope to see you in Poland for the annual conference. conference weekend. However, technology once again Register early, for both the SFRA and for the confer­ allows us a number of ways to change that pattern and ence. I want to remind everyone that the SFRA, in to enable wider participation from the membership. keeping with most professional and academic organi­ After all, while we do usually have a good turnout for zations, made a decision to require all conference par­ the business meetings-and appreciate all those who ticipants to be members of the SFRA. do attend-it is still only a fraction of the full member­ For more information, please see conference orga­ ship. Technological tools such as Survey Monkey allow nizer Pawel Frelik's "State of the Conference" column in us to create a mechanism whereby we can poll the en­ this issue of the Review. Finally, if money is a concern tire membership for guidance on SFRA business mat­ (and of course it is for nearly everyone), please look at ters. We already have several polls in the works, so be the SFRA travel grants (located on the SFRA website). sure to look for these on the SFRA website, the SFRA The SFRA does have an award for travel money based Facebook page, or via Twitter feed. on need. You can only get it if you apply at <http:/I It is an exciting time; the pace of change continues to www.sfra.org/node/38>.
Recommended publications
  • SEQUENCE 1.2 (2014) an Allegory of a 'Therapeutic' Reading of a Film

    SEQUENCE 1.2 (2014) an Allegory of a 'Therapeutic' Reading of a Film

    SEQUENCE 1.2 (2014) An Allegory of a ‘Therapeutic’ Reading of a Film: Of MELANCHOLIA Rupert Read SEQUENCE 1.2 (2014) Rupert Read Wittgenstein, Tractatus Logico-Philosophicus: 6.43 If good or bad willing changes the world, it can only change the limits of the world, not the facts; not the things that can be expressed in language. // In brief, the world must thereby become quite another, it must so to speak wax or wane as a whole. // The world of the happy is quite another than that of the unhappy. 6.431 As in death, too, the world does not change, but ceases. 6.4311 Death is not an event of life. Death is not lived through. // If by eternity is understood not endless temporal duration but timelessness, then he lives eternally who lives in the present. // Our life is endless in the way that our visual field is without limit. Heidegger, Being and Time: If I take death into my life, acknowledge it, and face it squarely, I will free myself from the anxiety of death and the pettiness of life - and only then will I be free to become myself. Wittgenstein, Remarks on the philosophy of psychology I: 20: [A]n interpretation becomes an expression of experience. And the interpretation is not an indirect description; no, it is the primary expression of the experience. 2 SEQUENCE 1.2 (2014) Rupert Read 1. This essay is a (more or less philosophical) i. Throughout this paper, I dance in a account or allegory of my viewing(s) of Lars von ‘dialogue’ with – am in ‘conversation’ Trier’s remarkable film, Melancholia (2011).1 It is with – Steven Shaviro’s fascinating personal, and philosophical.
  • Monthly Title Information Cover Sheet August 2020

    Monthly Title Information Cover Sheet August 2020

    AMSTERDAM UNIVERSITY PRESS Monthly Title Information AI Sheets - August 2020 AUP Marketing; Lucia Dove ([email protected]) 26/05/2020 Amsterdam University Press 9789462987203 Corsi, Urbanization in Viking Age and Medieval Denmark 9789462989320 Gohain, Imagined Geographies in the Indo-Tibetan Borderlands 9789462983632 Lie, Towards a Political Aesthetics of Cinema 9789462988040 Jones, Death and Afterlife in the Pages of Gregory of Tours 9789462983373 Kuuliala, Saints, Infirmity, and Community in the Late Middle Ages 9789463721844 Thomas, Poussin's Women 9789462985865 Stevens, Fanvids 9789462989504 Hjorth et al, Digital Media Practices in Households 9789463720120 Mathias, Disaster Cinema in Historical Perspective 9789462988934 Ngo & Hung, Shadow Exchanges along the New Silk Roads 9789463726436 Tan, Buddhist Revitalization and Chinese Religions in Malaysia 9789089647221 Chen et al., Chinese "Cancer Villages" Arc Humanities Press 9781641892728 Sarti, Women and Economic Power in Premodern Royal Courts 9781641894067 Weiss et al., Waldef Amsterdam University Press and Arc Humanities Press titles are available outside North America through NBN International and available in North America and Canada through Baker & Taylor Publisher Services. Amsterdam University Press T +31 (0)20 420 00 50 www.aup.nl Nieuwe Prinsengracht 89 [email protected] facebook.com/AUPAcademic 1018 VR Amsterdam [email protected] twitter.com/AmsterdamUPress AMSTERDAM UNIVERSITY PRESS THE EARLY MEDIEVAL NORTH ATLANTIC Maria R.D. Corsi Urbanization in Viking Age and Medieval Denmark From Landing Place to Town This study traces the history of urbanization in Denmark from c. 500-1350 and explores how interconnected political, religious, economic factors were instrumental in bringing about the growth of towns. Prior to urban development, certain specialized sites such as elite residences and coastal landing places performed many of the functions that would later be taken over by medieval towns.
  • The Chrysalids

    The Chrysalids

    The Chrysalids Introduction to the Author John Wyndham was born in England, on July 10, 1903. When he was growing up, he went to a series of boarding schools because his parents were separated. He then attended an advanced co- educational school until he reached the age of eighteen. After he left school, Wyndham studied farming for a while, then "crammed" to write the examinations for Oxford University. Finally, in 1929, Wyndham picked up a copy of an American magazine called Amazing Stories, and became very interested in science fiction. Not long after that a series of stories under the name of John Beynon began to appear in Amazing Stories, and in another publication called Wonder Stories. He wrote English science fiction stories under the names "John Beynon Harris," "John Beynon," and "Lucas Parkes," as well as John Wyndham. By 1937, he was being called the best living British science fiction writer. Wyndham's work in science fiction is interesting in its emphasis. He does not generally concentrate on amusing the reader with strange inventions of technology from a bewildering future. The settings he employs for the future are logical, identifiable extensions of the world of today. His consuming interest lies in speculation about human nature and human behaviour. This would account for his attention to customs and moral codes displayed in the different societies in his books. Thus, time and again he points out the hypocrisy, bigotry and ignorance which are so often a part of our social life, and he stresses that changing conditions demand new ways, new customs and new codes of conduct.
  • What Does Gender Mean in Regendered Characters

    What Does Gender Mean in Regendered Characters

    What Does Gender Mean in Regendered Characters Author Baker, Lucy Published 2017-12-31 Thesis Type Thesis (PhD Doctorate) School School of Hum, Lang & Soc Sc DOI https://doi.org/10.25904/1912/2211 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/380299 Griffith Research Online https://research-repository.griffith.edu.au WHAT DOES GENDER MEAN IN REGENDERED CHARACTERS Ms Lucy Irene Baker, BA (Hons), MAppSci(Lib&InfoMgmt) School of Humanities, Languages, and Social Science Griffith University Submitted in fulfilment of the requirements of the degree of Doctor of Philosophy 31 December 2017 21 Abstract This thesis examines the ways regendering, or ‘genderswapping’, is performed as an adaptational creative choice for fans and creators. Regendered works, such as the TV series Elementary, illustrate the complexity of representation, and the ongoing imbalanced landscape of media. I develop a more cohesive understanding of the fannish counterpublic and its complex approaches to creativity and gender by grounding the research and data collection in fan studies, gender studies, and literary theory. This thesis uses interviews, surveys, and observations of fannish communities, and close readings of regendered texts and media, to develop two theories of regendered effects. One: the position of regendered work within fannish counterpublics is one centred on the conflicts and tensions between lived experiences and the media landscape, performed through the creative forms that characterise their communities. Fannish experiences of gender and sexuality influence their reception of those works, and how they practice regendering as a creative process. Two: these works then reinforce that counterpublic by correcting the gender imbalance of the initial work, and re-othering the expectations of that work.
  • Brokeback and Outback

    Brokeback and Outback

    [CINEMA] ROKEBACK AND OUTBACK BRIAN MCFARLANE WELCOMES THE LATEST COMEBACK OF THE WESTERN IN TWO DISPARATE GUISES FROM time to time someone pronounces 'The Western is dead.' Most often, the only appropriate reply is 'Long live the Western!' for in the cinema's history of more than a century no genre has shown greater longevity or resilience. If it was not present at the birth of the movies, it was there shortly after the midwife left and, every time it has seemed headed for the doldrums, for instance in the late 1930s or the 1960s, someone—such as John Ford with Stagecoach (1939) or Sergio Leone and, later, Clint Eastwood—comes along and rescues it for art as well as box office. Western film historian and scholar Edward Buscombe, writing in The BFI Companion to the Western in 1988, not a prolific period for the Western, wrote: 'So far the genre has always managed to renew itself ... The Western may surprise us yet.' And so it is currently doing on our screens in two major inflections of the genre: the Australian/UK co-production, John Hillcoat's The Proposition, set in [65] BRIAN MCFARLANE outback Australia in the 1880s; and the US film, Ang Lee's Brokeback Mountain, set largely in Wyoming in 1963, lurching forwards to the 1980s. It was ever a char­ acteristic of the Western, and a truism of writing about it, that it reflected more about its time of production than of the period in which it was set, that it was a matter of America dreaming about its agrarian past.
  • Apocalypse As Religious and Secular Discourse in Battlestar Galactica

    Apocalypse As Religious and Secular Discourse in Battlestar Galactica

    Volume 6 2014-15 APOCALYPSE & GHOSTS Apocalypse as Religious and Secular Discourse in Battlestar Galactica and its Prequel Caprica Diane Langlumé University of Paris VIII Saint-Denis Abstract he concept of the end of the world is inherent in religious discourse. Illustratively, in T Medieval Christianity, a divine power was held responsible for cataclysmic events. In the post-Hiroshima era, the concept of apocalypse has taken on secular meaning. Not surprisingly, given recent history, the apocalypse has become a prominent component of popular television epics; broadcast narratives, such as Battlestar Galactica and Caprica, entwine both Biblical and secular versions of the apocalypse, thereby creating a novel apocalyptic discourse which, instead of establishing the apocalypse as an end, uses it as a foundation, as a thought-provoking means of conveying a political message of tolerance and acceptance of otherness, of encouraging self-reflectiveness; and as a way of denouncing the empty rhetoric of religious extremism. Keywords: Television series, Battlestar Galactica, Caprica, religion, Book of Mormon, Bible, Book of Revelation, John of Patmos, Genesis, Adam, Garden of Eden, Heaven, God, fall of man, the beast, false prophet, angel, Second Coming, resuscitation, apocalypse, end of the world, nuclear apocalypse, Hiroshima, post-apocalyptic, genocide, intertextuality, parody, pastiche, religious satire, 9/11, America, religious terrorism, suicide bombing, cyborg, robot, humanity, monotheism, polytheism. he television series Battlestar Galactica1 establishes its chronology between a nuclear T apocalypse that has just taken place and the threat of a potential future apocalypse,2 both at the hands of human-looking cyborgs called Cylons. Caprica, its prequel series, set fifty- eight years before the nuclear detonation, unfolds the events leading up to the apocalypse in Battlestar Galactica.
  • Dr. Richard Brown Faith, Selfhood and the Blues in the Lyrics of Nick Cave

    Dr. Richard Brown Faith, Selfhood and the Blues in the Lyrics of Nick Cave

    Student ID: XXXXXX ENGL3372: Dissertation Supervisor: Dr. Richard Brown Faith, Selfhood and the Blues in the Lyrics of Nick Cave Table of Contents Introduction 2 Chapter One – ‘I went on down the road’: Cave and the holy blues 4 Chapter Two – ‘I got the abattoir blues’: Cave and the contemporary 15 Chapter Three – ‘Can you feel my heart beat?’: Cave and redemptive feeling 25 Conclusion 38 Bibliography 39 Appendix 44 Student ID: ENGL3372: Dissertation 12 May 2014 Faith, Selfhood and the Blues in the lyrics of Nick Cave Supervisor: Dr. Richard Brown INTRODUCTION And I only am escaped to tell thee. So runs the epigraph, taken from the Biblical book of Job, to the Australian songwriter Nick Cave’s collected lyrics.1 Using such a quotation invites anyone who listens to Cave’s songs to see them as instructive addresses, a feeling compounded by an on-record intensity matched by few in the history of popular music. From his earliest work in the late 1970s with his bands The Boys Next Door and The Birthday Party up to his most recent releases with long- time collaborators The Bad Seeds, it appears that he is intent on spreading some sort of message. This essay charts how Cave’s songs, which as Robert Eaglestone notes take religion as ‘a primary discourse that structures and shapes others’,2 consistently use the blues as a platform from which to deliver his dispatches. The first chapter draws particularly on recent writing by Andrew Warnes and Adam Gussow to elucidate why Cave’s earlier songs have the blues and his Christian faith dovetailing so frequently.
  • Free Catalog

    Free Catalog

    Featured New Items DC COLLECTING THE MULTIVERSE On our Cover The Art of Sideshow By Andrew Farago. Recommended. MASTERPIECES OF FANTASY ART Delve into DC Comics figures and Our Highest Recom- sculptures with this deluxe book, mendation. By Dian which features insights from legendary Hanson. Art by Frazetta, artists and eye-popping photography. Boris, Whelan, Jones, Sideshow is world famous for bringing Hildebrandt, Giger, DC Comics characters to life through Whelan, Matthews et remarkably realistic figures and highly al. This monster-sized expressive sculptures. From Batman and Wonder Woman to The tome features original Joker and Harley Quinn...key artists tell the story behind each paintings, contextualized extraordinary piece, revealing the design decisions and expert by preparatory sketches, sculpting required to make the DC multiverse--from comics, film, sculptures, calen- television, video games, and beyond--into a reality. dars, magazines, and Insight Editions, 2020. paperback books for an DCCOLMSH. HC, 10x12, 296pg, FC $75.00 $65.00 immersive dive into this SIDESHOW FINE ART PRINTS Vol 1 dynamic, fanciful genre. Highly Recommened. By Matthew K. Insightful bios go beyond Manning. Afterword by Tom Gilliland. Wikipedia to give a more Working with top artists such as Alex Ross, accurate and eye-opening Olivia, Paolo Rivera, Adi Granov, Stanley look into the life of each “Artgerm” Lau, and four others, Sideshow artist. Complete with fold- has developed a series of beautifully crafted outs and tipped-in chapter prints based on films, comics, TV, and ani- openers, this collection will mation. These officially licensed illustrations reign as the most exquisite are inspired by countless fan-favorite prop- and informative guide to erties, including everything from Marvel and this popular subject for DC heroes and heroines and Star Wars, to iconic classics like years to come.
  • Zálohadiplomka Konečná Verze

    Zálohadiplomka Konečná Verze

    Masarykova univerzita Filozofická fakulta Ústav filmu a audiovizuální kultury Kristýna Chmelíková (FAV, magisterské navazující prezen ční studium) Narativn ě komplexní seriál a jeho transmediální extenze Případová studie amerického seriálu Battlestar Galactica Magisterská diplomová práce Vedoucí práce : Mgr. Pavel Skopal, Ph.D. Brno 2011 Prohlášení o samostatnosti Prohlašuji, že jsem pracovala samostatn ě a použila jen uvedených zdroj ů. Datum Podpis 31. dubna 2011 ............................................................................. 1 Poděkování Za vedení diplomové práce a cenné p řipomínky d ěkuji Mgr. Pavlu Skopalovi, Ph.D. Za podn ětné konzultace tématu pat ří m ůj dík Mgr. Jaroslavu Švelchovi a Mgr. Radomíru D. Kokešovi. Děkuji též Martinu Chmelíkovi za pomoc p ři zpracování graf ů a Vendule Pavlí čkové za jazykové korektury. Pod ěkovat za srde čnou podporu, a to nejen v dob ě vzniku této práce, pak chci svým rodi čů m a Michalu Kašpárkovi. 2 Klíčová slova Narativn ě komplexní seriál, transmediální vypráv ění, transmediální extenze, konvergence médií, narativní analýza, produser, hyperdiegeze, Battlestar Galactica Keywords Narrative complexity of a TV series, transmedia storytelling, transmedia extension, media convergence, narrative analysis, produser, hyperdiegesis, Battlestar Galactica 3 Obsah 1. Úvod ................................................................................................................................................ 6 1.1 Ne p říb ěh, ale sv ět nebo ansámbl.............................................................................................
  • Steep Buildings and Monuments

    Steep Buildings and Monuments

    Steep Buildings and Monuments Contents Introduction 1 Preface 3 Steep Parish Map 4 Ridge Common Lane 5 Lythe Lane 7 Dunhill and Dunhurst 7 Stoner Hill 9 Church Road 12 Mill Lane 25 Ashford Lane 28 Steep Hill and Harrow Lane 34 Steep Marsh, Bowers Common and London Road, Sheet 39 Bedales 42 The Hangers 47 Architects A - Z 48 The following reports also form part of the work of the Steep Parish Plan Steering Group and are available in separate documents, either accessible through the Steep Parish Plan website www.steepparishplan.org.uk or from the Steep Parish Clerk Steep Parish Plan 2012 Steep Settlements Character Assessment Steep Local Landscape Character Assessment October 2012 2 Introduction Steep is at the western edge of the Weald, within the Bedales grounds, the Memorial at the foot of the Hangers, with the Downs Library and Lupton Hall are outstanding and to the south. The earliest buildings were are Grade I listed. The influence of the Arts amongst a sporadic pattern of farmsteads and Crafts Movement can also be seen at at the foot of the Hangers’ scarp, which Ashford Chace, the War Memorial and Whiteman in the ‘Origins of Steep’ suggests Village Hall. were settled in early Saxon times. The The other influence that Bedales had on Hampshire Archaeology and Historic Build- Steep was through the parents of its pupils, ings Record confirms these suggestions. All who decided to live locally while their chil- Saints Church dates from 1125 and dren were educated at the School, Edward ‘Restalls’, a timber framed house on its east Thomas and his family being the prime ex- side is thought to be the oldest dwelling in ample.
  • 2010 Annual Report

    2010 Annual Report

    2010 ANNUAL REPORT Table of Contents Letter from the President & CEO ......................................................................................................................5 About The Paley Center for Media ................................................................................................................... 7 Board Lists Board of Trustees ........................................................................................................................................8 Los Angeles Board of Governors ................................................................................................................ 10 Media Council Board of Governors ..............................................................................................................12 Public Programs Media As Community Events ......................................................................................................................14 INSIDEMEDIA Events .................................................................................................................................14 PALEYDOCFEST ......................................................................................................................................20 PALEYFEST: Fall TV Preview Parties ...........................................................................................................21 PALEYFEST: William S. Paley Television Festival ......................................................................................... 22 Robert M.
  • 2009 Annual Report

    2009 Annual Report

    2009 ANNUAL REPORT Table of Contents Letter from the President & CEO ......................................................................................................................5 About The Paley Center for Media ................................................................................................................... 7 Board Lists Board of Trustees ........................................................................................................................................8 Los Angeles Board of Governors ................................................................................................................ 10 Media Council Board of Governors ..............................................................................................................12 Public Programs PALEYDOCEVENTS ..................................................................................................................................14 INSIDEMEDIA Events .................................................................................................................................15 PALEYDOCFEST .......................................................................................................................................19 PALEYFEST: Fall TV Preview Parties ..........................................................................................................20 PALEYFEST: William S. Paley Television Festival ..........................................................................................21 Robert M.