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Unbecoming Adults: Adolescence and the Technologies of Difference in Post
Unbecoming Adults: Adolescence and the Technologies of Difference in Post-1960s US Ethnic Literature and Culture DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By James K. Harris, M.A. Graduate Program in English The Ohio State University 2017 Dissertation Committee: Dr. Martin Joseph Ponce, Advisor Dr. Lynn Itagaki Dr. Jian Chen Copyright by James K. Harris 2017 Abstract Adolescence has always been a cultural construction. The designation of a separate space apart from the presumed innocence of childhood and the myths of autonomy and responsibility that come to define adulthood is a surprisingly modern phenomenon. As such, adolescence bears the traces of the ideologies of race, gender, sexuality, and nation that attend so much of the period that calls itself “modernity.” My dissertation asks how writers and artists of color imagine themselves into the archive of coming of age narratives in post-1960s US literature and culture. In thinking about the importance of identity in the period following the advent of nominal civil rights, I offer the “long(er) civil rights movement” as a way of resisting the move to periodize the struggles through which difference has historically accrued meaning in the US nation- state. Each chapter centers around a “technology,” the academy, the body, the entertainment industry, and the internet, which is essential to the formation of adolescent identity in the post-war era, alongside a key term in the lexicon of American culture that accrues added meanings when filtered through the experience of difference. -
La BD Au Québec Une Route Semée D’Embûches Michel Viau
Document généré le 27 sept. 2021 10:07 Québec français La BD au Québec Une route semée d’embûches Michel Viau La bande dessinée à l’école Numéro 149, printemps 2008 URI : https://id.erudit.org/iderudit/1727ac Aller au sommaire du numéro Éditeur(s) Les Publications Québec français ISSN 0316-2052 (imprimé) 1923-5119 (numérique) Découvrir la revue Citer cet article Viau, M. (2008). La BD au Québec : une route semée d’embûches. Québec français, (149), 32–34. Tous droits réservés © Les Publications Québec français, 2008 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ La banc MICHEL VIAU* Louis Cyr, Yves Poissant, 1978. a bande dessinée québécoise, que l'on désigne souvent L'Association catholique des Voyageurs de commerce de Trois- au moyen du sigle BDQ, a une très longue tradition der Rivières commandite, à partir de 1935, des feuilletons adaptés de Lrière elle et son histoire est étroitement liée à celle du Qué romans du terroir qui sont publiés dans plusieurs journaux. Ces bec. C'est toute l'histoire du Québec moderne qui défile à travers histoires véhiculent l'idéologie dominante : retour à la terre, sou la BDQ : de l'urbanisation à la mondialisation, en passant par la mission au clergé, pureté de la race.. -
Looking Back at the Creative Process
IATSE LOCAL 839 MAGAZINE SPRING 2020 ISSUE NO. 9 THE ANIMATION GUILD QUARTERLY SCOOBY-DOO / TESTING PRACTICES LOOKING BACK AT THE CREATIVE PROCESS SPRING 2020 “HAS ALL THE MAKINGS OF A CLASSIC.” TIME OUT NEW YORK “A GAMECHANGER”. INDIEWIRE NETFLIXGUILDS.COM KEYFRAME QUARTERLY MAGAZINE OF THE ANIMATION GUILD, COVER 2 REVISION 1 NETFLIX: KLAUS PUB DATE: 01/30/20 TRIM: 8.5” X 10.875” BLEED: 8.75” X 11.125” ISSUE 09 CONTENTS 12 FRAME X FRAME 42 TRIBUTE 46 FRAME X FRAME Kickstarting a Honoring those personal project who have passed 6 FROM THE 14 AFTER HOURS 44 CALENDAR FEATURES PRESIDENT Introducing The Blanketeers 46 FINAL NOTE 20 EXPANDING THE Remembering 9 EDITOR’S FIBER UNIVERSE Disney, the man NOTE 16 THE LOCAL In Trolls World Tour, Poppy MPI primer, and her crew leave their felted Staff spotlight 11 ART & CRAFT homes to meet troll tribes Tiffany Ford’s from different regions of the color blocks kingdom in an effort to thwart Queen Barb and King Thrash from destroying all the other 28 styles of music. Hitting the road gave the filmmakers an opportunity to invent worlds from the perspective of new fabrics and fibers. 28 HIRING HUMANELY Supervisors and directors in the LA animation industry discuss hiring practices, testing, and the realities of trying to staff a show ethically. 34 ZOINKS! SCOOBY-DOO TURNS 50 20 The original series has been followed by more than a dozen rebooted series and movies, and through it all, artists and animators made sure that “those meddling kids” and a cowardly canine continued to unmask villains. -
George P. Johnson Negro Film Collection LSC.1042
http://oac.cdlib.org/findaid/ark:/13030/tf5s2006kz No online items George P. Johnson Negro Film Collection LSC.1042 Finding aid prepared by Hilda Bohem; machine-readable finding aid created by Caroline Cubé UCLA Library Special Collections Online finding aid last updated on 2020 November 2. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections George P. Johnson Negro Film LSC.1042 1 Collection LSC.1042 Contributing Institution: UCLA Library Special Collections Title: George P. Johnson Negro Film collection Identifier/Call Number: LSC.1042 Physical Description: 35.5 Linear Feet(71 boxes) Date (inclusive): 1916-1977 Abstract: George Perry Johnson (1885-1977) was a writer, producer, and distributor for the Lincoln Motion Picture Company (1916-23). After the company closed, he established and ran the Pacific Coast News Bureau for the dissemination of Negro news of national importance (1923-27). He started the Negro in film collection about the time he started working for Lincoln. The collection consists of newspaper clippings, photographs, publicity material, posters, correspondence, and business records related to early Black film companies, Black films, films with Black casts, and Black musicians, sports figures and entertainers. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: English . Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Portions of this collection are available on microfilm (12 reels) in UCLA Library Special Collections. -
Index to Volume 29 January to December 2019 Compiled by Patricia Coward
THE INTERNATIONAL FILM MAGAZINE Index to Volume 29 January to December 2019 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND SUBJECT INDEX Film review titles are also Akbari, Mania 6:18 Anchors Away 12:44, 46 Korean Film Archive, Seoul 3:8 archives of television material Spielberg’s campaign for four- included and are indicated by Akerman, Chantal 11:47, 92(b) Ancient Law, The 1/2:44, 45; 6:32 Stanley Kubrick 12:32 collected by 11:19 week theatrical release 5:5 (r) after the reference; Akhavan, Desiree 3:95; 6:15 Andersen, Thom 4:81 Library and Archives Richard Billingham 4:44 BAFTA 4:11, to Sue (b) after reference indicates Akin, Fatih 4:19 Anderson, Gillian 12:17 Canada, Ottawa 4:80 Jef Cornelis’s Bruce-Smith 3:5 a book review; Akin, Levan 7:29 Anderson, Laurie 4:13 Library of Congress, Washington documentaries 8:12-3 Awful Truth, The (1937) 9:42, 46 Akingbade, Ayo 8:31 Anderson, Lindsay 9:6 1/2:14; 4:80; 6:81 Josephine Deckers’s Madeline’s Axiom 7:11 A Akinnuoye-Agbaje, Adewale 8:42 Anderson, Paul Thomas Museum of Modern Art (MoMA), Madeline 6:8-9, 66(r) Ayeh, Jaygann 8:22 Abbas, Hiam 1/2:47; 12:35 Akinola, Segun 10:44 1/2:24, 38; 4:25; 11:31, 34 New York 1/2:45; 6:81 Flaherty Seminar 2019, Ayer, David 10:31 Abbasi, Ali Akrami, Jamsheed 11:83 Anderson, Wes 1/2:24, 36; 5:7; 11:6 National Library of Scotland Hamilton 10:14-5 Ayoade, Richard -
Québécitude and the Visual Contextualization of Language In
Alternative Francophone vol.1, 9(2016) : 136-155 http://ejournals.library.ualberta.ca/index.php/af Y a-t-il des traces du sentiment de l’identité canadienne dans la BD québécoise? Mira Falardeau Chercheure indépendante Parler de l’identité canadienne dans une forme d’expression québécoise revient à questionner les fondements de l’identité québécoise, avec toutes les oppositions, pour ne pas dire les contradictions inhérentes au propos. Notre postulat soutient que ces deux identités se recoupent, même si dans son discours, la culture québécoise se distingue habituellement par sa différence et sa fierté de l’être. Dans les faits, les deux cultures sont les plus souvent imbriquées, l’une faisant partie de l’autre, aussi bien du point de vue géo — politique que culturel. La BD, art par excellence du symbole et de la litote, a su synthétiser ces points de vue et à travers six œuvres sélectionnées chez six grands artistes de la BD québécoise, échelonnées de 1900 à nos jours, nous tentons ici d’éclairer ces tiraillements et de démontrer comment ces mouvements parfois antagonistes donnent lieu à une parole dynamique et représentative. Baptiste, le cocasse diplomate international, Onésime et les ruraux de Chartier, le super antihéros loufoque Capitaine Kébec, le Carcajou fripon amérindien de Laniel, la citadine solitaire du métro de Doucet, enfin Paul face à la société québécoise, tous à leur façon sont les chantres d’une façon de voir qui nous réunit à travers nos divergences. De notre projecteur, nous éclairerons tout d’abord leur tonalité de base. Puis, dans le sillon ainsi creusé, nous soulignerons la fibre particulière que chaque œuvre vient flatter et éventuellement, les ambiguïtés du discours de ces grandes figures de notre imaginaire collectif. -
Assimilating Video
Assimilating Video FEDERICO WINDHAUSEN At the end of the 1990s, New York City’s experimental-film scene seemed to be undergoing a revitalization, sparked by alternative screening venues such as the Robert Beck Memorial Cinema on the Lower East Side and Ocularis in Williamsburg, as well as programming initiatives at local museums, including The Cool World , the Whitney’s extensive survey of American experimental film and video art. A round - table of critics, curators, and practitioners, convened in 2000 by The Village Voice to consider this development, gave the overall impression of a thriving community with a catholic appreciation of different moving-image media. When critic J. Hoberman asked the group whether the film-video distinction was “still even an issue,” the answers were fairly prosaic, touching on the preference for format hybridity among students and the lack of acceptable video projection in classrooms. Doubtless aware of the long history of internal dissent and cross-disciplinary carping within such cir - cles, Hoberman capped the whole exchange by labeling it “very polite.” 1 Presumably also aware that medium-specificity had functioned as a discur - sive flash point for many years in experimental-film communities, Hoberman noted, in a brief postscript published later, that “the unexpected popularity” of the MoMA’s Big As Life retrospective of 8mm experimental film, “along with such other instances as Stan Brakhage’s frame-by-frame painting or the very different projection pieces orchestrated by Ken Jacobs and Luis Recoder . served as an example of ‘film outliving its death.’” 2 Roughly six months later, in The New York Press , critic and programmer Ed Halter also addressed the continuing relevance of photochemical film, but the position he articulates sharply contrasts with the roundtable’s picture of equable pluralism. -
Doment Resume
DOMENT RESUME ED 033 929 TE 001 560 TITLE 3E-Flicks: Review of 35 Short Films. INSIITUTICN Arizona State Univ., Tempe. EPEA Inst. in Media and the Teaching of English. SFons Agency Office of Education (CHEW) , Washington, L.C. Pub Date 69 Note 64F EDRS Price ELKS Price MF-$0.50 HC-$3.20 DescriEtcrs Audiovisual Aids, Audiovisual Communication, *English Instruction, *Films, *Film Study, *Instructional Aids, Instructional Materials, Multimedia Instruction, Sound Films, *Teaching Guides, Thematic AFFrcach Abstract Comments about these short films, vritten by participants of the EELA Institute in Media and the Teaching of English, include an abstract of the filmos main points, a Flot synopsis, auropriate age level et the audience, strengths and veakenesses of the film, possible unit themes cr topics to be developed around the filv, a list of books and additional films that have parallel themes, and discussion questions. Also noted for each film are the running time, ccicr cr black- and -white, the distributor, and the rental fee. Cartoons, documentaries, mood pieces, animaticns, and filmed short stories are listed, but none of the films are "educational," at least not in the usual sense." (LH) @EPPINito eview of @ 3 @hort films ['Waken by the participanis of the §nsuLE.in Redia and theIReacithigof ®hglish )17 Y.S. IMMO Of 181.11 MAIM & MUM Offia* EDUCATION 11113 ROM& RAS MB MOM=EXACTLY AS KM III1* MON OR OIMAIGION °MARIAM& II. POIMS OfVal 01 OPINIONS SUM I0 1101 IMISSANY MEM WICKorna Of MCA= POSITION OR POLICY. PREFACE During the pastsummer, 16 participants in the EPMInstitute in Media the Teaching ofEnglish at Arizona and State Universityviewed and discussed35 short films. -
“A Peaceful Message Needs to Be Sent to the World” -A.R.Rahman
Friday, June 26, 2015 www.updateweekly.com 1 Vol. 3 | Issue 4 | Friday, June 26, 2015 | Weekly | Ph. 289-914-5796 | [email protected] | www.updateweekly.com | $ 1 “A peaceful message needs to be sent to the world” -A.R.Rahman Exclusive Interview- Usha Pudukkotai terial from his illustri- landmark scores such ous career, which has as Roja, Bombay, spanned two decades. Dilse, Taal, Lagaan, A two-time Academy Vandemataram, Jod- Award winner, A.R. haa Akbar, Delhi 6, Rahman was hailed Slumdog Millionaire, by Time magazine as 127 Hours, Rockstar, “the musician who has Couples Retreat, Peo- nternationally renowned musician and helped redefine con- ple Like Us, High- Icomposer A.R. Rahman is spinning his temporary Indian music” and is way, Million Dollar magic in his 2015 North American tour. one the world’s best-selling re- Arm, and The Hun- The JBL Presentation “A.R. Rahman: cording artists of all time. dred-Foot Journey. The Intimate Concert Tour” kicked off His accolades include winning He is currently work- May 21, 2015 in Huntington, NY at The two Academy Awards, two ing on a composition Paramount and is traveling to major cities Grammy Awards,, a BAFTA for the forthcoming across the U.S. and Canada including the Award, a Golden Globe, four film Pele, a biopic Beacon theatre in New York City, The National Film Awards, twenty in Boston. chronicling the leg- Auditorium Theatre in Chicago and Nokia nine Filmfare awards and countless oth- Rahman has sold more than 150 million endary Brazilian soccer player’s life. Theatre L.A. -
La Revanche Des Bédéistes Québécois Francine Bordeleau
Document generated on 09/29/2021 3:43 p.m. Lettres québécoises La revue de l'actualité littéraire La revanche des bédéistes québécois Francine Bordeleau Number 118, Summer 2005 URI: https://id.erudit.org/iderudit/37090ac See table of contents Publisher(s) Productions Valmont ISSN 0382-084X (print) 1923-239X (digital) Explore this journal Cite this article Bordeleau, F. (2005). La revanche des bédéistes québécois. Lettres québécoises, (118), 13–16. Tous droits réservés © Productions Valmont, 2005 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ FRANCINE BORDELEAU DOSSIER se vendra surtout au Québec », dit ainsi le bédéiste-caricaturiste. N'empêche : Caster man même l'a approché, et non l'inverse, après avoir découvert Smog. La maison La revanche estime donc que l'ineffable psy a un certain potentiel outre-mer. D'autres bédéistes, eux, sont carrément des « salariés » de maisons françaises. C'est par exemple le cas de François Miville-Deschênes qui, de son atelier de New Richmond, planche sur la sent Millénaire (dix tomes prévus) pour Les Humanoïdes des bédéistes associés, ou de Thierry Labrosse, créateur de la série Moréa (une héroïne de science- fiction) publiée par Soleil, un autre géant de la BD. -
The Animated Movie Guide
THE ANIMATED MOVIE GUIDE Jerry Beck Contributing Writers Martin Goodman Andrew Leal W. R. Miller Fred Patten An A Cappella Book Library of Congress Cataloging-in-Publication Data Beck, Jerry. The animated movie guide / Jerry Beck.— 1st ed. p. cm. “An A Cappella book.” Includes index. ISBN 1-55652-591-5 1. Animated films—Catalogs. I. Title. NC1765.B367 2005 016.79143’75—dc22 2005008629 Front cover design: Leslie Cabarga Interior design: Rattray Design All images courtesy of Cartoon Research Inc. Front cover images (clockwise from top left): Photograph from the motion picture Shrek ™ & © 2001 DreamWorks L.L.C. and PDI, reprinted with permission by DreamWorks Animation; Photograph from the motion picture Ghost in the Shell 2 ™ & © 2004 DreamWorks L.L.C. and PDI, reprinted with permission by DreamWorks Animation; Mutant Aliens © Bill Plympton; Gulliver’s Travels. Back cover images (left to right): Johnny the Giant Killer, Gulliver’s Travels, The Snow Queen © 2005 by Jerry Beck All rights reserved First edition Published by A Cappella Books An Imprint of Chicago Review Press, Incorporated 814 North Franklin Street Chicago, Illinois 60610 ISBN 1-55652-591-5 Printed in the United States of America 5 4 3 2 1 For Marea Contents Acknowledgments vii Introduction ix About the Author and Contributors’ Biographies xiii Chronological List of Animated Features xv Alphabetical Entries 1 Appendix 1: Limited Release Animated Features 325 Appendix 2: Top 60 Animated Features Never Theatrically Released in the United States 327 Appendix 3: Top 20 Live-Action Films Featuring Great Animation 333 Index 335 Acknowledgments his book would not be as complete, as accurate, or as fun without the help of my ded- icated friends and enthusiastic colleagues. -
Settlement Agreement
IN THE UNITED STATES DISTRICT COURT FOR THE CENTRAL DISTRICT OF CALIFORNIA IN RE: TOYOTA MOTOR CORP. Case No. 8:10ML2151 JVS (FMOx) UNINTENDED ACCELERATION MARKETING, SALES PRACTICES, AND PRODUCTS LIABILITY LITIGATION This Document Relates to: ALL ECONOMIC LOSS ACTIONS SETTLEMENT AGREEMENT TABLE OF CONTENTS Section Page I. DEFINITIONS ....................................................................................................... 3 II. SETTLEMENT RELIEF ..................................................................................... 11 III. NOTICE TO THE CLASS .................................................................................. 19 IV. REQUESTS FOR EXCLUSION ......................................................................... 25 V. OBJECTIONS TO SETTLEMENT .................................................................... 26 VI. RELEASE AND WAIVER ................................................................................. 28 VII. ATTORNEYS’ FEES AND EXPENSES AND INDIVIDUAL PLAINTIFF AND CLASS REPRESENTATIVE AWARDS ........................................................... 32 VIII. PRELIMINARY APPROVAL ORDER, FINAL ORDER, FINAL JUDGMENT AND RELATED ORDERS ................................................................................. 35 IX. MODIFICATION OR TERMINATION OF THIS AGREEMENT ................... 37 X. GENERAL MATTERS AND RESERVATIONS ............................................... 40 i TABLE OF EXHIBITS Document Exhibit Number List of Economic Loss Actions in the MDL ..........................................................................1