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2016 Spring Newsletter
Official Fan Club Site—www.juicenewtonfanclub.com 2016 Spring Newsletter Hi Everyone, The support and love for Juice has never been as powerful and as proven as it was over the last few months. This issue of the newsletter will feature some new information about Juice and will introduce you to the 2016 “O” Award winner. Paul 1 A Hit All Over Again I am pleased to announce that Juice is once again on the charts with the song that is as classy as she is. ‘Angel of The Morning’ is once again on the charts thanks to the blockbuster movie ‘Deadpool.’ (more on this later) A whole new generation of fans are listening to Juice and have joined the fan club or in- quired about the song. Congratulations Juice!! 'Deadpool' Director Tim Miller and Songwriter Chip Taylor on the Film's Soft-Rock Center- piece, 'Angel in the Morning' (http://www.billboard.com/articles/business/6882938/behind-deadpool-soundtrack-tim-miller-chiptaylor-juice-newton-angel-in-the-morning) “There'll be no strings to bind your hands / Not if my love can't bind your heart.” That’s the first thing you hear over the Marvel logo in the No. 1 movie in the country, Deadpool. As '80s pop country singer Juice Newton sings about an illicit love affair she just can’t shake in her 1981 hit “Angel of the Morning,” Ryan Reynolds’ f-bomb blasting anti-hero gets busy kicking ass. It makes zero sense on the surface, and yet director Tim Miller says that the song was the only track con- sidered to open the superhero flick that grossed another $55 million over the weekend to easily hold on to the No. -
Blockbusters: Films and the Books About Them Display Maggie Mason Smith Clemson University, [email protected]
Clemson University TigerPrints Presentations University Libraries 5-2017 Blockbusters: Films and the Books About Them Display Maggie Mason Smith Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/lib_pres Part of the Library and Information Science Commons Recommended Citation Mason Smith, Maggie, "Blockbusters: Films and the Books About Them Display" (2017). Presentations. 105. https://tigerprints.clemson.edu/lib_pres/105 This Display is brought to you for free and open access by the University Libraries at TigerPrints. It has been accepted for inclusion in Presentations by an authorized administrator of TigerPrints. For more information, please contact [email protected]. Blockbusters: Films and the Books About Them Display May 2017 Blockbusters: Films and the Books About Them Display Photograph taken by Micki Reid, Cooper Library Public Information Coordinator Display Description The Summer Blockbuster Season has started! Along with some great films, our new display features books about the making of blockbusters and their cultural impact as well as books on famous blockbuster directors Spielberg, Lucas, and Cameron. Come by Cooper throughout the month of May to check out the Star Wars series and Star Wars Propaganda; Jaws and Just When you thought it was Safe: A Jaws Companion; The Dark Knight trilogy and Hunting the Dark Knight; plus much more! *Blockbusters on display were chosen based on AMC’s list of Top 100 Blockbusters and Box Office Mojo’s list of All Time Domestic Grosses. - Posted on Clemson University Libraries’ Blog, May 2nd 2017 Films on Display • The Amazing Spider-Man. Dir. Marc Webb. Perf. Andrew Garfield, Emma Stone, Rhys Ifans. -
One Two Films / Blackbird Pictures
www.triciagray.com FILM THE TALE, HBO/A Luminous Mind Production/ One Two Films / Blackbird Pictures- Drama/ Period 1973 Producers: Lawrence Inglee, Laura Rister, Reka Posta, Oren Moverman Director: Jennifer Fox With: Laura Dern, Ellen Burstyn, Elizabeth Debicki, Isabelle Nelisse, Sebastian Koch KID VS MONSTERS, Dark Dunes Productions Producers: Lawrie Brewster, Adamo P. Cultrano, Kenneth Burke Director: Sultan Saeed Al Darmaki with Malcolm McDowell, Armand Assante, Lance Henriksen, Francesca Eastwood THE BABYMAKERS, Duck Attack Films, Blumhouse Productions Producers: Jason Blum, Jay Chandrasekhar, Brian Kavanaugh-Jones, Bill Gerber, Jeanette Brill, Gerard DiNardi Director: Jay Chandrasekhar with Olivia Munn, Paul Schneider, Jay Chandrasekhar, Kevin Heffernan, Nat Faxon, MC Gainey OPEN HOUSE, Stonebrook Entertainment Producers: Mitchell Goldman, Jack Schuster, Randy Wayne Director: Andrew Paquin with Anna Paquin, Stephen Moyer, Brian Geraghty, Rachel Blanchard, Tricia Helfer FREELOADERS, Broken Lizard Industries, ATG Productions Producers: Adam Duritz, Richard Perello, Matthew Pritzger Director: Dan Rosen with Clifton Collins Jr, Jane Seymour, Jay Chandrasekhar, Kevin Heffernan, Steve Lemme, Paul Soter, Erik Stolhanske, Adam Duritz, Sir Richard Branson THE SLAMMIN’ SALMON, Broken Lizard Industries Producers: Peter Lengyel, Richard Perello Director: Kevin Heffernan with Jay Chandrasekhar, Kevin Heffernan, Steve Lemme, Paul Soter, Erik Stolhanske, Michael Clarke Duncan, Morgan Fairchild, Lance Henriksen DUKES OF HAZZARD 2: The Beginning, -
Models of Time Travel
MODELS OF TIME TRAVEL A COMPARATIVE STUDY USING FILMS Guy Roland Micklethwait A thesis submitted for the degree of Doctor of Philosophy of The Australian National University July 2012 National Centre for the Public Awareness of Science ANU College of Physical and Mathematical Sciences APPENDIX I: FILMS REVIEWED Each of the following film reviews has been reduced to two pages. The first page of each of each review is objective; it includes factual information about the film and a synopsis not of the plot, but of how temporal phenomena were treated in the plot. The second page of the review is subjective; it includes the genre where I placed the film, my general comments and then a brief discussion about which model of time I felt was being used and why. It finishes with a diagrammatic representation of the timeline used in the film. Note that if a film has only one diagram, it is because the different journeys are using the same model of time in the same way. Sometimes several journeys are made. The present moment on any timeline is always taken at the start point of the first time travel journey, which is placed at the origin of the graph. The blue lines with arrows show where the time traveller’s trip began and ended. They can also be used to show how information is transmitted from one point on the timeline to another. When choosing a model of time for a particular film, I am not looking at what happened in the plot, but rather the type of timeline used in the film to describe the possible outcomes, as opposed to what happened. -
Digital Literacy and Citizenship in the 21St Century Educating, Empowering, and Protecting America’S Kids a Common Sense Media White Paper
Digital Literacy and Citizenship in the 21st Century Educating, Empowering, and Protecting America’s Kids A Common Sense Media White Paper March 2011 / Common Sense Media Adults may see it as digital life – but to kids, it’s “just life.” Welcome to their world. » 93% of kids 12 to 17 are online 1 » More than 35 hours of videos are uploaded to YouTube every minute 2 » A majority of teens view their cell phone as the key to their social life 3 » If Facebook were a country, it would be the third most populous in the world 4 1 Pew Internet and American Life Project, “Generations Online in 2009.” 2 YouTube Blog, “Great Scott! Over 35 Hours of Video Uploaded Every Minute to YouTube,” November 10, 2010. 3 CTIA – The Wireless Association and Harris Interactive, “Teenagers: A Generation Unplugged,” September 12, 2008. 4 San Francisco Chronicle, “The Many Facets of Facebook,” January 1, 2011. What Is Digital Life? Digital life describes the media world that our kids inhabit 24/7 – online, on mobile phones and other devices, and anywhere media is displayed. By definition, digital media is participatory. Users can create content, and anything created in this digital life becomes instantly replicable and viewable by vast invisible audiences. Kids use digital media to socialize, do their homework, express themselves, and connect to the world. New technologies give our kids unprecedented powers of creation and communication, making the world more accessible at earlier and earlier ages. The Need for Digital Literacy and Citizenship This dynamic new world requires new comprehension and communication skills – as well as new codes of conduct – to ensure that these powerful media and technologies are used responsibly and ethically. -
Before the FEDERAL COMMUNICATIONS COMMISSION Washington, D.C
Before the FEDERAL COMMUNICATIONS COMMISSION Washington, D.C. 20554 In the Matter of Implementation of the Child Safe Viewing Act; MB Docket No. 09-26 Examination of Parental Control Technologies for Video or Audio Programming REPLY COMMENTS OF MICROSOFT CORP. Microsoft Corp. takes this opportunity to address two issues raised in the comments filed in the above-captioned proceeding. First, the vast majority of commenters have addressed programming comparable to that provided by broadcast television, underscoring that this proceeding should focus on the technologies available to parents to control access to traditional television programming. Second, as described in its opening comments, Microsoft takes very seriously the goal of protecting children from content their parents deem inappropriate.1 In that spirit, Microsoft seeks to clarify Common Sense Media’s description of certain Xbox functionalities. As Microsoft has explained, the Commission should limit its inquiry under the Child Safe Viewing Act (“CSVA”) to programming that is comparable to that provided by a broadcast television station rather than any other content that potentially could be displayed on a video screen.2 The record confirms that this is the appropriate scope for the Commission’s report. Numerous commenters ranging from concerned parents, to video programmers and distributors, to public interest groups, to technology companies 1 See generally Comments of Microsoft Corp. (filed April 16, 2009) (“Microsoft Comments”). 2 See id. at 3-4 . have addressed content that -
The Common Sense Media Use by Kids Census: Age Zero to Eight
2017 THE COMMON SENSE MEDIA USE BY KIDS CENSUS: AGE ZERO TO EIGHT Common Sense is a nonprofit, nonpartisan organization dedicated to improving the lives of kids, families, and educators by providing the trustworthy information, education, and independent voice they need to thrive in a world of media and technology. Our independent research is designed to provide parents, educators, health organizations, and policymakers with reliable, independent data on children’s use of media and technology and the impact it has on their physical, emotional, social, and intellectual development. For more information, visit www.commonsense.org/research. Common Sense is grateful for the generous support and underwriting that funded this research report. The Morgan Peter and The David and Lucile Family Foundation Helen Bing Packard Foundation Carnegie Corporation of New York The Grable Foundation Eva and Bill Price John H.N. Fisher and Jennifer Caldwell EXECUTIVE SUMMARY Opening Letter 4 Essays 6 Jenny Radesky: Taking Advantage of Real Opportunities to Help Families Overwhelmed by Technology . 6 Michael H. Levine: M Is for Mobile . 6 Julián Castro: A Narrowing but Still Troubling Divide . 8 At a Glance: Evolution of Kids’ Media Use 2011–2017 9 Introduction 11 Methodology 12 Survey Sample . 12 Media Definitions . 12 Demographic Definitions. 13 Presentation of Data in the Text . 13 Key Findings 15 Conclusion 29 Board of Directors 30 Board of Advisors 30 To access the full research report, visit www commonsense org/zero-to-eight-census At Common Sense, our mission has always been to help families navigate the vast and ever-changing landscape of media and technology. -
Terminator Dark Fate Sequel
Terminator Dark Fate Sequel Telesthetic Walsh withing: he wags his subzones loosely and nope. Moth-eaten Felice snarl choicely while Dell always lapidify his gregariousness magic inertly, he honours so inertly. Sometimes unsentenced Pate valuate her sacristan fussily, but draconian Oral demodulating tunelessly or lay-offs athletically. Want to keep up with breaking news? Schwarzenegger against a female Terminator, lacked the visceral urgency of the first two films. The Very Excellent Mr. TV and web series. Soundtrack Will Have You Floating Ho. Remember how he could run like the wind, and transform his hands into blades? When the characters talk about how the future is what you make, they are speaking against the logic of the plot rather than organically from it. 'Dark Fate' is our best 'Terminator' sequel in over 20 years. Record in GA event if ads are blocked. Interviews, commentary, and recommendations old and new. Make a donation to support our coverage. Schwarzenegger appears as the titular character but does not receive top billing. Gebru has been treated completely inappropriately, with intense disrespect, and she deserves an apology. Or did the discovery of future Skynet technology start a branching timeline where the apocalypse came via Cyberdyne instead of Skynet? Need help contacting your corporate administrator regarding your Rolling Stone Digital access? We know that dark fate sequel. Judgment Day could be a necessary event that is ultimately the only way to ensure the future of the human race. Beloved Brendan Fraser Movie Has Been Blowing Up On Stream. Underscore may be freely distributed under the MIT license. -
The Terminator by John Wills
The Terminator By John Wills “The Terminator” is a cult time-travel story pitting hu- mans against machines. Authored and directed by James Cameron, the movie features Arnold Schwarzenegger, Linda Hamilton and Michael Biehn in leading roles. It launched Cameron as a major film di- rector, and, along with “Conan the Barbarian” (1982), established Schwarzenegger as a box office star. James Cameron directed his first movie “Xenogenesis” in 1978. A 12-minute long, $20,000 picture, “Xenogenesis” depicted a young man and woman trapped in a spaceship dominated by power- ful and hostile robots. It introduced what would be- come enduring Cameron themes: space exploration, machine sentience and epic scale. In the early 1980s, Cameron worked with Roger Corman on a number of film projects, assisting with special effects and the design of sets, before directing “Piranha II” (1981) as his debut feature. Cameron then turned to writing a science fiction movie script based around a cyborg from 2029AD travelling through time to con- Artwork from the cover of the film’s DVD release by MGM temporary Los Angeles to kill a waitress whose as Home Entertainment. The Library of Congress Collection. yet unborn son is destined to lead a resistance movement against a future cyborg army. With the input of friend Bill Wisher along with producer Gale weeks. However, critical reception hinted at longer- Anne Hurd (Hurd and Cameron had both worked for lasting appeal. “Variety” enthused over the picture: Roger Corman), Cameron finished a draft script in “a blazing, cinematic comic book, full of virtuoso May 1982. After some trouble finding industry back- moviemaking, terrific momentum, solid performances ers, Orion agreed to distribute the picture with and a compelling story.” Janet Maslin for the “New Hemdale Pictures financing it. -
Before the FEDERAL COMMUNICATIONS COMMISSION Washington, DC 20554
Before the FEDERAL COMMUNICATIONS COMMISSION Washington, DC 20554 In the Matter of ) ) Bridging the Digital Divide for Low-Income ) WC Docket No. 17-287 Consumers ) ) Lifeline and Link Up Reform and ) WC Docket No. 11-42 Modernization ) ) WC Docket No. 09-197 Telecommunications Carriers Eligible for ) Universal Service Support COMMENTS OF COMMON SENSE KIDS ACTION James P. Steyer Founder and CEO Common Sense Media Ariel Fox Johnson Senior Counsel, Policy and Privacy Common Sense Kids Action 650 Townsend Street, Suite 435 San Francisco, CA 94103 February 21, 2018 TABLE OF CONTENTS I. Introduction 1 II. Common Sense’s Efforts to Close the Digital Divide 3 III. The Homework Gap Continues to Put Students at a Disadvantage 4 IV. The Modernized Lifeline Program Is Well Positioned to Close the Homework Gap and Narrow the Digital Divide 7 V. The NPRM and NOI Make Shortsighted Recommendations that Will Further the Digital Divide and Decimate the Program 9 A. Arbitrary Caps Will Disconnect Kids 9 i. A Hard Cap Budget Will Needlessly Hurt Families and the Lifeline Program 9 ii. A Benefit Limit Is Particularly Cruel to the Most Vulnerable Populations, Including Children 11 B. Barring Resellers from Lifeline Will Cut Off Kids and Families 12 C. Removing Wifi and Tethering Requirements Will Widen the Homework Gap 12 VI. Conclusion 13 I. Introduction Common Sense Kids Action, the policy arm of Common Sense Media, (collectively “Common Sense”) respectfully submits these comments to the Federal Communications Commission (“Commission” or “FCC”) in the above-captioned proceeding. Common Sense is the nation’s leading independent nonprofit organization dedicated to helping kids and families thrive in a world of media and technology. -
Mako Mori and the Gender Politics of Pacific Rim (2013)
Journal of American Studies of Turkey 39 (2014): 113-122 Mako Mori and the Gender Politics of Pacific Rim (2013) Nathanael Hood Carefully balancing on the top of an escape pod somewhere in the South China Sea, pilots Raleigh Becket (Charlie Hunnam) and Mako Mori (Rinko Kukuchi) embrace after successfully saving the world from an invasion of giant, extra-dimensional monsters known as “kaiju.” This ending from Guillermo del Toro’s Pacific Rim (2013) seems to cohere to traditional narrative tropes within the Western action genre wherein the hero triumphantly kisses his love interest after a great struggle, battle, or fight. And yet, a close inspection of this scene reveals a shocking subversion of this reliable concluding scenario: Becket and Mori do not kiss. They draw close, touch foreheads, and even lean in for a hug as the screen cuts to the credits. But again, they do not consummate their victory with a kiss. The absence of a kiss wasn’t an oversight on del Toro’s part. In fact, it was a conscious creative choice, recounting in an interview that he had filmed three different versions of the scene including one where they did kiss. Del Toro said: “We did one version where they kiss and it almost felt weird. They’re good friends, they’re pals, good colleagues” (qtd. Faraci). The idea that two (supposedly) heterosexual heroes would not fall in love during the course of a film and instead become good friends seems oddly counter-intuitive. For western audiences, the development of romantic feelings concluding with a kiss between the protagonist and their love interest is quintessential for creating a sense of narrative closure (Doane 196). -
Cg Garage Podcast #258 | Tim Miller Director, “Terminator: Dark Fate”
CG GARAGE PODCAST #258 | TIM MILLER DIRECTOR, “TERMINATOR: DARK FATE” “Terminator: Dark Fate,” “Love, Death & Robots” and “Deadpool” director, Tim Miller, returns to CG Garage to offer a human perspective on the Hollywood machine. Much has changed in the three years since director Tim Miller recorded the 100th episode of the CG Garage podcast. After the runaway success of Deadpool, he returned to the big screen with Terminator: Dark Fate. At the same time, his Heavy Metal-inspired anthology series Love, Death & Robots busted boundaries via Netflix. Contents Useful links Linda, Arnie and the cast Tim Miller on IMDb > Deadpool, Logan & Joker Blur Studio > The Love, Death & Robots effect Love, Death & Robots on Netflix > Working with David Fincher Love, Death & Robots at Chaos Group > 1 Chris Nichols: All right Tim. Like I said, I just got a Facebook reminder today that it's been three years since we last recorded a conversation, probably seeing you. Tim Miller: It seems like only yesterday. Chris Nichols: It was fun though, right? Tim Miller: Yeah, it was at the Gnomon School, so we had a little bit of an audience in, and Joe. It's always great doing it with other people because you're not ... Not that this is not awesome at this moment, but you people to bounce off of and it's a little bit more of a tennis match at times, which is interesting. Chris Nichols: Right. Right. Right. There's a lot of things that have happened in those three years. Two big things that have happened since then.