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Let's Count: Evaluation of a Pilot Early Mathematics Program in Low
Let’s Count: Evaluation of a Pilot Early Mathematics Program in Low Socioeconomic Locations in Australia Bob Perry Ann Gervasoni Charles Sturt University Australian Catholic University <[email protected]> <[email protected]> Sue Dockett Charles Sturt University <[email protected]> The Let’s Count pilot early mathematics program was implemented in five early childhood educational contexts across Australia during 2011. The program used specifically formulated materials and workshops to enlist the assistance of early childhood educators to work with parents and other family members of children in their settings to help develop these children’s awareness, confidence and skills in early mathematics. The pilot program was evaluated by the authors of this paper using a multi-methods approach. The evaluation was focused on the success of the Let’s Count program in bringing early childhood educators, parents and other family members together, to enhance children’s mathematical engagement, learning outcomes and dispositions. Let’s Count is a new early mathematics program commissioned by The Smith Family to assist parents and other family members to help their young children aged 3-5 years notice, explore and talk about powerful mathematical ideas in ways that develop positive dispositions to learning as well as mathematical knowledge and skills. It relies on parents and other family members providing the opportunities for the children to engage with, talk about, and document the mathematics in their everyday lives, and to extend it in ways that are relevant to them. Let’s Count is not a mathematics teaching program. However, it does involve early childhood educators in the role of advisers to parents and family members of the children in their settings. -
An Analysis of Hegemonic Social Structures in "Friends"
"I'LL BE THERE FOR YOU" IF YOU ARE JUST LIKE ME: AN ANALYSIS OF HEGEMONIC SOCIAL STRUCTURES IN "FRIENDS" Lisa Marie Marshall A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2007 Committee: Katherine A. Bradshaw, Advisor Audrey E. Ellenwood Graduate Faculty Representative James C. Foust Lynda Dee Dixon © 2007 Lisa Marshall All Rights Reserved iii ABSTRACT Katherine A. Bradshaw, Advisor The purpose of this dissertation is to analyze the dominant ideologies and hegemonic social constructs the television series Friends communicates in regard to friendship practices, gender roles, racial representations, and social class in order to suggest relationships between the series and social patterns in the broader culture. This dissertation describes the importance of studying television content and its relationship to media culture and social influence. The analysis included a quantitative content analysis of friendship maintenance, and a qualitative textual analysis of alternative families, gender, race, and class representations. The analysis found the characters displayed actions of selectivity, only accepting a small group of friends in their social circle based on friendship, gender, race, and social class distinctions as the six characters formed a culture that no one else was allowed to enter. iv ACKNOWLEDGMENTS This project stems from countless years of watching and appreciating television. When I was in college, a good friend told me about a series that featured six young people who discussed their lives over countless cups of coffee. Even though the series was in its seventh year at the time, I did not start to watch the show until that season. -
NOT ASHAMED a Pastor, a Boy Scout, and a Scientist Were the Only
NOT ASHAMED A pastor, a boy scout, and a scientist were the only passengers on a small plane. The pilot came back to the cabin and explained that the plane was going down but there were only three parachutes and four people. The pilot then added, "I should have one of the parachutes because I have a wife and three small children." So he took one and jumped. The scientist jumped up almost immediately and said, "I should have one of the parachutes because I am the smartest man in the world and everyone needs me." So he took one and jumped. The pastor turned to the Boy Scout and with a sad smile said, as I am sure that all of you would, "You are young and I have lived a rich life, so you take the remaining parachute, and I’ll go down with the plane." Then the Boy Scout said, "Relax, pastor, the world’s smartest man just jumped out of the plane with my backpack!" One man’s boast can be another man’s salvation. Paul had many reasons to boast but he chose to boast in the Gospel. Rom 1:16 I am not ashamed of the gospel, because it is the power of God for the salvation of everyone who believes: first for the Jew, then for the Gentile. 17 For in the gospel a righteousness from God is revealed, a righteousness that is by faith from first to last, just as it is written: "The righteous will live by faith." Today we are starting a new series called Romans -Unashamed, Undeserved, Unstoppable. -
Crossmedia Adaptation and the Development of Continuity in the Dc Animated Universe
“INFINITE EARTHS”: CROSSMEDIA ADAPTATION AND THE DEVELOPMENT OF CONTINUITY IN THE DC ANIMATED UNIVERSE Alex Nader A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2015 Committee: Jeff Brown, Advisor Becca Cragin © 2015 Alexander Nader All Rights Reserved iii ABSTRACT Jeff Brown, Advisor This thesis examines the process of adapting comic book properties into other visual media. I focus on the DC Animated Universe, the popular adaptation of DC Comics characters and concepts into all-ages programming. This adapted universe started with Batman: The Animated Series and comprised several shows on multiple networks, all of which fit into a shared universe based on their comic book counterparts. The adaptation of these properties is heavily reliant to intertextuality across DC Comics media. The shared universe developed within the television medium acted as an early example of comic book media adapting the idea of shared universes, a process that has been replicated with extreme financial success by DC and Marvel (in various stages of fruition). I address the process of adapting DC Comics properties in television, dividing it into “strict” or “loose” adaptations, as well as derivative adaptations that add new material to the comic book canon. This process was initially slow, exploding after the first series (Batman: The Animated Series) changed networks and Saturday morning cartoons flourished, allowing for more opportunities for producers to create content. References, crossover episodes, and the later series Justice League Unlimited allowed producers to utilize this shared universe to develop otherwise impossible adaptations that often became lasting additions to DC Comics publishing. -
Regresoa Twin Peaks
REGRESO A TWIN PEAKS COORDINADO POR RAQUEL CRISÓSTOMO Y ENRIC ROS PRIMERA EDICIÓN: mayo de 2017 Índice © del proyecto y del prólogo, Raquel Crisóstomo y Enric Ros © «Los sueños del agente Cooper y de Tony Soprano», entrevista a David Chase publicada originalmente con el título «David Chase on the Legacy of Twin Peaks», por vulture.com, mayo de 2015 © de la traducción de la entrevista, Julia Gómez Sáez, 2017 PRÓLOGO DE LOS COORDINADORES 7 © «Así hicimos Twin Peaks», entrevista a David Lynch publicada originalmente en el libro David Lynch por Lynch, de Chris Rodley, reproducido aquí mediante acuerdo con la editorial Cuenco de plata. LOS SUEÑOS DEL AGENTE COOPER Y DE TONY SOPRANO 11 © de la traducción de la entrevista, Manuel Berasategui Rubio y Javier Lago Bornstein, David Chase 2001 (a pesar de numerosas gestiones, la editorial no ha localizado a estos traductores; queda a su disposición para satisfacer los honorarios de esta reedición de su traducción). ES UNA NOCHE EXTRAÑA: © «Bienvenidos a Lynchtown», de Michel Chion, publicada originalmente en su EL TWIN PEAKS QUE NUNCA EXISTIÓ 19 libro David Lynch, Barcelona, 2003 Nacho Vigalondo © de la traducción de este texto, José Miguel González Marcén, 2003 © «Twin Peaks y la mitología norteamericana: la incursión del agente Cooper en ASÍ HICIMOS TWIN PEAKS 39 la naturaleza salvaje», de Michael Thomas Carroll publicada originalmente con David Lynch el título «Agent cooper’s Errand in the Wilderness: Twin Peaks BIENVENIDOS A LYNCHTOWN and American Mythology», por Literature/Film Quaterly 21.4, 1993 87 © de la traducción de este texto, Julia Gómez Sáez, 2017 Michel Chion © «Diane», de Rick Stoeckel, relato publicado originalmente LOS BOSQUES DEL MAL. -
The Forest Resiliency Burning Pilot Project
R E S O U C The Forest Resiliency Burning Pilot Project December 2018 N A T U R L The Forest Resiliency Burning Pilot Project Report to the Legislature December 2018 Prepared by Washington State Department of Natural Resources and Washington Prescribed Fire Council Cover photo by © John Marshall. ii Executive Summary More than 100 years of fire suppression and land management practices have severely degraded Eastern Washington’s fire-adapted dry forests. Without the regular, low-intensity fires that created their open stand structure and resiliency, tree density has increased and brush and dead fuels have accumulated in the understory. The impact of these changes in combination with longer fire seasons have contributed to back-to-back record-breaking wildfire years, millions spent in firefighting resources and recovery, danger to our communities, and millions of acres of severely burned forest. Forest resiliency burning, also called prescribed fire or controlled burning, returns fire as an essential ecological process to these forests and is an effective tool for reducing fuels and associated risk of severe fires. Forest experts have identified 2.7 million acres of Central and Eastern Washington forests in need of restoration (Haugo et al. 2015). The agency’s 20-year Forest Health Strategic Plan addresses the need to increase the pace and scale of forest restoration treatments, which includes the use of prescribed fire. Successful implementation of prescribed fire in dry forest ecosystems faces a number of challenges, primarily unfavorable weather conditions, smoke management regulations, and some public opposition. Recognizing these challenges, the urgent need for large-scale forest restoration, and the usefulness and benefits of prescribed fire, the Legislature passed Engrossed Substitute House Bill (ESHB) 2928. -
LOGLINE January / February 2020 Volume 13: Number 1 the Screenwriter’S Ezine
LOGLINE January / February 2020 Volume 13: Number 1 The Screenwriter’s eZine Published by: Letter From the Editor The PAGE International Screenwriting Awards It’s a new year and a new day for screenwriters around the 7190 W. Sunset Blvd. #610 Hollywood, CA 90046 world! Here at PAGE HQ we hope you had a wonderful holiday www.pageawards.com season, feel recharged, and are ready to take the next step in your writing career. In this issue: One way to potentially make a major breakthrough: the 2020 LO PAGE Awards contest. Our Early Entry Deadline is now just 1 Latest News From two weeks away – Monday, January 20 – and with our low the PAGE Awards Early Entry Discount rates, now is the very best time to get your script in the running for one of this year’s awards. Many past PAGE Award winners have optioned and sold their scripts, been signed 2 The Writer’s by Hollywood representatives, and built highly successful careers in the industry. Perspective You could be next! Is It Ever “Too Late” to Chase Your Dream? As we begin lucky Volume 13 of the bimonthly LOGLINE eZine, we welcome new Erin Muroski readers to the publication designed to share industry intel and advice with all writers. First, 2019 PAGE Award winner Erin Muroski reflects on her rush to find success, and how she got over it. PAGE Judge Genie Joseph introduces us to three prevailing story 3 The Judge’s P.O.V. styles that inform a film from page to screen. Script consultant Ray Morton strikes a Three Styles of Story: balance between art and commerce and Dr. -
Detectives with Pimples: How Teen Noir Is Crossing the Frontiers of the Traditional Noir Films1
Detectives with pimples: How teen noir is crossing the frontiers of the traditional noir films1 João de Mancelos (Universidade da Beira Interior) Palavras-chave: Teen noir, Veronica Mars, cinema noir, reinvenção, feminismo Keywords: Teen noir, Veronica Mars, noir cinema, reinvention, feminism 1. “If you’re like me, you just keep chasing the storm” In the last ten years, films and TV series such as Heathers (1999), Donnie Darko (2001), Brick (2005) or Veronica Mars (2004-2007) have become increasingly popular and captivated cult audiences, both in the United States and in Europe, while arousing the curiosity of critics. These productions present characters, plots, motives and a visual aesthetic that resemble the noir films created between 1941, when The Maltese Falcon premiered, and 1958, when Touch of Evil was released. The new films and series retain, for instances, characters like the femme fatale, who drags men to a dreadful destiny; the good-bad girl, who does not hesitate in resorting to dubious methods in order to achieve morally correct objectives; and the lonely detective, now a troubled adolescent — as if Sam Spade had gone back to High School. In the first decade of our century, critics coined the expression teen noir to define this new genre or, in my opinion, subgenre, since it retains numerous traits of the classic film noir, especially in its contents, thus not creating a significant rupture. In this article, I intend to a) examine the common elements between teen noir series and classic noir films; b) analyze how this new production reinvents or subverts the characteristics of the old genre, generating a sense of novelty; c) detect some of the numerous intertextual references present in Veronica Mars, which may lead young viewers to investigate other series, movies or books. -
Canadian Canada $7 Spring 2020 Vol.22, No.2 Screenwriter Film | Television | Radio | Digital Media
CANADIAN CANADA $7 SPRING 2020 VOL.22, NO.2 SCREENWRITER FILM | TELEVISION | RADIO | DIGITAL MEDIA The Law & Order Issue The Detectives: True Crime Canadian-Style Peter Mitchell on Murdoch’s 200th ep Floyd Kane Delves into class, race & gender in legal PM40011669 drama Diggstown Help Producers Find and Hire You Update your Member Directory profile. It’s easy. Login at www.wgc.ca to get started. Questions? Contact Terry Mark ([email protected]) Member Directory Ad.indd 1 3/6/19 11:25 AM CANADIAN SCREENWRITER The journal of the Writers Guild of Canada Vol. 22 No. 2 Spring 2020 Contents ISSN 1481-6253 Publication Mail Agreement Number 400-11669 Cover Publisher Maureen Parker Diggstown Raises Kane To New Heights 6 Editor Tom Villemaire [email protected] Creator and showrunner Floyd Kane tackles the intersection of class, race, gender and the Canadian legal system as the Director of Communications groundbreaking CBC drama heads into its second season Lana Castleman By Li Robbins Editorial Advisory Board Michael Amo Michael MacLennan Features Susin Nielsen The Detectives: True Crime Canadian-Style 12 Simon Racioppa Rachel Langer With a solid background investigating and writing about true President Dennis Heaton (Pacific) crime, showrunner Petro Duszara and his team tell us why this Councillors series is resonating with viewers and lawmakers alike. Michael Amo (Atlantic) By Matthew Hays Marsha Greene (Central) Alex Levine (Central) Anne-Marie Perrotta (Quebec) Murdoch Mysteries’ Major Milestone 16 Lienne Sawatsky (Central) Andrew Wreggitt (Western) Showrunner Peter Mitchell reflects on the successful marriage Design Studio Ours of writing and crew that has made Murdoch Mysteries an international hit, fuelling 200+ eps. -
Gotham Season 1 Episode 1 Download Free Gotham - Season 1
gotham season 1 episode 1 download free Gotham - Season 1. A new recruit in Captain Sarah Essen's Gotham City Police Department, Detective James Gordon is paired with Harvey Bullock to solve one of Gotham's highest-profile cases: the murder of Thomas and Martha Wayne. During his investigation, Gordon meets the Waynes' son Bruce, now in the care of his butler Alfred Pennyworth, which further compels Gordon to catch the mysterious killer. Along the way, Gordon must confront mobstress Fish Mooney, mafia led by Carmine Falcone, as well as many of Gotham's future villains such as Selina Kyle, Edward Nygma, and Oswald Cobblepot. Eventually, Gordon is forced to form an unlikely friendship with Wayne, one that will help shape the boy's future in his destiny of becoming a crusader. Streaming, rent, or buy Gotham – Season 1: Currently you are able to watch "Gotham - Season 1" streaming on Netflix, Amazon Prime Video. Watch Gotham Season 1 Episode 1 Online. Watch Gotham Season 1 Episode 1 Online to see the origin stories of Bruce Wayne, Jim Gordan and more of the Batman universe begin. Watch Similar Shows FREE Amazon Watch Now iTunes Watch Now Vudu Watch Now Netflix Watch Now YouTube Purchase Watch Now Google Play Watch Now Verizon On Demand Watch Now. Watch Gotham Season 1 Episode online right now and here via TV Fanatic. Witness the origins of Bruce Wayne after his parents are killed and the rookie detective, Jim Gordan, trying to solve the case. And did I mention there's an amazing Penguin and various other nods to the Batman universe? Check it out! Episode Details. -
Small-Screen Courtrooms a Hit with Lawyers - Buffalo - Buffalo Business First
9/18/2018 Small-screen courtrooms a hit with lawyers - Buffalo - Buffalo Business First MENU Account FOR THE EXCLUSIVE USE OF [email protected] From the Buffalo Business First: https://www.bizjournals.com/buffalo/news/2018/09/17/small-screen-courtrooms-a-hit-with-lawyers.html Small-screen courtrooms a hit with lawyers Sep 17, 2018, 6:00am EDT For many, TV shows are an escape from reality. For attorneys, that’s no different – even when they’re watching lawyers on TV. “Better Call Saul” is the latest in a long line of TV shows about the legal profession. A prequel to AMC’s “Breaking Bad,” the show stars Bob Odenkirk as a crooked-at-times attorney named Jimmy McGill. “He’s a likable guy and you like his character,” said Patrick Fitzsimmons, senior associate at Hodgson Russ LLP in Buffalo. “It’s a great show. I think it’s the one BEN LEUNER/AMC show compared to the others where it’s not about a big firm.” “Better Call Saul” puts a new spin on legal drama as the slippery Jimmy McGill (played by Bob Odenkirk) Also a fan is Michael Benz, an associate at HoganWillig who recently returned to builds his practice. his native Buffalo after working in the Philadelphia public defender’s office and in his own practice as a criminal defense attorney. “(Odenkirk’s character is) the classic defense attorney who will do anything to make a buck or help his client,” Benz said, adding that he often binge-watches shows with his wife, Carla, an attorney in the federal public defender’s office in Buffalo. -
8 TV Power Games: Friends and Law & Order
8 TV Power Games: Friends and Law & Order There is no such thing as a one-man show | at least not in television: one feature that all TV shows have in common is the combination of a large number of diverse contributors: producers, scriptwriters, actors, and so on. This is illustrated in Exhibit 8.1, which depicts the links between key contributors to the making and selling of a TV show. Solid lines repre- sent some form of contractual relationship, whereas dashed lines represent non-contractual relationships of relevance for value creation and value distribution. As is the case with movies, pharmaceutical drugs, and other products, the distribution of TV show values is very skewed: many TV shows are worth relatively little, whereas a few shows generate a very high value: For example, at its peak Emmy Award-winning drama ER fetched $13 million per episode.1 How does the value created by successful shows get divided among its various contrib- utors, in particular actors, producers and networks? Who gets the biggest slice of the big pie? In this chapter, I address this question by looking at two opposite extreme cases in terms of relative negotiation power: Law & Order and Friends. Law & Order | and profits The legal drama series Law & Order was first broadcast on NBC on September 13, 1990. (The pilot episode, produced in 1988, was intended for CBS, but the network rejected it, just as Fox did later, in both cases because the show did not feature any \breakout" characters.) By the time the last show aired on May 24, 2010, it was the longest-running crime drama on American prime time TV.