Showtime Unlimited Schedule August 01 2013 12:00 Am 12:30 Am 1:00
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Then Now Forever
THEN NOW FOREVER TO OUR SHAREHOLDERS he first few months of 2014 have been T characterized by some remarkable achievements for WWE. We launched WWE Network and announced the renewal of key television agreements in the U.K. and Thailand. These business developments represent historic milestones in our effort to realize greater value from our content and to transform our business. As we prepare for the 30th anniversary of our premiere event, WrestleMania, we look forward to celebrating our enduring legacy and ushering in a new era as we blaze new trails in the media industry. During the past year, as we prepared to transform our business, we invested in content production and talent, produced new programming and entered partnerships that enhanced our brand strength. Our 2013 OIBDA results were consistent with management expectations and guidance. We continue to believe that the creation of WWE Network and the renegotiation of key global content agreements will enable us to double or triple our 2012 OIBDA of $63 million by 2015. In 2013, our potential was echoed in the equity markets, where our stock price more than doubled. WWE’s total shareholder return of WrestleMania 29 broke the record for MetLife 116% (including a $36 million dividend payout) Stadium’s highest-grossing entertainment event. exceeded the majority of our entertainment peers and key market benchmarks, such as the S&P 500 and the Russell 2000. BLAZING NEW TRAILS: WWE NETWORK Creating new programs and distributing all of our content in ways that optimize value is our most important strategic imperative. In January 2014, we announced the launch of WWE Network, the first-ever 24/7 streaming network, which represents a key pillar of our plan to drive significant earnings growth. -
First-Run Smoking Presentations in U.S. Movies 1999-2006
First-Run Smoking Presentations in U.S. Movies 1999-2006 Jonathan R. Polansky Stanton Glantz, PhD CENTER FOR TOBAccO CONTROL RESEARCH AND EDUCATION UNIVERSITY OF CALIFORNIA, SAN FRANCISCO SAN FRANCISCO, CA 94143 April 2007 EXECUTIVE SUMMARY Smoking among American adults fell by half between 1950 and 2002, yet smoking on U.S. movie screens reached historic heights in 2002, topping levels observed a half century earlier.1 Tobacco’s comeback in movies has serious public health implications, because smoking on screen stimulates adolescents to start smoking,2,3 accounting for an estimated 52% of adolescent smoking initiation. Equally important, researchers have observed a dose-response relationship between teens’ exposure to on-screen smoking and smoking initiation: the greater teens’ exposure to smoking in movies, the more likely they are to start smoking. Conversely, if their exposure to smoking in movies were reduced, proportionately fewer teens would likely start smoking. To track smoking trends at the movies, previous analyses have studied the U.S. motion picture industry’s top-grossing films with the heaviest advertising support, deepest audience penetration, and highest box office earnings.4,5 This report is unique in examining the U.S. movie industry’s total output, and also in identifying smoking movies, tobacco incidents, and tobacco impressions with the companies that produced and/or distributed the films — and with their parent corporations, which claim responsibility for tobacco content choices. Examining Hollywood’s product line-up, before and after the public voted at the box office, sheds light on individual studios’ content decisions and industry-wide production patterns amenable to policy reform. -
THE PEEL REPORT 5 Proteste Be Made to Au a Look at the Events Leading up to the Repp'rt and the Likely Outcome
hope that decisicHi wiU reflect those principles of. humanity and justice for which men like Jacob VOLUME 48, NUMBERS 17 & 18 Prai have been prepared to make sudi great sacrifice. I therefore make the plea that the strongest possible THE PEEL REPORT 5 proteste be made to aU A look at the events leading up to the repp'rt and the likely outcome. (Queensland's largest and most governments invdved in the accessible letter section). continuing daughter hi West Papua and the possible SOLAR SELL-OUT 7 extradidon of Jacob Prai. Do not let us have to Two special reports on the eneigy problem - how big business is JACOB PRAI'S ask who was Jacob Prai. cashing in on the SUP panies, to the total ex ^UDY ANDREWS ARREST AND THE clusion of the local people. WEST IRIAN RE P.O. Box 106 MEXICAN GRASS NOW DEVIL WEED 9 An example is "Freeport Kuranda. North Old. SISTANCE TO Muierals" whose copper 4872. How the U.S. Govt, is poisoning American marijuana smokers. INDONESIA mine at Tembagapuiii_ is 80% American owned'the remaining 20% belonguig to MARY WHITEHOUSE GAY LIBERATION MOVEMENT H I write tiUs in the hope hidtmesian partners. DESERVES RESPECT dut your puUlcation, as a Local opposition to ~" ' ~ Part 2 of our series 'Coming out in the Seventies'. traditional champion of Indonesian mle in Irian i am an outside aoquam- hfeedom and justice will bring to notice the cir 5!'"!,";^ii?"'H'n^^*these people vutiiaUy hav^e ^^ of^ Sempe*?^r an, d my' SEX AND SMELL 13 cumstances surrounding only bows and arrows to «»"»«>*«.«« in reference Research into the impact of smell on human sexual behaviour. -
A Cognitive Approach to Gestural Life in Stephen Sondheim's Musical Genres
“MY ARM IS COMPLETE”: A COGNITIVE APPROACH TO GESTURAL LIFE IN STEPHEN SONDHEIM’S MUSICAL GENRES by Diana Louise Calderazzo AB, Smith College, 1999 MA, University of Central Florida, 2005 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2012 UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES DEPARTMENT OF THEATRE ARTS This dissertation was presented by Diana Louise Calderazzo It was defended on July 11, 2012 and approved by Marlene Behrmann, Professor, Department of Psychology, Carnegie Melon University Atillio Favorini, Professor, Department of Theatre Arts, University of Pittsburgh Kathleen George, Professor, Department of Theatre Arts, University of Pittsburgh Dissertation Director: Bruce McConachie, Professor, Department of Theatre Arts, University of Pittsburgh ii Copyright by Diana Louise Calderazzo 2012 iii “MY ARM IS COMPLETE”: A COGNITIVE APPROACH TO GESTURAL LIFE IN STEPHEN SONDHEIM’S MUSICAL GENRES Diana Louise Calderazzo, PhD University of Pittsburgh, 2012 Traditionally, musical theatre has been accepted more as a practical field than an academic one, as demonstrated by the relative scarcity of lengthy theory‐based publications addressing musicals as study topics. However, with increasing scholarly application of cognitive theories to such fields as theatre and music theory, musical theatre now has the potential to become the topic of scholarly analysis based on empirical data and scientific discussion. This dissertation seeks to contribute such an analysis, focusing on the implied gestural lives of the characters in three musicals by Stephen Sondheim, as these lives exemplify the composer’s tendency to challenge traditional audience expectations in terms of genre through his music and lyrics. -
The Dark Side of the Tune: a Study of Villains
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2008 The Dark Side Of The Tune: A Study Of Villains Michael Biggs University of Central Florida Part of the Theatre and Performance Studies Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Biggs, Michael, "The Dark Side Of The Tune: A Study Of Villains" (2008). Electronic Theses and Dissertations, 2004-2019. 3811. https://stars.library.ucf.edu/etd/3811 THE DARK SIDE OF THE TUNE: A STUDY OF VILLAINS by MICHAEL FREDERICK BIGGS II B.A. California State University, Chico, 2004 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Theatre in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Fall Term 2008 © 2008 Michael Biggs ii ABSTRACT On “championing” the villain, there is a naïve quality that must be maintained even though the actor has rehearsed his tragic ending several times. There is a subtle difference between “to charm” and “to seduce.” The need for fame, glory, power, money, or other objects of affection drives antagonists so blindly that they’ve no hope of regaining a consciousness about their actions. If and when they do become aware, they infrequently feel remorse. -
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Inmedia, 3 | 2013, « Cinema and Marketing » [Online], Online Since 22 April 2013, Connection on 22 September 2020
InMedia The French Journal of Media Studies 3 | 2013 Cinema and Marketing Electronic version URL: http://journals.openedition.org/inmedia/524 DOI: 10.4000/inmedia.524 ISSN: 2259-4728 Publisher Center for Research on the English-Speaking World (CREW) Electronic reference InMedia, 3 | 2013, « Cinema and Marketing » [Online], Online since 22 April 2013, connection on 22 September 2020. URL : http://journals.openedition.org/inmedia/524 ; DOI : https://doi.org/10.4000/ inmedia.524 This text was automatically generated on 22 September 2020. © InMedia 1 TABLE OF CONTENTS Cinema and Marketing When Cultural Demands Meet Industrial Practices Cinema and Marketing: When Cultural Demands Meet Industrial Practices Nathalie Dupont and Joël Augros Jerry Pickman: “The Picture Worked.” Reminiscences of a Hollywood publicist Sheldon Hall “To prevent the present heat from dissipating”: Stanley Kubrick and the Marketing of Dr. Strangelove (1964) Peter Krämer Targeting American Women: Movie Marketing, Genre History, and the Hollywood Women- in-Danger Film Richard Nowell Marketing Films to the American Conservative Christians: The Case of The Chronicles of Narnia Nathalie Dupont “Paris . As You’ve Never Seen It Before!!!”: The Promotion of Hollywood Foreign Productions in the Postwar Era Daniel Steinhart The Multiple Facets of Enter the Dragon (Robert Clouse, 1973) Pierre-François Peirano Woody Allen’s French Marketing: Everyone Says Je l’aime, Or Do They? Frédérique Brisset Varia Images of the Protestants in Northern Ireland: A Cinematic Deficit or an Exclusive -
Sweeney Todd the Demon Barber of Fleet Street a Musical Thriller
Reboot Theatre Company Presents Sweeney Todd The Demon Barber of Fleet Street A Musical Thriller Music and Lyrics by Stephen Sondheim Book by Hugh Wheeler From an adaptation by Christopher Bond. Originally directed on Broadway by Harold Prince. Orchestrations by Jonathan Tunic. Originally produced on Broadway by Richard Barr, Charles Woodward, Robert Fryer, Mary Lea Johnson, Martin Richards in association with Dean and Judy Manos Directed Music Direction by by Julia Griffin Aimee Hong With (In alphabetical order) Brittany Allyson, Justine Davis, Kylee Gano, Alyssa Keene, Vincent Milay, Mandy Rose Nichols, Jessica Robins, Cammi Smith, Kevin Tanner, Karin Terry, Harry Turpin, and Emily Welter Setting: LONDON Time: TODAY TWO ACTS ONE 15 MINUTE INTERMISSION Running Time: 2:45 Please turn off all cell phones during the show. The videotaping or photographing of this production is strictly prohibited. WARNINGS BLOOD, VIOLENCE, GUN SHOTS, & MEAT PIES “Sweeney Todd” is presented by special arrangement with Musical Theatre International (MTI). All authorized performance materials are also supplied by MTI. www.MTISHOWS.com Director’s Note "In this day and age it is so very easily to be #literallyobsessed with the #blessed lives that we all watch through our instagrams and behind the safety of a screen. #nofilter It's easy to turn something into what you want it to be with enough of a filter. It's easy to get swept up in a trend. #fomo #yolo The tale of Sweeney Todd is in direct result of obsession, and possession, and seeing what you want to see. #lemmestopforaselfie A person of power wanting what they can't have, though they have no concept of what that "thing" is or means, destroys lives to get to his idea. -
From Real Time to Reel Time: the Films of John Schlesinger
From Real Time to Reel Time: The Films of John Schlesinger A study of the change from objective realism to subjective reality in British cinema in the 1960s By Desmond Michael Fleming Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy November 2011 School of Culture and Communication Faculty of Arts The University of Melbourne Produced on Archival Quality Paper Declaration This is to certify that: (i) the thesis comprises only my original work towards the PhD, (ii) due acknowledgement has been made in the text to all other material used, (iii) the thesis is fewer than 100,000 words in length, exclusive of tables, maps, bibliographies and appendices. Abstract The 1960s was a period of change for the British cinema, as it was for so much else. The six feature films directed by John Schlesinger in that decade stand as an exemplar of what those changes were. They also demonstrate a fundamental change in the narrative form used by mainstream cinema. Through a close analysis of these films, A Kind of Loving, Billy Liar, Darling, Far From the Madding Crowd, Midnight Cowboy and Sunday Bloody Sunday, this thesis examines the changes as they took hold in mainstream cinema. In effect, the thesis establishes that the principal mode of narrative moved from one based on objective realism in the tradition of the documentary movement to one which took a subjective mode of narrative wherein the image on the screen, and the sounds attached, were not necessarily a record of the external world. The world of memory, the subjective world of the mind, became an integral part of the narrative. -
Autonomous Vehicles and AI-Chaperone Liability
Catholic University Law Review Volume 69 Issue 2 Spring 2020 Article 9 10-19-2020 Where We’re Going, We Don’t Need Drivers: Autonomous Vehicles and AI-Chaperone Liability Peter Y. Kim Follow this and additional works at: https://scholarship.law.edu/lawreview Part of the International Law Commons, and the Torts Commons Recommended Citation Peter Y. Kim, Where We’re Going, We Don’t Need Drivers: Autonomous Vehicles and AI-Chaperone Liability, 69 Cath. U. L. Rev. 341 (2020). Available at: https://scholarship.law.edu/lawreview/vol69/iss2/9 This Comments is brought to you for free and open access by CUA Law Scholarship Repository. It has been accepted for inclusion in Catholic University Law Review by an authorized editor of CUA Law Scholarship Repository. For more information, please contact [email protected]. Where We’re Going, We Don’t Need Drivers: Autonomous Vehicles and AI- Chaperone Liability Cover Page Footnote J.D., The Catholic University of America, Columbus School of Law, 2020; B.A., Boston College, 2009. The author gives thanks to God for giving him purpose, his family and friends for their lovingkindness, Professor Kathryn Kelly for her mentorship and priceless guidance, and the Catholic University Law Review editors and staffers for their care and support in revising this Comment. This comments is available in Catholic University Law Review: https://scholarship.law.edu/lawreview/vol69/iss2/9 WHERE WE’RE GOING, WE DON’T NEED DRIVERS: AUTONOMOUS VEHICLES AND AI-CHAPERONE LIABILITY Peter Y. Kim+ Unwittingly, Iggy Pop’s “The Passenger” -
Walpole Public Library DVD List A
Walpole Public Library DVD List [Items purchased to present*] Last updated: 9/17/2021 INDEX Note: List does not reflect items lost or removed from collection A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Nonfiction A A A place in the sun AAL Aaltra AAR Aardvark The best of Bud Abbot and Lou Costello : the Franchise Collection, ABB V.1 vol.1 The best of Bud Abbot and Lou Costello : the Franchise Collection, ABB V.2 vol.2 The best of Bud Abbot and Lou Costello : the Franchise Collection, ABB V.3 vol.3 The best of Bud Abbot and Lou Costello : the Franchise Collection, ABB V.4 vol.4 ABE Aberdeen ABO About a boy ABO About Elly ABO About Schmidt ABO About time ABO Above the rim ABR Abraham Lincoln vampire hunter ABS Absolutely anything ABS Absolutely fabulous : the movie ACC Acceptable risk ACC Accepted ACC Accountant, The ACC SER. Accused : series 1 & 2 1 & 2 ACE Ace in the hole ACE Ace Ventura pet detective ACR Across the universe ACT Act of valor ACT Acts of vengeance ADA Adam's apples ADA Adams chronicles, The ADA Adam ADA Adam’s Rib ADA Adaptation ADA Ad Astra ADJ Adjustment Bureau, The *does not reflect missing materials or those being mended Walpole Public Library DVD List [Items purchased to present*] ADM Admission ADO Adopt a highway ADR Adrift ADU Adult world ADV Adventure of Sherlock Holmes’ smarter brother, The ADV The adventures of Baron Munchausen ADV Adverse AEO Aeon Flux AFF SEAS.1 Affair, The : season 1 AFF SEAS.2 Affair, The : season 2 AFF SEAS.3 Affair, The : season 3 AFF SEAS.4 Affair, The : season 4 AFF SEAS.5 Affair, -
The Missing Reform: Strengthening Rule of Law in Mexico
The Missing Reform: Strengthening the Rule of Law in Mexico EDITED BY VIRIDIANA RÍOS AND DUNCAN WOOD The Missing Reform: Strengthening the Rule of Law in Mexico EDITED BY VIRIDIANA RÍOS AND DUNCAN WOOD Producing a book like this is always a team effort and, in addition to the individual chapter authors, we would especially like to thank the Mexico Institute and Wilson Center team who gave so many hours to edit, design, and produce this book. In particular, we would like to mention Angela Robertson, Kathy Butterfield, and Lucy Conger for their dedication as well as their professional skill. Woodrow Wilson International Center for Scholars. One Woodrow Wilson Plaza 1300 Pennsylvania Avenue NW, Washington, DC 20004-3027 www.wilsoncenter.org Woodrow Wilson International Center for Scholars ISBN 978-1-938027-76-5 Table of Contents ACKNOWLEDGEMENTS INTRODUCTION / 1 SECTION 1 / 18 Corruption / 18 The Justice System / 44 Democracy and Rule of Law / 78 Business Community / 102 Public Opinion / 124 Media and the Press / 152 SECTION 2 / 182 Education / 182 Transparency / 188 Competition / 196 Crime Prevention / 202 Civil Society / 208 Congress and Political Parties / 214 Energy / 224 Land Tenure / 232 Anticorruption Legislation / 240 Police Forces / 246 Acknowledgements This book collects the intelligence, commitment, and support of many. It comprises the research, ideas and hopes of one of the most talented pools of Mexican professionals who day-to-day, in different spheres, work to strengthen rule of law in their own country. Collaborating with them has been among the highest honors of my career. I cannot thank them enough for believing in this project. -
Phd Manuscript 190429 Plain Text
The Presence of Performance and the Stakes of Serial Drama: Accrual, Transience, Companionship Elliott Logan MPhil (University of Queensland, 2013) BA, Hons (University of Queensland, 2009) BA (University of Queensland, 2007) A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2018 School of Communication and Arts Abstract This thesis shows how performance is a critically neglected but crucial aspect of serial television drama as an art form. One of serial drama’s obvious storytelling attractions is its ability to involve viewers in relationships between characters over long periods of time. Such involvement takes place through a recurring structure of episodes and seasons, whose unfolding reflects the extensive, ongoing history through which interpersonal bonds form and develop, deepen and decay. The characters we watch onscreen are embodied and performed by actors. Television studies, however, has persistently overlooked screen performance, hampering appreciation of serial drama’s affinity with long-term relationships as a resource for aesthetic significance. Redressing such neglect, this thesis directs new critical attention to expressive stylistic relationships between serial form, screen performance, and the subject of companionship in some recent US serial dramas. The focus of that attention is a particular aesthetic quality: the provisional, which emerges through serial drama’s distinctive tension between permanence and transience. In the first chapter, I argue that the provisional is central to an affinity between screen performance, seriality in television drama, and companionship as an aspect of human life. Chapters Two and Three then show how the art of the provisional in particular series has been underappreciated due to television studies’ neglect of performance and expressiveness as dimensions of serial form in television fiction.