Phantom Operating Guide
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Corgi™ Manual
1 The Phantom Laboratory Corgi™ Manual Copyright © 2020 WARRANTY THE PHANTOM LABORATORY INCORPORATED (“Seller”) warrants that this product shall remain in good working order and free of all material defects for a period of one (1) year following the date of purchase. If, prior to the expiration of the one (1) year warranty period, the product becomes defective, Buyer shall return the product to the Seller at: ByTruck ByMail The Phantom Laboratory,Incorporated The Phantom Laboratory,Incorporated 2727StateRoute29 POBox511 Greenwich,NY12834 Salem,NY12865-0511 Seller shall, at Seller’s sole option, repair or replace the defective product. The Warranty does not cover damage to the product resulting from accident or misuse. IF THE PRODUCT IS NOT IN GOOD WORKING ORDER AS WARRANTED, THE SOLE AND EXCLUSIVE REMEDY SHALL BE REPAIR OR REPLACEMENT, AT SELLER’S OPTION. IN NO EVENT SHALL SELLER BE LIABLE FOR ANY DAMAGES IN EXCESS OF THE PURCHASE PRICE OF THE PRODUCT. THIS LIMITATION APPLIES TO DAMAGES OF ANY KIND, INCLUDING, BUT NOT LIMITED TO, DIRECT OR INDIRECT DAMAGES, LOST PROFITS, OR OTHER SPECIAL, INCIDENTAL, OR CONSEQUENTIAL DAMAGES, WHETHER FOR BREACH OF CONTRACT, TORT OR OTHERWISE, OR WHETHER ARISING OUT OF THE USE OF OR INABILITY TO USE THE PRODUCT. ALL OTHER EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTY OF MERCHANT ABILITY AND FITNESS FOR PARTICULAR PURPOSE, ARE HEREBY DISCLAIMED. WARNING This product has an FH3-4 mm/min flame rating and is considered to be flammable. It is advised not to expose this product to open flame or high temperature (over 125° Celsius or 250° Fahrenheit) heating elements. -
Close Encounters with Creative Chemical Thinking: an Outreach Presentation Using Movie Clips About the Elemental Composition of Aliens and Extraterrestrial Minerals
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications -- Chemistry Department Published Research - Department of Chemistry 2016 Close encounters with creative chemical thinking: An outreach presentation using movie clips about the elemental composition of aliens and extraterrestrial minerals Mark A. Griep University of Nebraska-Lincoln, [email protected] Marjorie L. Mikasen University of Nebraska-Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/chemfacpub Part of the Analytical Chemistry Commons, Medicinal-Pharmaceutical Chemistry Commons, and the Other Chemistry Commons Griep, Mark A. and Mikasen, Marjorie L., "Close encounters with creative chemical thinking: An outreach presentation using movie clips about the elemental composition of aliens and extraterrestrial minerals" (2016). Faculty Publications -- Chemistry Department. 128. https://digitalcommons.unl.edu/chemfacpub/128 This Article is brought to you for free and open access by the Published Research - Department of Chemistry at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications -- Chemistry Department by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Educación Química (2016) 27, 154---162 educación Química www.educacionquimica.info CHEMISTRY DIDACTICS Close encounters with creative chemical thinking: An outreach presentation using movie clips about the elemental composition of aliens and extraterrestrial minerals ∗ Mark A. Griep , Marjorie L. Mikasen Department of Chemistry, University of Nebraska-Lincoln, Lincoln, NE 68588-0304, USA Received 6 March 2015; accepted 17 November 2015 Available online 24 December 2015 KEYWORDS Abstract To introduce more chemistry into a middle and high school bioengineering camp experience, we developed an educational and entertaining presentation that examines the Middle school; chemistry in movies about aliens and minerals from outer space. -
7. Conclusion: Telefilm, Cross-Media Migration, and the Demise of the Film Serial
7. Conclusion : Telefilm, Cross-Media Migration, and the Demise of the Film Serial Abstract The conclusion offers an outlook past the 1940s. It places film serials in the context of the shifting cinema landscape in the 1940s and 1950s and the rise of television. The chapter compares the viewer address of film serials to television’s programming in terms of a ‘segmented flow’ and argues that film serials imagined and practiced a televisual mediality before the advent of TV. Serials and television thus became convergent media, which counters the prevalent notion that television killed film serials. The chapter further stresses the adaptability of the film-serial form to varying exhibition and distribution contexts, which helps to explain their continuous reappearance in the multiple ‘new media’ in the second half of the twentieth century and in the digital culture of the twenty-first century. Keywords: television programming, televisual flow, post-WWII film history, independent film production The present moment is an arbitrary one to end a study of film serials. Al- though the heyday of their production is well in the past, serials that were thought to be lost continue to reappear in archives or in private collections. Online fan groups like the serialsquadron.com offer increasing numbers of serials on DVD. Other enthusiasts make them available on youtube or upload them to archive.org, and scholars like Richard Koszarski are making an effort to locate ‘new’ film serials. In the final months of writing, for instance, Pathe’s The House of Hate (1918) was located in Russia, digitalized, and translated back into English. -
Build a Be4er Neplix, Win a Million Dollars?
Build a Be)er Ne,lix, Win a Million Dollars? Lester Mackey 2012 USA Science and Engineering FesDval Nelix • Rents & streams movies and TV shows • 100,000 movie Dtles • 26 million customers Recommends “Movies You’ll ♥” Recommending Movies You’ll ♥ Hated it! Loved it! Recommending Movies You’ll ♥ Recommending Movies You’ll ♥ How This Works Top Secret Now I’m Cinematch Computer Program I don’t unhappy! like this movie. Your Predicted Rang: Back at Ne,lix How can we Let’s have a improve contest! Cinematch? What should the prize be? How about $1 million? The Ne,lix Prize October 2, 2006 • Contest open to the world • 100 million movie rangs released to public • Goal: Create computer program to predict rangs • $1 Million Grand Prize for beang Cinematch accuracy by 10% • $50,000 Progress Prize for the team with the best predicDons each year 5,100 teams from 186 countries entered Dinosaur Planet David Weiss David Lin Lester Mackey Team Dinosaur Planet The Rangs • Training Set – What computer programs use to learn customer preferences – Each entry: July 5, 1999 – 100,500,000 rangs in total – 480,000 customers and 18,000 movies The Rangs: A Closer Look Highest Rated Movies The Shawshank RedempDon Lord of the Rings: The Return of the King Raiders of the Lost Ark Lord of the Rings: The Two Towers Finding Nemo The Green Mile Most Divisive Movies Fahrenheit 9/11 Napoleon Dynamite Pearl Harbor Miss Congeniality Lost in Translaon The Royal Tenenbaums How the Contest Worked • Quiz Set & Test Set – Used to evaluate accuracy of computer programs – Each entry: Rang Sept. -
Conversation with Lee Falk
CONVERSATION WITH LEE FALK While still an undergraduate in the Midwest, Lee Falk invented Mandrake the Magician, the first black and white crime-fighting team. He created The Phantom, the first superhero in tights, within two years of graduation. F alk's other consuming passion was theater, which he indulged by owning and operating several playhouses, where he often filled the roles of producer and /or director. Raymond Elman: You've written sev- a rather ungracious young man, who talked became my partner, was a Harvard graduate, eral plays, owned a number of theaters, like he had mashed potatoes in his mouth and he knew about a theater in Cambridge- and produced many significant theater - very Eastern Establishment. He said, the Brattle Theater. A little group called pieces. Was your theater life a whole "These little midwest kind of stories are The Straw Hat Theater played there, run separate existence from your comic strip very boring. I don't think you should try to by Catherine Huntington, who dropped world? write." About five years later I was sail- the Straw Hat group to run the Provincetown Lee Falk: My ambition when I was a ing backfromEuropeon the Isle de France. Theater Company. Oddly enough, these young man was to be a playwright. I wrote By that time I had two strips going, I had two Huntingtons weren't related. His real plays and acted while I was in college, started a theater, I had a beautiful young name was Duryea Huntington Jones. He though I was never comfortable on the wife, and for a young man I was very changed his name because the boys at stage. -
Search Warrant
Case 3:21-mj-01948-MSB Document 1 Filed 05/18/21 PageID.44 Page 1 of 33 AO 106A (08118) Application for a Warrant by Telephone or Other Reliable Electronic Means UNITED STATES DISTRICT COURT unsealed on 6/7/21 per order -dlg for the SEALED Southern District of California In the Matter of the Search of ) (Briefly describe the property to be searched ) '21 MJ01946 or identifY the person by name and address) ) Case No. MJ01948 Google LLC ) 1600 Amphitheater Parkway, Mountain View, CA 94043 ) ) Host of [email protected] APPLICA TION FOR A WARRANT BY TELEPHONE OR OTHER RELIABLE ELECTRONIC MEANS I, a federal law enforcement officer or an attorney for the government, request a search warrant and state under penalty of perjury that I have reason to believe that on the following person or property (identify the person or describe the property to be searched and give its location): See Attachment A, incorporated herein by reference. located in the Northern District of C_a_l_if_o_rn_i_a , there is now concealed (identifY the person or describe the property to be sei::ed): See Attachment B, incorporated herein by reference. The basis for the search under Fed. R. Crim. P. 41(c) is (check one or more): ff evidence of a crime; ff contraband, fruits of crime, or other items illegally possessed; o property designed for use, intended for use, or used in committing a crime; o a person to be arrested or a person who is unlawfully restrained. The search is related to a violation of: Code Section Offense Description 21 USC §§ 841, 846 Conspiracy to Distribute Controlled Substances The application is based on these facts: See Attached Affidavit of FBI Special Agent Nicholas Cheviron, incorporated herein by reference. -
The Phantom on Film: Guest Editor’S Introduction
The Phantom on Film: Guest Editor’s Introduction [accepted for publication in The Opera Quarterly, Oxford University Press] © Cormac Newark 2018 What has the Phantom got to do with opera? Music(al) theater sectarians of all denominations might dismiss the very question, but for the opera studies community, at least, it is possible to imagine interesting potential answers. Some are historical, some technical, and some to do with medium and genre. Others are economic, invoking different commercial models and even (in Europe at least) complex arguments surrounding public subsidy. Still others raise, in their turn, further questions about the historical and contemporary identities of theatrical institutions and the productions they mount, even the extent to which particular works and productions may become institutions themselves. All, I suggest, are in one way or another related to opera reception at a particular time in the late nineteenth century: of one work in particular, Gounod’s Faust, but even more to the development of a set of popular ideas about opera and opera-going. Gaston Leroux’s serialized novel Le Fantôme de l’Opéra, set in and around the Palais Garnier, apparently in 1881, certainly explores those ideas in a uniquely productive way.1 As many (but perhaps not all) readers will recall, it tells the story of the debut in a principal role of Christine Daaé, a young Swedish soprano who is promoted when the Spanish prima donna, Carlotta, is indisposed.2 In the course of a gala performance in honor of the outgoing Directors of the Opéra, she is a great success in extracts of works 1 The novel was serialized in Le Gaulois (23 September 1909–8 January 1910) and then published in volume-form: Le Fantôme de l’Opéra (Paris: Lafitte, 1910). -
CHAPTER 7 • Movies and the Impact of Images 231 7 Movies
SOUNDS AND IMAGES 7 Movies and the Impact of Images “A long time ago in a galaxy far, far away . .” So 233 Early Technology begins the now-famous opening credit crawl of and the Evolution Star Wars. The first appearance of those words of Movies was in movie theaters on earth, but the time now 238 is rather long ago: May 25, 1977. The Rise of the Hollywood Studio System The space epic changed the culture of the movie industry. Star Wars, produced, written, and 241 The Studio System’s directed by George Lucas, departed from the per- Golden Age sonal filmmaking of the early 1970s and spawned 251 a blockbuster mentality that formed a new primary The Transformation audience for Hollywood: teenagers. It had all of the of the Studio System now-typical blockbuster characteristics, including 255 massive promotion and lucrative merchandising The Economics of the Movie Business tie-ins. Repeat attendance and positive buzz among young people made the first Star Wars the most 262 Popular Movies successful movie of its generation. and Democracy Star Wars has impacted not only the cultural side of moviemaking but also the technical form. In the first Star Wars trilogy, produced in the 1970s and 1980s, Lucas developed technologies that are now commonplace in moviemaking: digital animation, special effects, and computer-based film editing. With the second trilogy (which was a prequel to the narrative of the original Star Wars), Lucas again broke new ground in the film industry. © Lucasfilm Ltd./Everett Collection CHAPTER 7 • MOVIES AND THE IMPACT OF IMAGES 231 7 MOVIES Several scenes of Star Wars: Episode I— creativity across multiple platforms, busi- The Phantom Menace (1999) were shot on nesses, and markets to generate sustained digital video, easing integration with digital growth and drive significant long-term special effects. -
{Download PDF} Phantom
PHANTOM PDF, EPUB, EBOOK Terry Goodkind | 688 pages | 01 Jun 2007 | Doherty (Tom) Associates,U.S. | 9780765344328 | English | New York, United States Phantom - Wikipedia Stays attached so there's no mess! Purchase Online! Roundup for Safety. Read more. Shop all specials and offers. Learn More. Phantom Cares Phantom Fireworks is committed to do everything we can to provide a safe, secure, and comfortable shopping space for our valued customers. New Products. End of the Road Finale, 23 shot. Saloon Showdown, 12 shot. Aerial Spinners. Magic Cube Fountain. Lighthouse - Fountain. Snowflake Fountain. Soon these phantom lakes began to flood the prairie with a wavering shimmer. As each man took his place in the line, the Phantom gave him a quick appraising glance. The Phantom turned away and walked a few paces toward the fence. See how many words from the week of Oct 12—18, you get right! See apparition. Words nearby phantom phantasmagoria , phantasmagoric , phantasmagory , phantasmal , phantasy , phantom , phantom circuit , phantom corpuscle , phantom limb , phantom limb pain , phantom pregnancy. Words related to phantom hallucination , nightmare , daydream , haunt , apparition , spirit , delusion , dream , revenant , illusion , figment , chimera , shade , spook , mirage , shadow , phantasm , specter , vision , wraith. What Does 'Eighty-Six' Mean? We're intent on clearing it up 'Nip it in the butt' or 'Nip it in the bud'? We're gonna stop you right there Literally How to use a word that literally drives some pe Is Singular 'They' a Better Choice? Name that government! Or something like that. Can you spell these 10 commonly misspelled words? Do you know the person or title these quotes desc Login or Register. -
Hollywood Pantages Theatre Los Angeles, California Ft. Lauderdale, Florida San Diego, California Hollywood Pantages Theatre
®® BROWARDHOLLYWOOD CENTERCIVIC FOR PANTAGES THEATRE THE PERFORMING THEATRE ARTS LOSFT.SAN LAUDERDALE, ANGELES, DIEGO, CALIFORNIA CALIFORNIA FLORIDA PB Rainbow Dummy CV two Lines.indd 1 5/9/19 3:48 PM 03-276/6-7/708-2310-10 CharliePhantom BrowPhantom.indd Phantom_Live.indd Cover.indd Cover - 1 Retro.indd 1 2 1 5/22/197/30/189/18/183/6/195/8/19 10:05 3:154:261:102:25 PMPMAM HOLLYWOOD PANTAGES THEATRE IN ASSOCIATION WITH THE REALLY USEFUL GROUP CAMERON MACKINTOSH PRESENTS THE NEW PRODUCTION OF ANDREW LLOYD WEBBER’S Starring DERRICK DAVIS EVA TAVARES JORDAN CRAIG and ROB LINDLEY DAVID BENOIT TRISTA MOLDOVAN SUSAN MONIZ PHUMZILE SOJOLA SARAHGRACE MARIANI Music by ANDREW LLOYD WEBBER Lyrics by CHARLES HART Additional Lyrics by RICHARD STILGOE Book by RICHARD STILGOE & ANDREW LLOYD WEBBER Based on the novel “Le Fantôme de l’Opéra” by GASTON LEROUX Orchestrations by DAVID CULLEN & ANDREW LLOYD WEBBER Musical Supervisor JOHN RIGBY Video & Projection Design by NINA DUNN for Knifedge Sound Design by MICK POTTER Lighting by PAULE CONSTABLE Costume Design by MARIA BJÖRNSON® Set Design by PAUL BROWN Choreography by SCOTT AMBLER Directed by LAURENCE CONNOR For THE PHANTOM OF THE OPERA National Tour Costume Coordinator Casting by for the late MARIA BJÖRNSON® TARA RUBIN CASTING CHRISTINE ROWLAND MERRI SUGARMAN, CSA Associate Choreographer US Musical Supervisor Musical Director Associate Director NINA GOLDMAN JAMES LOWE JAMIE JOHNS SETH SKLAR-HEYN Production overseen by MATTHEW BOURNE & CAMERON MACKINTOSH A CAMERON MACKINTOSH, THE REALLY USEFUL GROUP and NETWORKS Presentation Original Production still running at the Majestic Theater, New York City and Her Majesty’s Theatre, London, UK Musical Staging and Choreography by GILLIAN LYNNE Directed by HAROLD PRINCE ®MARIA BJÖRNSON is a registered trademark of the Prodan Romanian Cultural Foundation and is used under license. -
Behind-The-Screens-Transcript.Pdf
MEDIA EDUCATION FOUNDATIONChallenging media TRANSCRIPT BEHIND THE SCREENS HOLLYWOOD GOES HYPER-COMMERCIAL BEHIND THE SCREENS Hollywood Goes Hyper-commercial Directors: Matt Soar & Susan Ericsson Producer: Matt Soar Editor: Susan Ericsson Executive Producer: Sut Jhally Featuring interviews with: Susan Douglas University of Michigan Bob McChesney University of Illinois Eileen Meehan University of Arizona Mark Crispin Miller New York University Jeremy Pikser Screenwriter, Bulworth Janet Waskow University of Oregon Media Education Foundation © MEF 2000 2 INTRODUCTION [Movie: Fallen] -- Budweiser’s good for me. -- Budweiser? – Yeah. -- Good. -- No, no, no, we’re going imported here. You can’t afford that. -- Budweiser. – OK. -- Have a Bud Ice, or a Bud Dry. – It is just a Bud! JANET WASKO: It seems that Hollywood is indeed becoming rapidly another advertising medium. [Movie: Other People’s Money] Is there a Dunkin Donuts in this town? MARK CRISPIN MILLER: Advertising is a form of propaganda. We must never forget this. Propaganda makes one point repeatedly. [Movie: The Firm] Grab a Red Stripe out of the fridge. MARK CRISPIN MILLER: Repeatedly. [Movie: Murphy’s Romance] Can I have two Extra Strength Tylenol and a glass of water, please? MARK CRISPIN MILLER: Repeatedly. [Movie: Mystery Men] Is it true that you lost your Pepsi endorsement? BOB MCCHESNEY: When you look at the ways movies are made today you almost should be in the aisles of a supermarket they are so closely connected with selling products. [Movie: Independence Day] See that Coke can on top of the alien craft? SUSAN DOUGLAS: When advertising and marketing are the defining logic of an age it affects everything including the movies. -
Batman and Robin As Evolving Cutural Icons Elizabeth C
St. Catherine University SOPHIA 2014 Sr. Seraphim Gibbons Undergraduate Sr. Seraphim Gibbons Undergraduate Symposium Research Symposium The Dynamic Duo Then and Now: Batman and Robin as Evolving Cutural Icons Elizabeth C. Wambheim St. Catherine University Follow this and additional works at: https://sophia.stkate.edu/undergraduate_research_symposium Wambheim, Elizabeth C., "The Dynamic Duo Then and Now: Batman and Robin as Evolving Cutural Icons" (2014). Sr. Seraphim Gibbons Undergraduate Symposium. 2. https://sophia.stkate.edu/undergraduate_research_symposium/2014/Humanities/2 This Event is brought to you for free and open access by the Conferences and Events at SOPHIA. It has been accepted for inclusion in Sr. Seraphim Gibbons Undergraduate Symposium by an authorized administrator of SOPHIA. For more information, please contact [email protected]. THE DYNAMIC DUO THEN AND NOW: BATMAN AND ROBIN AS EVOLVING CULTURAL ICONS by Elizabeth C. Wambheim A Senior Project in Partial Fulfillment of the Requirements of the Honors Project ST. CATHERINE UNIVERSITY April 1, 2014 2 With many thanks to Patricia Montalbano (project advisor), Rachel Neiwart Emily West and Sharon Doherty for their continuous and invaluable interest, assistance, and patience with the project. 3 Introduction When presented with the simple silhouette of a stylized bat inside a yellow oval, people the world over are able to recognize this emblem and, at the very least, name its wearer. Even as the logo is altered with time, the yellow backdrop traded for a grey one, the awareness persists. Yet even as people recognize Batman’s logo, one person’s impression of the superhero does not always align with another’s: a cheerful, law-abiding Batman who orders orange juice instead of alcohol at bars is Batman as he appeared in the 1960s, and a brooding hero wreathed in darkness and prone to conflicted inner monologues is the Batman of the 1980s.