Sound Design, Music and the Birth of Evil in Twin Peaks: the Return
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Collection of Scripts for Survivors and Paris 7000, 1969-1970
http://oac.cdlib.org/findaid/ark:/13030/c8z60tr2 No online items Collection of scripts for Survivors and Paris 7000, 1969-1970 Finding aid prepared by UCLA Arts Special Collections staff, 2004; initial EAD encoding by Julie Graham; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA, 90095-1575 (310) 825-4988 [email protected] Online finding aid last updated 19 November 2016. Collection of scripts for Survivors PASC 258 1 and Paris 7000, 1969-1970 Title: Collection of Scripts for Survivors and Paris 7000 Collection number: PASC 258 Contributing Institution: UCLA Library Special Collections Language of Material: English Physical Description: 1.0 linear ft.(2 boxes) Date (inclusive): 1969-1970 Abstract: John Wilder was the producer of the television series The Survivors (1969) and Paris 7000 (1970). The collection consists of scripts and production information related to the two programs. Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Restrictions on Access Open for research. STORED OFF-SITE AT SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UC Regents. Literary rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish where The UC Regents do not hold the copyright. -
ASAM National Practice Guideline for the Treatment of Opioid Use Disorder: 2020 Focused Update
The ASAM NATIONAL The ASAM National Practice Guideline 2020 Focused Update Guideline 2020 Focused National Practice The ASAM PRACTICE GUIDELINE For the Treatment of Opioid Use Disorder 2020 Focused Update Adopted by the ASAM Board of Directors December 18, 2019. © Copyright 2020. American Society of Addiction Medicine, Inc. All rights reserved. Permission to make digital or hard copies of this work for personal or classroom use is granted without fee provided that copies are not made or distributed for commercial, advertising or promotional purposes, and that copies bear this notice and the full citation on the fi rst page. Republication, systematic reproduction, posting in electronic form on servers, redistribution to lists, or other uses of this material, require prior specifi c written permission or license from the Society. American Society of Addiction Medicine 11400 Rockville Pike, Suite 200 Rockville, MD 20852 Phone: (301) 656-3920 Fax (301) 656-3815 E-mail: [email protected] www.asam.org CLINICAL PRACTICE GUIDELINE The ASAM National Practice Guideline for the Treatment of Opioid Use Disorder: 2020 Focused Update 2020 Focused Update Guideline Committee members Kyle Kampman, MD, Chair (alpha order): Daniel Langleben, MD Chinazo Cunningham, MD, MS, FASAM Ben Nordstrom, MD, PhD Mark J. Edlund, MD, PhD David Oslin, MD Marc Fishman, MD, DFASAM George Woody, MD Adam J. Gordon, MD, MPH, FACP, DFASAM Tricia Wright, MD, MS Hendre´e E. Jones, PhD Stephen Wyatt, DO Kyle M. Kampman, MD, FASAM, Chair 2015 ASAM Quality Improvement Council (alpha order): Daniel Langleben, MD John Femino, MD, FASAM Marjorie Meyer, MD Margaret Jarvis, MD, FASAM, Chair Sandra Springer, MD, FASAM Margaret Kotz, DO, FASAM George Woody, MD Sandrine Pirard, MD, MPH, PhD Tricia E. -
Rome Statute of the International Criminal Court
Rome Statute of the International Criminal Court The text of the Rome Statute reproduced herein was originally circulated as document A/CONF.183/9 of 17 July 1998 and corrected by procès-verbaux of 10 November 1998, 12 July 1999, 30 November 1999, 8 May 2000, 17 January 2001 and 16 January 2002. The amendments to article 8 reproduce the text contained in depositary notification C.N.651.2010 Treaties-6, while the amendments regarding articles 8 bis, 15 bis and 15 ter replicate the text contained in depositary notification C.N.651.2010 Treaties-8; both depositary communications are dated 29 November 2010. The table of contents is not part of the text of the Rome Statute adopted by the United Nations Diplomatic Conference of Plenipotentiaries on the Establishment of an International Criminal Court on 17 July 1998. It has been included in this publication for ease of reference. Done at Rome on 17 July 1998, in force on 1 July 2002, United Nations, Treaty Series, vol. 2187, No. 38544, Depositary: Secretary-General of the United Nations, http://treaties.un.org. Rome Statute of the International Criminal Court Published by the International Criminal Court ISBN No. 92-9227-232-2 ICC-PIOS-LT-03-002/15_Eng Copyright © International Criminal Court 2011 All rights reserved International Criminal Court | Po Box 19519 | 2500 CM | The Hague | The Netherlands | www.icc-cpi.int Rome Statute of the International Criminal Court Table of Contents PREAMBLE 1 PART 1. ESTABLISHMENT OF THE COURT 2 Article 1 The Court 2 Article 2 Relationship of the Court with the United Nations 2 Article 3 Seat of the Court 2 Article 4 Legal status and powers of the Court 2 PART 2. -
The Portrayal of Tourette Syndrome in Film and Television Samantha Calder-Sprackman, Stephanie Sutherland, Asif Doja
ORIGINAL ARTICLE COPYRIGHT ©2014 T HE CANADIAN JOURNAL OF NEUROLOGICAL SCIENCES INC . The Portrayal of Tourette Syndrome in Film and Television Samantha Calder-Sprackman, Stephanie Sutherland, Asif Doja ABSTRACT: Objective: To determine the representation of Tourette Syndrome (TS) in fictional movies and television programs by investigating recurrent themes and depictions. Background: Television and film can be a source of information and misinformation about medical disorders. Tourette Syndrome has received attention in the popular media, but no studies have been done on the accuracy of the depiction of the disorder. Methods: International internet movie databases were searched using the terms “Tourette’s”, “Tourette’s Syndrome”, and “tics” to generate all movies, shorts, and television programs featuring a character or scene with TS or a person imitating TS. Using a grounded theory approach, we identified the types of characters, tics, and co-morbidities depicted as well as the overall representation of TS. Results: Thirty-seven television programs and films were reviewed dating from 1976 to 2010. Fictional movies and television shows gave overall misrepresentations of TS. Coprolalia was overrepresented as a tic manifestation, characters were depicted having autism spectrum disorder symptoms rather than TS, and physicians were portrayed as unsympathetic and only focusing on medical therapies. School and family relationships were frequently depicted as being negatively impacted by TS, leading to poor quality of life. Conclusions: Film and television are easily accessible resources for patients and the public that may influence their beliefs about TS. Physicians should be aware that TS is often inaccurately represented in television programs and film and acknowledge misrepresentations in order to counsel patients accordingly. -
A Supercut of Supercuts: Aesthetics, Histories, Databases
A Supercut of Supercuts: Aesthetics, Histories, Databases PRACTICE RESEARCH MAX TOHLINE ABSTRACT CORRESPONDING AUTHOR: Max Tohline The genealogies of the supercut, which extend well past YouTube compilations, back Independent scholar, US to the 1920s and beyond, reveal it not as an aesthetic that trickled from avant-garde [email protected] experimentation into mass entertainment, but rather the material expression of a newly-ascendant mode of knowledge and power: the database episteme. KEYWORDS: editing; supercut; compilation; montage; archive; database TO CITE THIS ARTICLE: Tohline, M. 2021. A Supercut of Supercuts: Aesthetics, Histories, Databases. Open Screens, 4(1): 8, pp. 1–16. DOI: https://doi.org/10.16995/os.45 Tohline Open Screens DOI: 10.16995/os.45 2 Full Transcript: https://www.academia.edu/45172369/Tohline_A_Supercut_of_Supercuts_full_transcript. Tohline Open Screens DOI: 10.16995/os.45 3 RESEARCH STATEMENT strong patterning in supercuts focuses viewer attention toward that which repeats, stoking uncritical desire for This first inklings of this video essay came in the form that repetition, regardless of the content of the images. of a one-off blog post I wrote seven years ago (Tohline While critical analysis is certainly possible within the 2013) in response to Miklos Kiss’s work on the “narrative” form, the supercut, broadly speaking, naturally gravitates supercut (Kiss 2013). My thoughts then comprised little toward desire instead of analysis. more than a list; an attempt to add a few works to Armed with this conclusion, part two sets out to the prehistory of the supercut that I felt Kiss and other discover the various roots of the supercut with this supercut researchers or popularizers, like Tom McCormack desire-centered-ness, and other pragmatics, as a guide. -
How Twin Peaks Changed the Face of Contemporary Television
“That Show You Like Might Be Coming Back in Style” 44 DOI: 10.1515/abcsj-2015-0003 “That Show You Like Might Be Coming Back in Style”: How Twin Peaks Changed the Face of Contemporary Television RALUCA MOLDOVAN Babeş-Bolyai University, Cluj-Napoca Abstract The present study revisits one of American television’s most famous and influential shows, Twin Peaks, which ran on ABC between 1990 and 1991. Its unique visual style, its haunting music, the idiosyncratic characters and the mix of mythical and supernatural elements made it the most talked-about TV series of the 1990s and generated numerous parodies and imitations. Twin Peaks was the brainchild of America’s probably least mainstream director, David Lynch, and Mark Frost, who was known to television audiences as one of the scriptwriters of the highly popular detective series Hill Street Blues. When Twin Peaks ended in 1991, the show’s severely diminished audience were left with one of most puzzling cliffhangers ever seen on television, but the announcement made by Lynch and Frost in October 2014, that the show would return with nine fresh episodes premiering on Showtime in 2016, quickly went viral and revived interest in Twin Peaks’ distinctive world. In what follows, I intend to discuss the reasons why Twin Peaks was considered a highly original work, well ahead of its time, and how much the show was indebted to the legacy of classic American film noir; finally, I advance a few speculations about the possible plotlines the series might explore upon its return to the small screen. Keywords: Twin Peaks, television series, film noir, David Lynch Introduction: the Lynchian universe In October 2014, director David Lynch and scriptwriter Mark Frost announced that Twin Peaks, the cult TV series they had created in 1990, would be returning to primetime television for a limited nine episode run 45 “That Show You Like Might Be Coming Back in Style” broadcast by the cable channel Showtime in 2016. -
Twin Peaks at Twenty-Five
IN FOCUS: Returning to the Red Room—Twin Peaks at Twenty-Five Foreword by DAVID LAVERY or Twin Peaks (ABC, 1990–1991), 2015 was a damn fine year. The last annum has seen the completion of a new collection of critical essays ( Jeffrey Weinstock and Catherine Spooner’s Return to “Twin Peaks”: New Approaches to Theory & Genre in Television), an international conference in the United Kingdom (“ ‛I’ll See You Again Fin 25 Years’: The Return of Twin Peaks and Generations of Cult TV” at the University of Salford), and the current In Focus.1 Not coincidently, this has transpired alongside the commissioning of the return of the series on the American premium cable channel Showtime for a 2017 debut. Long before this Twin Peaks renaissance, the place of David Lynch and Mark Frost’s “quirky quality” series in TV history was, however, already secure.2 As the creator of the iconic series Mad Men, Matthew Weiner, now fifty years old, put it definitively: “I was already out of college when Twin Peaks came on, and that was where I became aware of what was possible on television.”3 Twin Peaks has played a central role as well in our understanding of what is possible in television studies. As I have written and spoken about elsewhere, the collection Full of Secrets: Critical Approaches to “Twin 1 See Jeffrey Weinstock and Catherine Spooner, eds., Return to “Twin Peaks”: New Approaches to Materiality, Theory, and Genre on Television (Basingstoke, UK: Palgrave Macmillan, 2015). For a review of the conference, see Ross Garner, “Conference Review: “‘I’ll See You Again in 25 Years’: The Return of Twin Peaks and Generations of Cult TV”: University of Salford, 21–22 May 2015,” Critical Studies in Television Online, June 5, 2015, http://cstonline.tv/twin-peaks. -
Smashing the Small Screen David Lynch, Twin Peaks and Reinventing Television
Smashing the Small Screen David Lynch, Twin Peaks and Reinventing Television KYLE BARRETT David Lynch began his career as a fine artist and his films have always had a strong sense of visual style, even within the conventions of narrative cinema, which tends to fore ground effectswork or script-based character development over aesthetic verisimilitude. -Odell (163) Moving into filmmakingwith his debut animated short Six Figures Get ting Sick {1967), David Lynch developed subversive filmmaking techniques that would later be employed in his later live-action shorts and feature films. Many stylistic elements have evolved fromhis earlier work, including the use of an experimental soundscape, wide-angles, long sustained close-ups and use (and absence) of color. Jane Evans Braziel notes, "His visual style, influ enced by artists Francis Bacon, Jackson Pollock and Edward Hopper, balances narrative with non-representational images. The effectis a startling beautiful, if bizarre and sometimes horrifying, montage of sights, sounds, bodies, lights and movement that denaturalises the parameters of space and time, and con ventions of embodiment, violence, sex, desire and gender" {108). Both embracing and abandoning conventional production practices, Lynch has created an easily identifiable-"Lynchian" -style, successfully translated to the small screen with the seminal Twin Peaks (1990-91). Lynch's firstfeature film, Eraserhead, became a cult hit on the midnight movie circuit, leading to directing duties on the Mel Brooks-produced The Elephant Man. The critical success of this gave Lynch the chance to direct a big budget science fictionfilm, Dune, the result of which became a box-office 47 48 Approaching Twin Peaks and critical failure. -
STORIES Amsterdam University Press
Stories are perceived as central to modern life. Not THE KEY DEBATES 7 only in narrative entertainment media, such as THE KEY DEBATES television, cinema, theater, but also in social Mutations and Appropriations in media. Telling/having “a story” is widely deemed essential, in business as well as in social life. Does European Film Studies this mark an intensifi cation of what has always been part of human cultures; or has the realm of The Key Debates is a fi lm series “story” expanded to dominate twenty-fi rst century from Amsterdam University discourse? Addressing stories is an obvious priority Press. The series’ ambition for the Key Debates series, and Volume 7, edited is to uncover the processes by Ian Christie and Annie van den Oever, identifi es of appropriation and diffusion new phenomena in this fi eld – complex narration, of key concepts that have puzzle fi lms, transmedia storytelling – as well as shaped Film Studies. The new approaches to understanding these, within series editors are: Ian Christie, narratology and bio-cultural studies. Chapters Dominique Chateau, José Moure STORIES on such extended television series as Twin Peaks, and Annie van den Oever. Game of Thrones and Dickensian explore distinctively new forms of screen storytelling in European Film Studies Mutations and Appropriations in the digital age. Contributions by: THE KEY DEBATES Vincent Amiel “ There are very few book series that fully keep to what they Jan Baetens promised, as the ‘Key Debates’ does. An incredible effort Dominique Chateau in critically covering wide regions of our fi eld – with their Ian Christie traditional assets and their sudden innovations. -
'Twin Peaks' Season 3, Episode 8: White Light White Heat
https://nyti.ms/2u7EwVn TELEVISION ‘Twin Peaks’ Season 3, Episode 8: White Light White Heat Twin Peaks By NOEL MURRAY JUNE 26, 2017 Season 3, Episode 8 There’s nothing to point to in the history of television that helps describe exactly what this episode attempts. Not even the jarring nightmare sequences from the original series were anything like this hour, which jumps around in time and space in ways that at times seem almost like free association. An extended stretch of this week’s episode takes place in the wake of a 1945 atomic bomb test in White Sands, N.M., and thrusts the audience deep into the physical, emotional and metaphorical space of a mushroom cloud. As the smoke billows and the frame fills with one unexplained abstraction after another, classic movie buffs might spot some visual echoes of the mesmerizing, disorienting “Star Gate” sequences from Stanley Kubrick’s “2001: A Space Odyssey.” Or fans of more modern cinema might think of Jonathan Glazer’s “Under the Skin,” which similarly uses dissonant sound design and “What the hell am I looking at?” imagery to present the world from the perspective of an alien. Mostly though, this episode is just director David Lynch — one of cinema’s true adventurers — emptying out his subconscious, unabated. At the start of the hour, before the journey into the past, I jotted down in my notes that the shot of stark headlights on a pitch-dark American roadway in the middle of nowhere was a classic Lynch image, at once familiar and terrifying. -
A Cinema of Confusion
A CINEMA OF CONFUSION Erik Oliver omething is wrong. Videotapes appear on the doorstep of Fred (Bill Pullman) and Renée Madison (Patricia Arquette). They show, in floating, ominous frames, the exterior and then the interior of the couple’s home. Even ignoring the Stapes, Fred and Renée seem off, somnambulant. They speak in non- sequiturs and long pauses. Their house is always dark. We sense an intrusion taking place, but never that there might be one specific intruder. Something is looming, and it’s impossible to tell what it might be. Things in this successful couple’s upscale home seem like they should be normal, but they feel fundamentally wrong, and by the time Fred receives the final tape—chronicling his murder of Renée— the grainy footage seems itself like the act of violence. The police arrest Fred, but once within his jail cell, he physically transforms into another man, Pete (Balthazar Getty). The police can’t figure out what to do with this man, so they release him. Pete returns home to his own family and work, which soon will lead him to Alice (also played by Patricia Arquette), who looks identical to Renée. So, we have questions, but the answers we receive from David Lynch’s Lost Highway (1997) only confound us more. Fred murdered his wife. But when? Why? And even taking this account for the truth, Fred is no longer Fred, but Pete. Fred’s arrest seems like a climax to Lost Highway ’s odd, oblique psychodrama, but with the transfigura - tion in the jail cell, we’re delivered back into a status quo, albeit one that disrupts our understanding of the plot. -
''Doctor Who'' - the First Doctor Episode Guide Contents
''Doctor Who'' - The First Doctor Episode Guide Contents 1 Season 1 1 1.1 An Unearthly Child .......................................... 1 1.1.1 Plot .............................................. 1 1.1.2 Production .......................................... 2 1.1.3 Themes and analyses ..................................... 4 1.1.4 Broadcast and reception .................................... 4 1.1.5 Commercial releases ..................................... 4 1.1.6 References and notes ..................................... 5 1.1.7 Bibliography ......................................... 6 1.1.8 External links ......................................... 6 1.2 The Daleks .............................................. 7 1.2.1 Plot .............................................. 7 1.2.2 Production .......................................... 8 1.2.3 Themes and analysis ..................................... 8 1.2.4 Broadcast and reception .................................... 8 1.2.5 Commercial releases ..................................... 9 1.2.6 Film version .......................................... 10 1.2.7 References .......................................... 10 1.2.8 Bibliography ......................................... 10 1.2.9 External links ......................................... 11 1.3 The Edge of Destruction ....................................... 11 1.3.1 Plot .............................................. 11 1.3.2 Production .......................................... 11 1.3.3 Broadcast and reception ...................................