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Emotional and Linguistic Analysis of Dialogue from Animated Comedies: Homer, Hank, Peter and Kenny Speak
Emotional and Linguistic Analysis of Dialogue from Animated Comedies: Homer, Hank, Peter and Kenny Speak. by Rose Ann Ko2inski Thesis presented as a partial requirement in the Master of Arts (M.A.) in Human Development School of Graduate Studies Laurentian University Sudbury, Ontario © Rose Ann Kozinski, 2009 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 OttawaONK1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-57666-3 Our file Notre reference ISBN: 978-0-494-57666-3 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
Die Flexible Welt Der Simpsons
BACHELORARBEIT Herr Benjamin Lehmann Die flexible Welt der Simpsons 2012 Fakultät: Medien BACHELORARBEIT Die flexible Welt der Simpsons Autor: Herr Benjamin Lehmann Studiengang: Film und Fernsehen Seminargruppe: FF08w2-B Erstprüfer: Professor Peter Gottschalk Zweitprüfer: Christian Maintz (M.A.) Einreichung: Mittweida, 06.01.2012 Faculty of Media BACHELOR THESIS The flexible world of the Simpsons author: Mr. Benjamin Lehmann course of studies: Film und Fernsehen seminar group: FF08w2-B first examiner: Professor Peter Gottschalk second examiner: Christian Maintz (M.A.) submission: Mittweida, 6th January 2012 Bibliografische Angaben Lehmann, Benjamin: Die flexible Welt der Simpsons The flexible world of the Simpsons 103 Seiten, Hochschule Mittweida, University of Applied Sciences, Fakultät Medien, Bachelorarbeit, 2012 Abstract Die Simpsons sorgen seit mehr als 20 Jahren für subversive Unterhaltung im Zeichentrickformat. Die Serie verbindet realistische Themen mit dem abnormen Witz von Cartoons. Diese Flexibilität ist ein bestimmendes Element in Springfield und erstreckt sich über verschiedene Bereiche der Serie. Die flexible Welt der Simpsons wird in dieser Arbeit unter Berücksichtigung der Auswirkungen auf den Wiedersehenswert der Serie untersucht. 5 Inhaltsverzeichnis Inhaltsverzeichnis ............................................................................................. 5 Abkürzungsverzeichnis .................................................................................... 7 1 Einleitung ................................................................................................... -
Kulturní Stereotypy V Seriálu Futurama Petr Bílek
Filozofická fakulta Univerzity Palackého v Olomouci Katedra žurnalistiky KULTURNÍ STEREOTYPY V SERIÁLU FUTURAMA Magisterská diplomová práce Petr Bílek Vedoucí práce: Mgr. Lukáš Záme čník, Ph.D. Olomouc 2013 Prohlášení Prohlašuji, že jsem p řiloženou práci „Kulturní stereotypy v seriálu Futurama“ vypracoval samostatn ě a použité zdroje jsem uvedl v seznamu pramen ů a literatury. Celkový po čet znak ů práce (bez poznámek pod čarou a seznam ů zdroj ů) činí 148 005. V Olomouci dne ........... Podpis: 2 Pod ěkování Rád bych pod ěkoval Mgr. Lukáši Záme čníkovi, Ph.D., za vedení mé práce. Mé díky pat ří také Mgr. Monice Bartošové a Mgr. Šárce Novotné za jejich inspirativní p řipomínky a Zuzan ě Kohoutové za neúnavný dohled nad jazykovou stránkou práce. 3 Anotace Kulturní stereotypy jsou b ěžnou sou částí mezilidské komunikace a pomáhají lidem v orientaci ve sv ětě. Zárove ň v sob ě skrývají spole čenské hodnoty a mohou být nástrojem moci. Má práce zkoumá jejich užití v amerických animovaných seriálech Futurama a Ugly Americans. V práci jsem užil metodu zakotvené teorie. Pomocí jejích postup ů jsem vytvo řil osm tematických kategorií užitých stereotyp ů. Ty jsem pak mezi ob ěma seriály komparoval. Krom ě samotného obsahu stereotypního zobrazování má práce zkoumala jednotlivé strategie jejich užití. Klí čová slova: kulturní stereotyp, animovaný seriál, Futurama, Ugly Americans 4 Summary Cultural stereotypes are a common part of interpersonal communication, they help people to understand the world. They also include the social value and they can be an instrument of power. My theses investigates their using in American animated series Futurama and Ugly Americans. -
Wv Board of Social Work Examiners
West Virginia Board of Social Work BIENNIAL REPORT FY 2020 July 1, 2018-June 30, 2020 The purpose of the Board of Social Work is to protect the public by setting standards of qualification, education, training and experience for those who seek to engage in the practice of social work and to promote high standards of professional performance for those engaged in the profession of social work. Mailing Address: PO Box 5459, Charleston, WV 25361 Physical Location: 1124 Smith St., B 200 Charleston, WV 25302 Phone: 304-400-4980; Fax: 304-400-4976 Email: [email protected] 2 3 I do hereby certify that the information contained within the following 2020 Biennial Report of the WV Board of Social Work is true and correct to the best of my knowledge Patricia O’Reilly, Chair Date Christine Maniskas, Secretary Date 4 5 6 Table of Contents Board Members and Staff …………………………………………….………………………….…….……….………. 7 Financial Receipts …………………………………………………………………………………………………………... 8 Categories of Licensure and Trends ….………………….…………………………………….………….…....... 11 Age of Licensees……………………………………………………………………………………………………………….13 License Statistics ………………………………………………….……….………………………………………………. 17 Examination Pass Rates ………………………………………….…………….….………………….………………… 18 Licensed Social Workers by County …………………….………………….……………………………………… 19 Complaints and Disciplinary Actions ……………….……………….…………………………………….……... 21 Board Agendas/Minutes 2020 ……………………….…………………………………………………………….… 25 Board Agendas/Minutes 2019 ………………………………………………………………………...….………… 56 Roster of Licenses issued in FY -
I Huvudet På Bender Futurama, Parodi, Satir Och Konsten Att Se På Tv
Lunds universitet Oscar Jansson Avd. för litteraturvetenskap, SOL-centrum LIVR07 Handledare: Paul Tenngart 2012-05-30 I huvudet på Bender Futurama, parodi, satir och konsten att se på tv Innehållsförteckning Förord ......................................................................................................................................... 3 Inledning ..................................................................................................................................... 4 Tidigare forskning och utmärkelser ................................................................................... 7 Bender’s Head, urval och disposition ................................................................................ 9 Teoretiska ramverk och utgångspunkter .................................................................................. 11 Förförståelser, genre och tolkning .................................................................................... 12 Parodi, intertextualitet och implicita agenter ................................................................... 18 Parodi och satir i Futurama ...................................................................................................... 23 Ett inoriginellt medium? ................................................................................................... 26 Animerad sitcom vs. parodi ............................................................................................. 31 ”Try this, kids at home!”: parodins sammanblandade världar ........................................ -
Program Classic Films I
Virtual Edition #epicadventuresindoors CLASSIC FILMS I PROGRAM The Last Honey Hunter Imagination: Tom Wallisch From the film 2017, Canada, 5 minutes Filmmaker: Dave Mossop, Mitchell Scott, Sherpas Cinema Have you ever been that little kid sitting in the back seat of your parents’ car, wishing you were somewhere else? So you imagine a skier on the side of the road, your fingers commanding back flips and roof drops, improbable rail slides and huge airs. Well, what if your imagination came to life? Chasing Water 2011, USA, 18 minutes Filmmaker: Pete McBride, Anson Fogel, Forge Motion Pictures Pete McBride grew up on a ranch in Western Colorado, a child of the Colorado River. After a life spent visiting other countries to tell stories as a National Geographic photojournalist, in 2008 Pete decided to follow the water from his family’s ranch to see where it ends up. Reel Rock 8: Spice Girl 2013, USA, 24 minutes Filmmaker: Josh Lowell, Big UP Productions The UK climbing scene is known for its strict traditional ethic, unyielding super sketchy, dangerous routes, and a competitive machismo. It’s the last place you’d expect to find a nice little blond girl putting all the lads to shame, but Hazel Findlay is doing just that. The Accord 2016, USA, 19 minutes Filmmaker: RC Cone, Tributaries Digital Cinema Being so far removed from the hustle and bustle of the tropical surf world hardens Iceland’s surfers to confront the harsh reality they all must face – that old and unforgiving North Atlantic wind. Bluehue 2015, UK, 5 minutes | Advisory: Nudity Filmmaker: Natasha Brooks Natasha Brooks swims naked year-round in the cold mountain lakes of Snowdonia, Wales. -
4.5.1 Los Abducidos: El Duro Retorno En Expediente X Se Duda De Si Las
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Diposit Digital de Documents de la UAB 4.5.1 Los abducidos: El duro retorno En Expediente X se duda de si las abducciones son obra de humanos o de extraterrestres por lo menos hasta el momento en que Mulder es abducido al final de la Temporada 7. La duda hace que el encuentro con otras personas que dicen haber sido abducidas siempre tenga relevancia para Mulder, Scully o ambos, como se puede ver con claridad en el caso de Cassandra Spender. Hasta que él mismo es abducido se da la paradójica situación de que quien cree en la posibilidad de la abducción es él mientras que Scully, abducida en la Temporada 2, siempre duda de quién la secuestró, convenciéndose de que los extraterrestres son responsables sólo cuando su compañero desaparece (y no necesariamente en referencia a su propio rapto). En cualquier caso poco importa en el fondo si el abducido ha sido víctima de sus congéneres humanos o de alienígenas porque en todos los casos él o ella cree –con la singular excepción de Scully– que sus raptores no son de este mundo. Como Leslie Jones nos recuerda, las historias de abducción de la vida real que han inspirado este aspecto de Expediente X “expresan una nueva creencia, tal vez un nuevo temor: a través de la experimentación sin emociones realizada por los alienígenas usando cuerpos humanos adquiridos por la fuerza, se demuestra que el hombre pertenece a la naturaleza, mientras que los extraterrestres habitan una especie de supercultura.” (Jones 94). -
Dead Alive, Dead Outside, Alive Inside” “
24683_U01.qxd 11/15/04 12:53 PM Page 1 Introduction “Dead alive, dead outside, alive inside” “In my thinking, I see that people forgot me.” Catarina said this to me as she sat peddling an old exercise bicycle and holding a doll. This woman of kind manners, with a piercing gaze, was in her early thirties; her speech was lightly slurred. I first met Catarina in March 1997, in southern Brazil at a place called Vita. I remember asking myself: where on earth does she think she is going on this bicycle? Vita is the end- point. Like many others, Catarina had been left there to die. Vita, which means “life” in Latin, is an asylum in Porto Alegre, a com- paratively well-off city of some two million people. Vita was founded in 1987 by Zé das Drogas, a former street kid and drug dealer. After his conversion to Pentecostalism, Zé had a vision in which the Spirit told him to open an institution where people like him could find God and regenerate their lives. Zé and his religious friends squatted on private property near downtown, where they began a makeshift rehabilitation center for drug addicts and al- coholics. Soon, however, the scope of Vita’s mission began to widen. An in- creasing number of people who had been cut off from family life—the men- tally ill and the sick, the unemployed and the homeless—were left there by relatives, neighbors, hospitals, and the police. Vita’s team then opened an in- firmary, where the abandoned waited with death. -
Regimes of Truth in the X-Files
Edith Cowan University Research Online Theses: Doctorates and Masters Theses 1-1-1999 Aliens, bodies and conspiracies: Regimes of truth in The X-files Leanne McRae Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Film and Media Studies Commons Recommended Citation McRae, L. (1999). Aliens, bodies and conspiracies: Regimes of truth in The X-files. https://ro.ecu.edu.au/ theses/1247 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/1247 Edith Cowan University Research Online Theses: Doctorates and Masters Theses 1999 Aliens, bodies and conspiracies : regimes of truth in The -fiX les Leanne McRae Edith Cowan University Recommended Citation McRae, L. (1999). Aliens, bodies and conspiracies : regimes of truth in The X-files. Retrieved from http://ro.ecu.edu.au/theses/1247 This Thesis is posted at Research Online. http://ro.ecu.edu.au/theses/1247 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). -
Wojciech Szabaciuk Obraz Polityki I Polityków Na Przykładzie Serialu Animowanego "Futurama"
Wojciech Szabaciuk Obraz polityki i polityków na przykładzie serialu animowanego "Futurama" Media – Kultura – Komunikacja Społeczna 11/4, 123-131 2015 Obraz polityki i polityków na przykładzie serialu animowanego Futurama 123 Wojciech Szabaciuk Uniwersytet Wrocławski Obraz polityki i polityków na przykładzie serialu animowanego Futurama Słowa kluczowe: politycy, polityka, Futurama, politicotainment, stronniczość Keywords: politicians, politics, Futurama, politicotainment, bias Wstęp Pojęcie „kultura masowa” odnosi się do pokazywania licznym odbiorcom identycznych treści z nielicznych źródeł oraz do dostarczania licznemu gronu ludzi rozrywki i zabawy1. Ujednolicony i ustandaryzowany produkt jest rozpo- wszechniany za pomocą środków masowego przekazu2. Produkty medialne lub też kulturowe nie zawsze są wolne od ideologicznych przekazów, na co wska- zywali między innymi przedstawiciele Szkoły Frankfurckiej. Zgodnie z teorią krytyczną Szkoły Frankfurckiej istotą kultury masowej jest przekazywanie prostych i płytkich komunikatów, które dotrą do masowego odbiorcy3. Prezentowanie polityki w utworach zaliczanych do gatunków rozrywkowych nosi nazwę politicotainment. Neologizm ten stworzyła Kristina Riegert, dzieląc i łącząc słowa politics i entertainment4. Kategoria ta oznacza ujawnianie sposobu, w jaki polityka i życie polityczne są negocjowane, reprezentowane i interpre- towane przez przemysł rozrywkowy, na przykład w serialach telewizyjnych5. Zdaniem K. Riegert przedstawianie tematów politycznych w rozrywkowych formach nie jest zjawiskiem nowym; występuje od czasów starożytnych, na przykład w dramatach Ajschylosa, przez dzieła nowożytne, przykładowo Szeks- pira, aż do czasów współczesnych. Jednak obecna sytuacja państw demokracji liberalnych diametralnie różni się od poprzednich epok, gdyż polityka zajmuje wiele miejsca w przestrzeni medialnej i komunikacji społecznej i nie jest ogra- niczona do wąskiej grupy osób6. Nie można zapomnieć, że scenarzyści i producenci filmów i seriali telewi- zyjnych posiadają określoną wiedzę polityczną, własne poglądy i preferencje 1 Por. -
Fall 2007 HJ W Top.Pmd
Canada · United States · Mexico Fall 2007 Guide to the 2008 Leadership Conference Our 2008 Annual Leadership Conference will be held at the Park Royal Hotel in Cozumel, Mexico April 3-6, 2008. Here is a guide to finding everything you need for the 2008 conference. Conference dates and fee: (see blurb, right) view the 2008 National Leadership Confer- ence announcement at www.abg.org or click www.abg.org/2008-national-leadership-conf.asp Awards and competition: (see article, pg 4) view the Awards and Competition page at www.abg.org or click http://www.abg.org/awards.asp Submission forms for each award can be down- loaded from the Awards and Competition page at http://www.abg.org/awards.asp. Students and advisers may electronically submit entries 2008 Annual Leadership Conference to [email protected]. WHERE: Park Royal Hotel in Cozumel, Mexico Staying healthy: For tips on having some WHEN: April 3-6, 2008. fun in the sun and enjoying Mexico safely, see COST: $353.00 per person . This fee covers all meals, drinks, hotel and conference fee. Attendees are “Staying Healthy” on pg 22. responsible for travel costs. Being prepared: “What to Pack”--a handy There is a stipend of $250.00 for one adviser and one list of items you won’t want to be without in officer to attend the conference, provided the officer Cozumel. Pg 10. attends all workshops and presentations. Non-refundable deposit of $200.00 due by Jan. 15 Entertainment: Turn to pg 15 to learn about Balance of $153.00 due by March 15 some fun and unique entertainment ideas near Park Royal. -
Cleaning Cash, Taking Names We Deliver!
AJW LANDSCAPING | 910-271-3777 Call us - we’ll bring the GREEN back to your property! Complete landscape design Mowing - Pruning - Mulching- Stone borders & walls March 2 - 8, 2019 Licensed - Insured Cleaning We keep it cooking! cash, taking names Christina Hendricks stars in “Good Girls” We Deliver! Pricing Plans Available 910 276 7474 | 877 829 2515 12780 S Caledonia Rd, Laurinburg, NC 28352 serving Scotland County and surrounding areas Joy Jacobs, Store Manager 234 E. Church Street, Laurinburg NC 910-277-8588 www.kimbrells.com Page 2 — Saturday, March 2, 2019 — Laurinburg Exchange Calling the shots: Criminal suburban moms are back in season 2 of ‘Good Girls’ By Joy Doonan ter “Good Girls” first premiered, its them, and realize that no one can TV Media anxiously anticipated second arrives dig them out of their respective this week, picking up where season holes but themselves. They plot to howrunner Jenna Bans has been 1 left us hanging. The first episode of rob the supermarket where Annie Spraised for her forthright portray- season 2 airs Sunday, March 3, on works, but when they end up with al of fed up, angry women in “Good NBC. far more money than they anticipat- Girls.” Bans came up with the idea The titular “good girls” are three ed, they find themselves in the mid- for the NBC dramedy during the earnest working moms who are at dle of a money-laundering opera- 2016 U.S. election, and she wanted the ends of their ropes, struggling tion run by local gangsters. to capture the pervasive sense of in- with financial strain and a host of Though the raucous intrigue of justice that many people seemed to personal troubles.