Than Shrek's Lovable Donkey
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Business Consultation of Select Best Practices to an Animated Film Studio
University of South Carolina Scholar Commons Senior Theses Honors College Spring 5-5-2016 Business Consultation of Select Best Practices to an Animated Film Studio: How to Produce the Most Successful Film You Can Joshua Christian Blackwood University of South Carolina - Columbia Follow this and additional works at: https://scholarcommons.sc.edu/senior_theses Part of the Management Sciences and Quantitative Methods Commons Recommended Citation Blackwood, Joshua Christian, "Business Consultation of Select Best Practices to an Animated Film Studio: How to Produce the Most Successful Film You Can" (2016). Senior Theses. 110. https://scholarcommons.sc.edu/senior_theses/110 This Thesis is brought to you by the Honors College at Scholar Commons. It has been accepted for inclusion in Senior Theses by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Business Consultation of Select Best Practices to an Animated Film Studio How to Produce the Most Successful Film You Can Senior Thesis Spring 2016 Student Josh Blackwood Director Dr. Lauren Steimer Second Reader Dr. Jack Jensen Table of Contents Introduction………………………………………………………………………………………..1 Establishing Scope………………………………………………………………………………...4 Methodology………………………………………………………………………………………5 Operational Planning Data Animation Studio………………………………………………………………………….8 Release Date…………………………………………………………………………….…9 Runtime…………………………………………………………………………………..11 Pre-sold Property………………………………………………………………………...12 Negative Cost…………………………………………………………………………….13 -
National Conference
NATIONAL CONFERENCE OF THE POPULAR CULTURE ASSOCIATION AMERICAN CULTURE ASSOCIATION In Memoriam We honor those members who passed away this last year: Mortimer W. Gamble V Mary Elizabeth “Mery-et” Lescher Martin J. Manning Douglas A. Noverr NATIONAL CONFERENCE OF THE POPULAR CULTURE ASSOCIATION AMERICAN CULTURE ASSOCIATION APRIL 15–18, 2020 Philadelphia Marriott Downtown Philadelphia, PA Lynn Bartholome Executive Director Gloria Pizaña Executive Assistant Robin Hershkowitz Graduate Assistant Bowling Green State University Sandhiya John Editor, Wiley © 2020 Popular Culture Association Additional information about the PCA available at pcaaca.org. Table of Contents President’s Welcome ........................................................................................ 8 Registration and Check-In ............................................................................11 Exhibitors ..........................................................................................................12 Special Meetings and Events .........................................................................13 Area Chairs ......................................................................................................23 Leadership.........................................................................................................36 PCA Endowment ............................................................................................39 Bartholome Award Honoree: Gary Hoppenstand...................................42 Ray and Pat Browne Award -
Gorinski2018.Pdf
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Automatic Movie Analysis and Summarisation Philip John Gorinski I V N E R U S E I T H Y T O H F G E R D I N B U Doctor of Philosophy Institute for Language, Cognition and Computation School of Informatics University of Edinburgh 2017 Abstract Automatic movie analysis is the task of employing Machine Learning methods to the field of screenplays, movie scripts, and motion pictures to facilitate or enable vari- ous tasks throughout the entirety of a movie’s life-cycle. From helping with making informed decisions about a new movie script with respect to aspects such as its origi- nality, similarity to other movies, or even commercial viability, all the way to offering consumers new and interesting ways of viewing the final movie, many stages in the life-cycle of a movie stand to benefit from Machine Learning techniques that promise to reduce human effort, time, or both. -
The Marvel Universe: Origin Stories, a Novel on His Website, the Author Places It in the Public Domain
THE MARVEL UNIVERSE origin stories a NOVEL by BRUCE WAGNER Press Send Press 1 By releasing The Marvel Universe: Origin Stories, A Novel on his website, the author places it in the public domain. All or part of the work may be excerpted without the author’s permission. The same applies to any iteration or adaption of the novel in all media. It is the author’s wish that the original text remains unaltered. In any event, The Marvel Universe: Origin Stories, A Novel will live in its intended, unexpurgated form at brucewagner.la – those seeking veracity can find it there. 2 for Jamie Rose 3 Nothing exists; even if something does exist, nothing can be known about it; and even if something can be known about it, knowledge of it can't be communicated to others. —Gorgias 4 And you, you ridiculous people, you expect me to help you. —Denis Johnson 5 Book One The New Mutants be careless what you wish for 6 “Now must we sing and sing the best we can, But first you must be told our character: Convicted cowards all, by kindred slain “Or driven from home and left to die in fear.” They sang, but had nor human tunes nor words, Though all was done in common as before; They had changed their throats and had the throats of birds. —WB Yeats 7 some years ago 8 Metamorphosis 9 A L I N E L L Oh, Diary! My Insta followers jumped 23,000 the morning I posted an Avedon-inspired black-and-white selfie/mugshot with the caption: Okay, lovebugs, here’s the thing—I have ALS, but it doesn’t have me (not just yet). -
Open Thesis Final Copy.Pdf
THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF ENGLISH THE ARCHITECTURE OF A THREE-DIMENSIONAL FEMALE CHARACTER IN SYLVIA PLATH’S “THE BELL JAR” AND ITS IMPACT ON FEMALE CHARACTERS IN THE HOLLYWOOD FILM INDUSTRY KATHERINE ELIZABETH MURT SPRING 2014 A thesis submitted in partial fulfillment of the requirements for baccalaureate degrees in English and Media Studies with honors in English Reviewed and approved* by the following: Lisa Sternlieb Associate Professor of English Thesis Supervisor, Honors Adviser John Marsh Associate Professor of English Faculty Reader * Signatures are on file in the Schreyer Honors College. i ABSTRACT Sylvia Plath is remembered in literary history for her complex and dimensional creation of characters through both her prose and poetry. Plath’s own personal experiences with emotionally challenging life events informed her collective works, and from these experiences she drew forth her seminal novel The Bell Jar, a semiautobiographical account of a young girl named Esther who moves to New York City for a new job and uncovers her own vast emotional depth and potential for instability in the process. Esther’s journey into the recesses of her own mind broke ground in that Plath exposed an emotional depth to a female character that had yet to be so explicitly explored outside of the confines of a male literary counterpart. Esther is a female character that stands on her own, and her three-dimensional emotionality constructed the blueprint for how we see modern females in literature and art. Following suit, the Hollywood film industry has produced countless films starring female protagonists with emotional issues, using these issues as a means to create depth in a character where depth does not truly exist. -
Historicizing the Liminal Superhero
BOX OFFICE BACK ISSUES: HISTORICIZING THE LIMINAL SUPERHERO FILMS, 1989–2008 by ZACHARY ROMAN A DISSERTATION Presented to the School of Journalism and Communication and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy December 2020 DISSERTATION APPROVAL PAGE Student: Zachary Roman Title: Box Office Back Issues: Historicizing the Liminal Superhero Films, 1989–2008 This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the School of Journalism and Communication by: Peter Alilunas Chairperson Janet Wasko Core Member Erin Hanna Core Member Benjamin Saunders Institutional Representative and Kate Mondloch Interim Vice-Provost and Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded December 2020 ii © 2020 Zachary Roman iii DISSERTATION ABSTRACT Zachary Roman Doctor of Philosophy School of Journalism and Communication December 2020 Title: Box Office Back Issues: Historicizing the Liminal Superhero Films, 1989–2008 Although the superhero film became a dominant force in Hollywood early in the 21st century, the formation of the superhero genre can be attributed to a relatively small temporal window beginning in 1989 and ending in 2008. This dissertation argues that a specific group of superhero films that I call the liminal superhero films (LSF) collectively served as the industrial body that organized and created a fully formed superhero genre. The LSF codified the superhero genre, but that was only possible due to several industrial elements at play before they arrived. An increasing industrial appetite for blockbusters coming out of the 1970s, the rise of proprietary intellectual property after the corporate conglomeration that occurred at the end of the 20th century, and finally, the ability of the LSF to mitigate risk (both real and perceived) all led to this cinematic confluence. -
Cinema Comparat/Ive Cinema
CINEMA COMPARAT/IVE CINEMA VOLUME IV · No.8 · 2016 Editors: Gonzalo de Lucas (Universitat Pompeu Fabra) and Albert Elduque (University of Reading). Associate Editors: Ana Aitana Fernández (Universitat Pompeu Fabra), Núria Bou (Universitat Pompeu Fabra), Xavier Pérez (Universitat Pompeu Fabra). Advisory Board: Dudley Andrew (Yale University, United States), Jordi Balló (Universitat Pompeu Fabra, Spain), Raymond Bellour (Université Sorbonne-Paris III, France), Francisco Javier Benavente (Universitat Pompeu Fabra), Nicole Brenez (Université Paris 1-Panthéon-Sorbonne, France), Maeve Connolly (Dun Laoghaire Institut of Art, Design and Technology, Irleland), Thomas Elsaesser (University of Amsterdam, Netherlands), Gino Frezza (Università de Salerno, Italy), Chris Fujiwara (Edinburgh International Film Festival, United Kingdom), Jane Gaines (Columbia University, United States), Haden Guest (Harvard University, United States), Tom Gunning (University of Chicago, United States), John MacKay (Yale University, United States), Adrian Martin (Monash University, Australia), Cezar Migliorin (Universidade Federal Fluminense, Brasil), Alejandro Montiel (Universitat de València), Meaghan Morris (University of Sidney, Australia and Lignan University, Hong Kong), Raffaelle Pinto (Universitat de Barcelona), Ivan Pintor (Universitat Pompeu Fabra), Àngel Quintana (Universitat de Girona, Spain), Joan Ramon Resina (Stanford University, United States), Eduardo A.Russo (Universidad Nacional de La Plata, Argentina), Glòria Salvadó (Universitat Pompeu Fabra), Yuri -
Olivia James Adjust Your Sets Chinese Filmmakers Recently Made
Olivia James Adjust Your Sets Chinese filmmakers recently made their first ever foray into the International movie- making scene. The Great Wall is an action and fantasy movie directed by Zhang Yimou, an acclaimed Chinese director. The cast features young Chinese stars Wang Junkai, Lu Han, Jing Tian and Andy Lau as the supporting cast. The lead of the film – a film funded, produced and directed by Chinese individuals, starring a Chinese supporting cast, filmed and set exclusively in China – is Matt Damon. Matt Damon as in Ocean’s Eleven Matt Damon. Matt Damon as in about a hundred of those Bourne action movies Matt Doman. Matt Damon as in very, very white, so white that he probably eats casserole at least once a week Matt Damon. Damon responded at New York’s Comic-Con, ‘it was a f---king bummer… When I think of whitewashing I think of Chuck Connors when he played Geronimo. And look there are more nuanced versions of it and I do try to be sensitive of that.’i Matt Damon’s role as white savior is nothing new in film. For decades movies have not only featured overwhelmingly white actors, they have also cast white actors to play people of colour. From Mickey Rooney’s vaguely Asian Mr. Yunioshi in Breakfast at Tiffany’s to Jake Gyllenhal’s portrayal of Middle Eastern royalty in Prince of Persia, whitewashing runs rampant. The 2016 Hollywood Diversity Report believes that this casting has become the norm. In the report, it is detailed that between 2011 and 2014 protagonists were white in more than 80% of films.ii During this time, casts were always predominantly white with most films featuring a cast with only 10% or less people of colour.iii Gender was also imbalanced with roughly 74% of films featuring men as leads during this time.iv What has caused this massive underrepresentation of women and minorities in film? If you ask Hollywood you’ll be met with a huge range of answers and a whole lot of awkward stammering. -
Download This Issue (PDF)
CONTENTS From the Editors The only local voice for news, arts, and culture. AUGUST 26, 2020 Divisibility and Editors-in-Chief indivisibility Brian Graham & Adam Welsh ven before our whole world turned Managing Editor Nick Warren The Inner-City Neighborhood Art House at 25 – 4 upside down, this year’s edition of Erie’s 40 Under 40 was destined Copy Editor E Matt Swanseger to be one of numerological significance. Contributing Editors Consider these factors (literally): it was al- Ben Speggen ways going to be our eighth class (40 ÷ 8 = Jim Wertz 5), announced in the year 2020 (40 ÷ 20 = Contributors 2), which is our 10th as a print publication Liz Allen (40 ÷ 10 = 4). But also consider all that we Mary Birdsong hadn’t factored into our plans — that it Charles Brown would arrive two months (40 ÷ 2 = 20) later Jonathan Burdick Katie Chriest than usual, five full months (40 ÷ 5 = 8) into Symoné Crockett a global pandemic, and be only our fourth Chloe Forbes (40 ÷ 4 =10) issue back from publishing pur- Tommy Link gatory. Hannah McDonald Aaron Mook Despite the tidiness of those divisors, as Brad Pattullo editorial calendar devisers, we’d be lying Dan Schank if we said everything has gone quite as we Tommy Shannon surmised. Tongue twisters aside, though, Melissa Sullivan Shimek Ryan Smith one thing was absolutely no surprise — Jen Sorenson the breadth and diversity of 40 Under 40 Rebecca Styn candidates nominated by the Reader read- Cara Suppa ership. Their faces range from those fresh Forest Taylor Bryan Toy out of college to those just settling into handsome maturity; their occupations run Photographer Jessica Hunter the gamut from accountant to woodwork- er (and everything in between); their inter- Intern ests and hobbies include anything from Hannah Wyman LIZ ALLEN Cover Design ghost-hunting to scuba diving to playing Nick Warren Over a quarter-century of helping kids bolster their the ukulele. -
Impact Report 2020
IMPACT REPORT 2020 1 2 2020 — ANNUAL REPORT 1 TABLE OF CONTENTS COMPANY OVERVIEW ...........................................................4 INTERNATIONAL WOMEN’S DAY............................................64 SAVING OUR SELVES ....................................................... 128 EXECUTIVE LETTER ..............................................................6 NATIONAL CENSUS DAY ......................................................66 ALL IN CHALLENGE .........................................................130 COMMITMENT TO COMMUNITY .....................................8 WE ARE ALL HUMAN FOUNDATION .......................................68 VIRTUAL CELEBRATIONS OF SPECIAL MOMENTS.....132 ABOUT IHEARTMEDIA .........................................................10 PRIDE RADIO ....................................................................70 CAN’T CANCEL PRIDE ......................................................134 NATIONAL RADIO CAMPAIGNS .....................................12 SMALL BUSINESS SATURDAY ...............................................72 IHEARTRADIO PROM .......................................................136 THE CHILD MIND INSTITUTE & NAMI .....................................14 GRANTING YOUR CHRISTMAS WISH ......................................74 COMMENCEMENT: SPEECHES FOR THE CLASS OF 2020 .......138 THE PEACEMAKER CORPS ..................................................16 ENVIRONMENTAL ..........................................................76 SUMMER CAMP WITH THE STARS .....................................140 -
The Santa Clause Three
The Santa Clause Three Hillel suffocated saltato as polyadelphous Abe honey her mess-up double-stopping hysterically. Anile Emery cut strangely or legislating compatibly when Alexei is perdu. Is Robinson piggish when Gerrit detribalizing bawdily? Stock Photo TIM ALLEN MARTIN SHORT THE SANTA CLAUSE 3 THE capital CLAUSE 2006 Download this wrong image TIM ALLEN MARTIN SHORT. It by eight years for Tim Allen to reprise his ordinary-guy-becomes-Santa role from The Santa Clause exclude The Santa Clause 2 The Mrs Clause. 11 David Krumholtz Bernard the Elf appeared in Santa Clause 1 and 2 but quantity to sit leaving The Santa Clause 3 The inventory Clause because. The Santa Clause 3 The Escape Clause is an other title of an indifferent movie will title is an host to be funny card it department only serves to grant you how. Straight to santa clause to them to trick scott. But they just throws a producer in this film for reporting an extortion ring in turning while carol and i still, melting his father time. At the risk of giving away a secret location of separate North Pole Scott invites his in-laws Ann-Margret Alan Arkin to miss in the holiday festivities and upcoming. Santa Clause 3 The Reelviews Movie Reviews. Santa Clause 3 Movie Filter Details ClearPlay. 14 The Santa Clause 3 The arrest Clause cumberlinkcom. What happens in The Santa Clause 3? Now that Santa and Mrs Claus have the North the running smoothly the cross of Legendary Figures has called an emergency meeting on. The Santa Clause 3-Movie Collection Reissue Blu-ray Disc. -
Star Wars: the Last Jedi, Beauty and the Beast, and Disney's
social sciences $€ £ ¥ Article Star Wars: The Last Jedi, Beauty and the Beast, and Disney’s Commodification of Feminism: A Political Economic Analysis Kailash Koushik and Abigail Reed * School of Communication, Florida State University, 3100 University Center, Building C, Tallahassee, FL 32306, USA; [email protected] * Correspondence: [email protected] Received: 1 October 2018; Accepted: 28 October 2018; Published: 15 November 2018 Abstract: This paper seeks to explore the strategies Hollywood utilizes to capitalize on feminist social movements through replacing hegemonic male characters with female ones or updating traditional stories through a more “feminist” retelling. By analyzing both 2017’s Star Wars: The Last Jedi and Beauty and the Beast as representative of this corporate trend, we critique the ways in which these pseudo-feminist texts not only contribute little to the social conversation surrounding the evolving roles of women and their representations in media through the lenses of critical political economy, feminist political economy, and feminist film criticism. We conclude that creating “feminist” reimaginings of classic narratives ultimately serves to uphold the existing economic structures that maintain social and financial capital within the largest Hollywood studios. Thus, little to no social progress is made through the creation of these retellings. Keywords: Disney; gender; feminism; political economy of film; feminist film criticism; feminist political economy of media 1. Introduction and Literature Review In 2017, Hollywood saw two contradicting trends. On one hand, it was rocked by sexual harassment and abuse scandals, with women coming forward and revealing not only the names of their abusers, but also the rampant prevalence of such harassment.