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Transmedia Muppets: the Possibilities of Performer Narratives
Volume 5, Issue 2 September 2012 Transmedia Muppets: The Possibilities of Performer Narratives AARON CALBREATH-FRASIEUR, University of Nottingham ABSTRACT This article examines how the Muppets franchise engages with transmedia narratives, their stories moving fluidly between television, film, comics, the internet and more. Rather than highlight the complexity Henry Jenkins (2006), Elizabeth Evans (2011) and others associate with transmedia, an examination of the Muppets offers insight into a mechanism that allows for simpler coherent connection between texts. The Muppets’ ongoing performer narrative challenges the prevailing understanding of transmedia storytelling. As performative characters (singers, actors, performance artists), any text concerned with Muppets, even those in which they act as other characters, becomes part of an overarching Muppet narrative. A high degree of self-reflexivity further supports transmediality, as most Muppet texts contain references to that text as a performance by the Muppets. Thus the comic Muppet Robin Hood and the film Muppet Treasure Island continue the story of the Muppets as further insight is gained into the characters' personalities and ongoing performance history. Examining different iterations of the Muppets franchise illuminates the ramifications of performer narratives for transmedia storytelling. KEYWORDS Transmedia storytelling, franchise, narrative, Muppets, multi-platform For over fifty-five years the Muppets have been appearing in media texts. They began on local television but have spread across most contemporary mediums, with many of these texts part of the over-arching, ongoing Muppet story. This article explores an alternative framework for defining one form of transmedia storytelling. This model suggests a complication in the understanding of transmedia storytelling put forward by Henry Jenkins (2006) and Elizabeth Evans (2011). -
Graham Walker Film Music Producer / Music Production Supervisor
GRAHAM WALKER FILM MUSIC PRODUCER / MUSIC PRODUCTION SUPERVISOR Graham is one of Britain’s most experienced and active Music Producers specialising in the international film music business. Education Graham studied music at Kneller Hall, the Royal Military School of Music and the Guildhall School of Music in London after which he began his career in the music production business. Graham is also a good musician; a trumpet player. Graham is one of Britain’s most experienced and active Music Producers specialising in the international film music business. After a distinguished career as Musical Director of Yorkshire Television, Head of Music for Granada Television and Head of Film Music Production for Lord Grade’s ITC Films, Graham then became freelance. The first 6 years of Graham’s career were spent at the world famous KPM Production Music Library; that was the day job! The night job was arranging and conducting sessions for various ‘pop’ and variety stars’ singles and albums such as Dickie Henderson, Roy Castle, Nicko McBrain (the drummer from Iron Maiden) and the number 1 hit ‘Grandad’ performed by Clive Dunn(!) plus score takedowns for the BBC’s ‘Top of the Pops’ for US groups such as ‘The Four Tops,’ Diana Ross and The Supremes,’ Otis Redding,’ ‘Marvin Gaye’ and many others. Work: Musical Director - Yorkshire Television, Head of Music - Granada Television, Head of Film Production (Music) - Lord Grade’s ITC Films, Head of Music - Zenith Productions. Over the years Graham has acquired extensive expertise in recording throughout Europe and beyond. He has worked with many composers, musicians and orchestras in the recording centres of London, New York, Paris, Munich, Cologne, Rome, Brussels, Berlin, Budapest, Moscow, Belgrade, Prague, Bratislava, Brandenburg and various locations in South Africa. -
Jim Henson's Fantastic World
Jim Henson’s Fantastic World A Teacher’s Guide James A. Michener Art Museum Education Department Produced in conjunction with Jim Henson’s Fantastic World, an exhibition organized by The Jim Henson Legacy and the Smithsonian Institution Traveling Exhibition Service. The exhibition was made possible by The Biography Channel with additional support from The Jane Henson Foundation and Cheryl Henson. Jim Henson’s Fantastic World Teacher’s Guide James A. Michener Art Museum Education Department, 2009 1 Table of Contents Introduction to Teachers ............................................................................................... 3 Jim Henson: A Biography ............................................................................................... 4 Text Panels from Exhibition ........................................................................................... 7 Key Characters and Project Descriptions ........................................................................ 15 Pre Visit Activities:.......................................................................................................... 32 Elementary Middle High School Museum Activities: ........................................................................................................ 37 Elementary Middle/High School Post Visit Activities: ....................................................................................................... 68 Elementary Middle/High School Jim Henson: A Chronology ............................................................................................ -
CS200 Assignment 2 – Named Styles Due Tuesday May 21, 2019, 11:59 Pm Readings and Resources Typographic Information: Begin
CS200 Assignment 2 – Named Styles Due Tuesday May 21, 2019, 11:59 pm Readings and Resources On the Web: Typographic Information: https://www.student.cs.uwaterloo.ca/~cs200/Adobe/main.html 1 Begin with the section “Type with Personality” and end with “Tips and Stuff” Texts: The Non-Designers Design Book 4th Ed., by Robin Williams: “Design Principles” Other Resources: Word’s online documentation. Select Word Help from the Help menu and search for “Styles”. Files On Learn in Week 2 / Assignment 2: Styles: KermittheFrogRaw, MissPiggieRaw: You will be applying named styles to these files in questions 2 – 4. Assignment Objectives • To explore the interface of an application, in this case MS Word, by ‘poking’ around to discover additional features of the interface. This will help you to create a model of the application’s interface, apply it to other applications, and compare it with others. • To format an unformatted word processing document using styles that you have created. This is to enhance the look of your documents as well as to increase your productivity. • To explore the use of templates and attaching styles to documents. Assignment Strategy • Question 1 may be done independently or with a partner. If you do work with a partner, please add both of your names, username and student ID Numbers to the file and to the name of the file (username1_username2_a2q1.doc). • Questions 2, 3, and 4 must be done independently. Your Tasks 1. (40%) Recall the Poke Pearl from this week’s lecture. One of the things that make the Macintosh and Windows interfaces easy to learn and to use, is that many things are done “by direct manipulation.” That is, you click, or double-click, or click and drag, or option-click-drag, etc., on some piece of the interface to make something happen. -
Home with the Armadillo
Mellard: Home with the Armadillo Home with the Armadillo: Public Memory and Performance in the 1970s Austin Music Scene Jason Dean Mellard 8 Produced by The Berkeley Electronic Press, 2010 1 Greezy Wheels performing at the Armadillo World Headquarters. Photo courtesy of the South Austin Popular Culture Center. Journal of Texas Music History, Vol. 10 [2010], Iss. 1, Art. 3 “I wanna go home with the Armadillo Good country music from Amarillo and Abilene The friendliest people and the prettiest women You’ve ever seen.” These lyrics from Gary P. Nunn’s “London Homesick Blues” adorn the wall above the exit from the Austin Bergstrom International Airport baggage claim. For years, they also played as the theme to the award-winning PBS series Austin City Limits. In short, they have served in more than one instance as an advertisement for the city’s sense of self, the face that Austin, Texas, presents to visitors and national audiences. The quoted words refer, if obliquely, to a moment in 9 the 1970s when the city first began fashioning itself as a key American site of musical production, one invested with a combination of talent and tradition and tolerance that would make of it the self-proclaimed “Live Music Capital of the World.”1 In many ways, the venue of the Armadillo World Headquarters served as ground zero for these developments, and it is often remembered as a primary site for the decade’s supposed melding of Anglo-Texan traditions and countercultural lifestyles.2 This strand of public memory reveres the Armadillo as a place in which -
Music City Texas
# 8 9 JANUARY 1997 TOWNES IMN ZANDT The days up and down (hey come Like rain on a conga drum Forgetting most, remember some But don't turn none away Everything is not enough Nothing is too much to bear Where you've been is good and gone All you keep’s the getting there To live s to fly. lou; and high So shake the dust off of your wings And the sleep out of your eyes He changed my life MCT1996 POLL HONEST JOHN REVIEWS Russ Bartlett • Ray Campi v Professor Longhair • Michele Murphy j KEN SCHAFFER’S A EGGE • KIM MILLER • LINDA LOZANO SAFETY IN NUMBERS SHOWCASE at its new home in the highly acclaimed LA PALAPA Restaurant and Cantina 6640 HWY 290 EAST (east of Highland Mall) at 6:00PM, NO COVER ' ’+ o o * i > o ° <0 ¿F Í , í J . u N .»O' « a i Ken lays out the welcome mat to all comers TOGETHER seeking the quintessential Austin music moment, Sat, Jan 11th, Belton Acoustic Concert Series, 7pm (details 817/778-5440) because he”H bet they can find it here. Fri, Jan 24th, Waterloo Ice House, 6th & Lamar, 9pm Call 419-1781 for sign up and details Egge: Thu, Jan 30th, Artz Rib House, 7pm Miller: Rouse House Concert, with L J Booth, u THE BEST OF THE UP AND COMING’’ April 26th (837-2333) < J / l N U A R y n V oVonW r i / aUer'i' VÜRE f X W s B s n d Mondays at gabe's, 9pm V Tuesdays at *Jovita's, 8pm Saturday 4th, groken Spoke, 9pm Saturday 18th, Mucky Duck, Houston, 8pm <£ 10.30pm RETR9VOGU6 Jriday 24th, Cactus Cafe, 9pm, & RELICS with special guest Staid Cleaves 2024 South Lamar Boulevard • Phone No 442-4446 &K9Mg9Mg you t h e /j e s t 9 m eouM^ny m u s 9C 'EÜKSÍlH ^tryiIIiñJKS— i KUT MAKES MUSIC! 5 5 3 5 BURNET RD. -
The Future: the Fall and Rise of the British Film Industry in the 1980S
THE FALL AND RISE OF THE BRITISH FILM INDUSTRY IN THE 1980S AN INFORMATION BRIEFING National Library Back to the Future the fall and rise of the British Film Industry in the 1980s an information briefing contents THIS PDF IS FULLY NAVIGABLE BY USING THE “BOOKMARKS” FACILITY IN ADOBE ACROBAT READER SECTION I: REPORT Introduction . .1 Britain in the 1980s . .1 Production . .1 Exhibition . .3 TV and Film . .5 Video . .7 “Video Nasties” & Regulation . .8 LEADING COMPANIES Merchant Ivory . .9 HandMade Films . .11 BFI Production Board . .12 Channel Four . .13 Goldcrest . .14 Palace Pictures . .15 Bibliography . .17 SECTION II: STATISTICS NOTES TO TABLE . .18 TABLE: UK FILM PRODUCTIONS 1980 - 1990 . .19 Written and Researched by: Phil Wickham Erinna Mettler Additional Research by: Elena Marcarini Design/Layout: Ian O’Sullivan © 2005 BFI INFORMATION SERVICES BFI NATIONAL LIBRARY 21 Stephen Street London W1T 1LN ISBN: 1-84457-108-4 Phil Wickham is an Information Officer in the Information Services of the BFI National Library. He writes and lectures extensively on British film and television. Erinna Mettler worked as an Information Officer in the Information Services of the BFI National Library from 1990 – 2004. Ian O’Sullivan is also an Information Officer in the Information Services of the BFI National Library and has designed a number of publications for the BFI. Elena Marcarini has worked as an Information Officer in the Information Services Unit of the BFI National Library. The opinions contained within this Information Briefing are those of the authors and are not expressed on behalf of the British Film Institute. Information Services BFI National Library British Film Institute 21 Stephen Street London W1T 1LN Tel: + 44 (0) 20 7255 1444 Fax: + 44 (0) 20 7436 0165 Try the BFI website for film and television information 24 hours a day, 52 weeks a year… Film & TV Info – www.bfi.org.uk/filmtvinfo - contains a range of information to help find answers to your queries. -
Bob Wills: the King of Western Swing Contributors Gary Hartman Rush Evans Rush Evans
et al.: Contents Letter from the Director The beginning of the Fall Wylie Hubbard, have been very successful. Our third CD, which 2002 semester marks the will feature Jerry Jeff Walker, Rosie Flores, The Flatlanders, and third year since the Center others, will be available soon. Proceeds from the CDs have been for Texas Music History vital in helping fund our ongoing educational projects. We are very (formerly the Institute for grateful to the musicians and everyone else who contributed. the History of Texas Music) We are very pleased to be working closely with the Bob Bul- was officially established in lock Texas State History Museum, the Country Music Hall of the History Department at Fame and Museum, and others to help present the “Country Southwest Texas State Music from the Lone Star State” exhibit, which will run through University. During those January 2003. This issue of the Journal of Texas Music History three years, the CTMH has features an in-depth article about the exhibit. I strongly en- compiled an impressive list courage all our readers to visit the Bullock Museum to experi- of accomplishments. ence this wonderful presentation on Texas music history. With the help and I am very grateful to the following people for their hard work support of many good people and businesses throughout the and generous support: Kathryn Ledbetter, Gregg Andrews, Vikki Southwest, we have built a unique and important program Bynum, Jenni Finlay, Dawn Shepler, Ann Marie Ellis, Gene focusing on the preservation and study of the region’s complex Bourgeois, the entire SWT History Department, the CTMH and diverse musical heritage. -
John Fullbright Pg 30 “What’S So Bad About Happy?” T He Oklahoma Tunesmith Seeks Answers to That Burning Question and Others While Crafting the Songs of His Life
LoneStarMusic | 1 2 | LoneStarMusic LoneStarMusic | 3 inside this issue JOHN FULLBRIGHT pg 30 “What’s so bad about happy?” T he Oklahoma tunesmith seeks answers to that burning question and others while crafting the songs of his life. by Lynne Margolis FEATUREs 26 Q&A: Billy Joe Shaver — By Holly Gleason 38 Miranda Lambert: The true heart and real deal behind the platinum supernova — By Holly Gleason 42 The Mastersons: The duke and duchess of Americana power pop embrace their chemistry on Good Luck Charm — By Holly Gleason 43 Corb Lund: Americana’s favorite Hurtin’ Albertan goes to Memphis — By Adam Dawson 46 Kelly Willis and Bruce Robison: “This will be our year, took a long time to come ...” — By Richard Skanse 50 Robyn Ludwick: Hard woman with a heartache — By Richard Skanse John Fullbright photo by John Carrico 4 | LoneStarMusic LoneStarMusic | 5 after awhile inside this issue Publisher: Zach Jennings Editor: Richard Skanse Notes from the Editor | By Richard Skanse Creative Director/Layout: Melissa Webb Cover Photo: John Carrico I can’t, for the life of me, remember what song it was that John Fullbright Advertising/Marketing: Kristen Townsend played the first time I saw him — but I damn sure remember the impact. Advertising: Erica Brown It was back in February 2011 at the 23rd International Folk Alliance Conference Artist & Label Relations: Kristen Townsend in Memphis, sometime well after midnight, when the private showcases overrunning the top three floors of the Marriott were in full swing. I’d wandered Contributing Contributing from room to room for what felt like (and probably was) hours, catching a song Writers Photographers here, a short set there, and foraging for drinks and late-night snacks the whole time. -
Afi European Union Film Showcase November 3–22
ISSUE 54 AFI SILVER THEATRE AND CULTURAL CENTER NOVEMBER 3, 2011– FEBRUARY 2, 2012 AFI EUROPEAN UNION FILM SHOWCASE NOVEMBER 3–22 Festival of New Spanish Cinema More MuppetsTM, Music & Magic Alexander Payne Holiday Classics Washington Jewish Film Festival Pictured: Keira Knightley and Michael Fassbender in David Cronenberg's A DANGEROUS METHOD, one of the centerpiece screenings at the AFI European Union Film Showcase AFI.com/Silver Contents European Union Film Showcase 2011 AFI European Union Film Showcase ......... 2 November 3-22 Special Engagements ..................... 9,16 Now in its 24th year, the AFI European Union Film OPENING NIGHT Festival of New Spanish Cinema ...........10 Showcase features a first-class selection of films from EU member states. This year’s selection of more than The Films of Alexander Payne ...............11 oldwyn Films 40 films includes multiple award-winners, international G More Muppets™, Music & Magic: festival favorites, local box-office hits and debut works Jim Henson's Legacy ...........................12 by promising new talents, plus many countries’ official Oscar submissions for Best Foreign Language Film. Holiday Classics ..................................13 Courtesy of Samuel Highlights of the festival include Opening Night film AFI & Montgomery College/ THE WOMAN IN THE FIFTH, Pawel Pawlikowski’s Kids Euro Festival/ Talk Cinema/ moody thriller starring Ethan Hawke and Kristin Scott Washington Jewish Film Festival ...........14 Thomas; Aki Kaurismäki’s quirkily inspiring charmer Calendar ............................................15 LE HAVRE; the Dardenne brothers’ Cannes Grand Prix THE WOMAN IN THE FIFTH winner THE KID WITH THE BIKE; David Cronenberg’s LOOK FOR THE razor-sharp drama about Sigmund Freud, Carl Jung and THE WOMAN IN THE FIFTH the woman who came between them, A DANGEROUS Scheduled to appear: actress Joanna Kulig AFI Member passes accepted for METHOD, starring Michael Fassbender, Viggo Thu, Nov 3, 7:30, reception to follow designated screenings. -
Building American Puppetry on the Jim Henson Foundation
BUILDING AMERICAN PUPPETRY ON THE JIM HENSON FOUNDATION DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Jennifer Kathleen Stoessner, M.A. ***** The Ohio State University 2008 Dissertation Examination Committee: Approved by Dr. Joy Reilly, Adviser Dr. Beth Kattelman Adviser Dr. Alan Woods Graduate Program in Theatre Copyright by Jennifer Kathleen Stoessner 2008 ABSTRACT Historically the United States, with the exception of ritual performances by indigenous Americans, did not have a distinct puppetry tradition, utilizing instead the imported techniques of its immigrant population. In the twentieth century, puppeteers began to explore puppetry’s capabilities, producing challenging and innovative theatrical work in a distinctly American style. Puppetry was given a stage as popular broadcasting content on the newly invented television. In this media environment, Jim Henson pioneered new techniques, becoming the most famous puppeteer in history. His success enabled him to serve his field as a spokesman and sponsor. In 1982, he established the Jim Henson Foundation, a non-profit organization to support puppetry artists. The Jim Henson Foundation is the only organization in the United States devoted to funding puppet theater and its mission reflects Jim Henson’s commitment to the community of artists who make American puppetry the vivid panorama it has become. Without the Foundation, puppetry in the United States would not be experiencing the explosion of creativity and exposure it currently enjoys. To present a picture of puppetry in the United States and Henson’s work, a brief history of puppetry in America as well as an in-depth scrutiny of Jim Henson’s career is provided. -
HONEST JOHN • Births & Deaths
rH coast MUSIC Formerly MUSIC CITY TEXAS ' BRADLEY JAYE #1/90 FEBRUARY WILLIAMS The Gulf Coast Playboys HONEST JOHN • Births & Deaths REVIEWS Johnnie Allan • Ray Campi Rosie & Flores 'Rockabilly Music & Its Makers' • Aldus Roger Eddie 'Lalo'Torres • World Accordion Anthology Townes Van Zandt LARGE SELECTION OF VINTAGE CLOTHING i THE LAST c o MUSIC CITY TEXAS m n MUSIC AWARDS ! UNDERTHESUN O POLL PARTY A Vintage Emporium tu n Champ Hood & The Threadgill's Troubadors < H Jimmie Dale Gilmore • Ray Wylie Hubbard Asylum Street Spankers • Los Pinkys > Christina Marrs & The Jubilettes c8 Don Walser • Scott Walls • Jesse Taylor 5341 BURNET RD 73 nm Gary Prlmich • Rod Moag • Ponty Bone > AUSTIN, O Kevin Smith • Randy Glines LLi 73 TEXAS 78756 K3 Ana Egge, Linda Lozano & Kim Miller (512) 453-8128 in and special guests LU 8? Steue Clark • Larry Monroe • Griff Luneberg l/"l 5 d6 c >- V/Ì MONDAY =) r\ February 17th CQ 5 O m THREADGILL'S i/i 2 WORLD HEADQUARTERS _i o < 7 3 Barton Springs & Riverside LU > 6.30-J0pm, no cover —flm.Lt.Lc.d.n. &a"ad. Sa-u.tfLt.tn. S ty le £ GJ Dedicated to the memory of Martha Taylor Fain 4 0 S- 7 O S HOUSEWARES, FURNITURE 8c KITSCH > % Vcm/Wedw'y jevnuAKy Mondays at gate's, 9pm Tuesdays at Jovita’s, 8pm (except 4th) Saturday 1st, groken Spoke, 9pm Jriday 21st, glanco's, Houston RETR9VOGUC Saturday 22nd, Jlag Hall, gurlington, nearetemple & RELICS Thursday 29th, Jrench Cegation, 9.30am 2024 South Lamar Boulevard • Phone No 442-4446 gR9MÇ9MÇ yOU THE g EST 9JO GOlAJOTRy JVIUS9C jUITÄKS KUT MAKES MUSIC! 5 5 3 5 BURHET RD.