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“A celebration of committed individuals who serve as building blocks in the lives of children” Thursday, September 23, 2004 Washington, DC 2 ach year, the Congressional Coalition on Adoption Institute, CCAI, invites Members of Congress to recognize those individuals who have made a difference in the lives of orphans and foster children by giving them the Congressional Angels in Adoption™ Award. CCAI is a nonprofit, nonpartisan organization dedicated to raising awareness about the tens of thousands of foster children in this country and the millions of orphans around the world in need of permanent, safe, and loving homes; and to eliminating the barriers that hinder these children from realizing their basic need of a family. 2004 Congressional Awards Celebration Welcome Delilah National Radio Personality Musical Performance Watoto Children’s Choir Kampala, Uganda Message from CCAI President Senator Mary Landrieu Congressional Director, CCAI Message from Founding and Maxine B. Baker Premier Sponsor President and CEO, Freddie Mac Foundation Musical Performance Steven Curtis Chapman Recording Artist/Song Writer Guardian Angel Recognition Kerry Marks Hasenbalg Executive Director, CCAI Invocation Barry Black Chaplain of the United States Senate Recognition of 2004 Angels in Adoption™ Congressional Leadership Dinner Recognition of Congressional Members Delilah Presentation of National Angel in Adoption™ Congressman Jim Oberstar Award to Pat and Ruth Williams Congressional Director, CCAI Presentation of National Angel in Adoption™ Congressman -
Theaters 3 & 4 the Grand Lodge on Peak 7
The Grand Lodge on Peak 7 Theaters 3 & 4 NOTE: 3D option is only available in theater 3 Note: Theater reservations are for 2 hours 45 minutes. Movie durations highlighted in Orange are 2 hours 20 minutes or more. Note: Movies with durations highlighted in red are only viewable during the 9PM start time, due to their excess length Title: Genre: Rating: Lead Actor: Director: Year: Type: Duration: (Mins.) The Avengers: Age of Ultron 3D Action PG-13 Robert Downey Jr. Joss Whedon 2015 3D 141 Born to be Wild 3D Family G Morgan Freeman David Lickley 2011 3D 40 Captain America : The Winter Soldier 3D Action PG-13 Chris Evans Anthony Russo/ Jay Russo 2014 3D 136 The Chronicles of Narnia: The Voyage of the Dawn Treader 3D Adventure PG Georgie Henley Michael Apted 2010 3D 113 Cirque Du Soleil: Worlds Away 3D Fantasy PG Erica Linz Andrew Adamson 2012 3D 91 Cloudy with a Chance of Meatballs 2 3D Animation PG Ana Faris Cody Cameron 2013 3D 95 Despicable Me 3D Animation PG Steve Carell Pierre Coffin 2010 3D 95 Despicable Me 2 3D Animation PG Steve Carell Pierre Coffin 2013 3D 98 Finding Nemo 3D Animation G Ellen DeGeneres Andrew Stanton 2003 3D 100 Gravity 3D Drama PG-13 Sandra Bullock Alfonso Cuaron 2013 3D 91 Hercules 3D Action PG-13 Dwayne Johnson Brett Ratner 2014 3D 97 Hotel Transylvania Animation PG Adam Sandler Genndy Tartakovsky 2012 3D 91 Ice Age: Continetal Drift 3D Animation PG Ray Romano Steve Martino 2012 3D 88 I, Frankenstein 3D Action PG-13 Aaron Eckhart Stuart Beattie 2014 3D 92 Imax Under the Sea 3D Documentary G Jim Carrey Howard Hall -
The Social Meaning of Eh in Canadian English∗
THE SOCIAL MEANING OF EH IN CANADIAN ENGLISH∗ Derek Denis University of Toronto 1. Introduction. The recent surge in sociolinguistic investigation of pragmatic markers such as general extenders (and stuff, and things like that), discourse and quotative like, and utterance final tags (right, you know) has been primarily fuelled by questions about grammaticalization and language change (D’Arcy 2005; Tagliamonte and D’Arcy 2007; Cheshire 2007; Tagliamonte and Denis 2010; Pichler and Levey 2011; Denis and Tagliamonte pear). Included in that set of pragmatic markers is eh, a very special variant (at least for Canadians). In this paper, I build on earlier work (Avis 1972; Johnson 1976; Gibson 1977; Gold 2005, 2008) and discuss the development of this very Canadian feature in terms of indexical order and indexi- cal change, along the lines of Silverstein’s seminal 2003 paper and Johnstone and Kiesling’s (Johnstone and Kiesling 2008; Johnstone 2009) work on Pittsburghese, which applies Silverstein’s framework. Although eh is well-known as the quintessential Canadian English stereo- type, there has been little research that discusses how exactly it came to hold this status. By tracking the points in time at which eh gained meanings at subse- quent orders of indexicality, a` la Silverstein (1993, 2003) and Johnstone (2009), I establish a timeline of the development of eh’s social meaning in Canada. My arguments draw on evidence based on the metadiscourse surrounding eh, perfor- mances of Canadian identity, real- and apparent-time data that tracks the usage of eh in Southern Ontario English over the last 130 years (Tagliamonte 2006; Denis 2012) and the commodification of eh. -
"Hamlet, Part Eight, the Revenge" Or, Sampling Shakespeare in a Postmodern World Author(S): Kay H
"Hamlet, Part Eight, the Revenge" or, Sampling Shakespeare in a Postmodern World Author(s): Kay H. Smith Source: College Literature, Vol. 31, No. 4, Shakespeare and Popular Culture (Fall, 2004), pp. 135-149 Published by: College Literature Stable URL: http://www.jstor.org/stable/25115232 . Accessed: 15/05/2011 17:12 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at . http://www.jstor.org/action/showPublisher?publisherCode=colllit. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. College Literature is collaborating with JSTOR to digitize, preserve and extend access to College Literature. http://www.jstor.org "Hamlet,Part Eight, The Revenge" or, SamplingShakespeare in a PostmodernWorld Kay H. -
Stars, Genres, and the Question of Constructing a Popular Anglophone Canadian Cinema in the Twenty First Century
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-20-2012 12:00 AM Fighting, Screaming, and Laughing for an Audience: Stars, Genres, and the Question of Constructing a Popular Anglophone Canadian Cinema in the Twenty First Century Sean C. Fitzpatrick The University of Western Ontario Supervisor Dr. Christopher E. Gittings The University of Western Ontario Graduate Program in Film Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Sean C. Fitzpatrick 2012 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Film and Media Studies Commons Recommended Citation Fitzpatrick, Sean C., "Fighting, Screaming, and Laughing for an Audience: Stars, Genres, and the Question of Constructing a Popular Anglophone Canadian Cinema in the Twenty First Century" (2012). Electronic Thesis and Dissertation Repository. 784. https://ir.lib.uwo.ca/etd/784 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. FIGHTING, SCREAMING, AND LAUGHING FOR AN AUDIENCE: STARS, GENRE, AND THE QUESTION OF CONSTRUCTING A POPULAR ANGLOPHONE CANADIAN CINEMA IN THE TWENTY-FIRST CENTURY (Spine title: Fighting, Screaming, and Laughing for an Audience) (Thesis format: Monograph OR Integrated-Article) by Sean Fitzpatrick Graduate Program in Film Studies A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Sean Fitzpatrick 2012 THE UNIVERSITY OF WESTERN ONTARIO School of Graduate and Postdoctoral Studies CERTIFICATE OF EXAMINATION Supervisor Examiners ______________________________ ______________________________ Dr. -
Record Dedicated to Serving the Needs of the Music & Record Worldindustry
record Dedicated To Serving The Needs Of The Music & Record worldIndustry May 11, 1969 60c In the opinion of the editors, this week the following records are the WHO IN SINGLE PICKS OF THE WEEK THE WORLD -.A.11111111." LOVE MI TONIGHT TON TOWS Tom Jones, clicking on Young -HoltUnlimited have JerryButlerhas a spicy Bob Dylan sings his pretty stateside TV these days, a new and funky ditty and moodyfollow-up in "I Threw ftAll Away" (Big shouldscoreveryheavily called "Young and Holtful" "Moody Woman" (Gold Sky, ASCAP), which has with"Love Me Tonight" (Dakar - BRC, BMI), which Forever-Parabut, BMI(,pro- caused muchtalkinthe (Duchess, BMI)(Parrot hassomejazzandLatin duced by Gamble -Huff (Mer- "NashvilleSkyline"elpee 40038(. init (Brunswick 755410). cury 72929). (Columbia 4-448261. SLEEPER PICKS OF THE WEEK TELLING ALRIGHT AM JOE COCKER COLOR HIM FATHER THE WINSTONS Joe Cocker sings the nifty The Winstons are new and Roy Clark recalls his youth TheFive Americans geta Traffic ditty that Dave will make quite a name for on the wistful Charles Az- lot funkier and funnier with Mason wrote, "FeelingAl- themselveswith"Color navour - Herbert Kretzmer, "IgnertWoman" (Jetstar, right" (Almo, ASCAP). Denny Him Father"(Holly Bee, "Yesterday,When I Was BMI(, which the five guys Cordell produced (A&M BMI), A DonCarrollPra- Young"(TRO - Dartmouth, wrote (Abnak 137(. 1063). duction (Metromedia117). ASCAP) (Dot 17246). ALBUM PICKS OF THE WEEK ONUTISNINF lUICICCIENS GOLD "Don Kirshner Cuts 'Hair' " RogerWilliams plays "MacKenna's Gold," one of Larry Santos is a newcomer is just what the title says "HappyHeart" andalso the big summer movies, has with a big,huskyvoice I hree Records from 'Hair' withHerbBernsteinsup- getsmuchivorymileage a scorebyQuincy Jones and a good way with tune- plying arrangements and from "Those Were the and singing byJoseFeli- smithing. -
The Social Meaning of Eh in Canadian English∗
THE SOCIAL MEANING OF EH IN CANADIAN ENGLISH∗ Derek Denis University of Toronto 1. Introduction. The recent surge in sociolinguistic investigation of pragmatic markers such as general extenders (and stuff, and things like that), discourse and quotative like, and utterance final tags (right, you know) has been primarily fuelled by questions about grammaticalization and language change (D’Arcy 2005; Tagliamonte and D’Arcy 2007; Cheshire 2007; Tagliamonte and Denis 2010; Pichler and Levey 2011; Denis and Tagliamonte pear). Included in that set of pragmatic markers is eh, a very special variant (at least for Canadians). In this paper, I build on earlier work (Avis 1972; Johnson 1976; Gibson 1977; Gold 2005, 2008) and discuss the development of this very Canadian feature in terms of indexical order and indexi- cal change, along the lines of Silverstein’s seminal 2003 paper and Johnstone and Kiesling’s (Johnstone and Kiesling 2008; Johnstone 2009) work on Pittsburghese, which applies Silverstein’s framework. Although eh is well-known as the quintessential Canadian English stereo- type, there has been little research that discusses how exactly it came to hold this status. By tracking the points in time at which eh gained meanings at subse- quent orders of indexicality, a` la Silverstein (1993, 2003) and Johnstone (2009), I establish a timeline of the development of eh’s social meaning in Canada. My arguments draw on evidence based on the metadiscourse surrounding eh, perfor- mances of Canadian identity, real- and apparent-time data that tracks the usage of eh in Southern Ontario English over the last 130 years (Tagliamonte 2006; Denis 2012) and the commodification of eh. -
Asper Nation Other Books by Marc Edge
Asper Nation other books by marc edge Pacific Press: The Unauthorized Story of Vancouver’s Newspaper Monopoly Red Line, Blue Line, Bottom Line: How Push Came to Shove Between the National Hockey League and Its Players ASPER NATION Canada’s Most Dangerous Media Company Marc Edge NEW STAR BOOKS VANCOUVER 2007 new star books ltd. 107 — 3477 Commercial Street | Vancouver, bc v5n 4e8 | canada 1574 Gulf Rd., #1517 | Point Roberts, wa 98281 | usa www.NewStarBooks.com | [email protected] Copyright Marc Edge 2007. All rights reserved. No part of this work may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, without the prior written consent of the publisher or a licence from the Canadian Copyright Licensing Agency (access Copyright). Publication of this work is made possible by the support of the Canada Council, the Government of Canada through the Department of Cana- dian Heritage Book Publishing Industry Development Program, the British Columbia Arts Council, and the Province of British Columbia through the Book Publishing Tax Credit. Printed and bound in Canada by Marquis Printing, Cap-St-Ignace, QC First printing, October 2007 library and archives canada cataloguing in publication Edge, Marc, 1954– Asper nation : Canada’s most dangerous media company / Marc Edge. Includes bibliographical references and index. isbn 978-1-55420-032-0 1. CanWest Global Communications Corp. — History. 2. Asper, I.H., 1932–2003. I. Title. hd2810.12.c378d34 2007 384.5506'571 c2007–903983–9 For the Clarks – Lynda, Al, Laura, Spencer, and Chloe – and especially their hot tub, without which this book could never have been written. -
1 | Hudson Valley Shakespeare Festival
1 | HUDSON VALLEY SHAKESPEARE FESTIVAL TABLE OF CONTENTS OUR MISSION AND SUPPORTERS EDUCATION DIRECTOR’S STATEMENT PART ONE: SHAKESPEARE’S LIFE AND TIMES William Shakespeare Shakespeare’s England The Elizabethan and Jacobean Stage PART TWO: THE PLAY Plot Summary Who is Who: The Cast The Origins of the Play Themes A Genre Play: Revenge Tragedy or Tragedy? PART THREE: WORDS, WORDS, WORDS By the Numbers Shakespeare’s Language States, Syllables, Stress Feet + Metre = Scansion Metrical Stress vs. Natural Stress PART FOUR: HVSF PRODUCTION Note from the Director Doubling Hamlet: Full Text Vs. The HVSF Cut What to Watch For: Themes and Questions to Consider Theatre Etiquette PART FIVE: CLASSROOM ACTIVITIES Activities That Highlight Language Activities That Highlight Character Activities That Highlight Scene Work PART SIX: Hamlet RESOURCES 2 | HUDSON VALLEY SHAKESPEARE FESTIVAL HUDSON VALLEY SHAKESPEARE FESTIVAL OUR MISSION AND SUPPORTERS Founded in 1987, the Hudson Valley Shakespeare Festival's mission is to engage the widest possible audience in a fresh conversation about what is essential in Shakespeare’s plays. Both in production and in the classroom, our theater lives in the present moment, at the intersection of the virtuosity of the actor, the imagination of the audience, and the inspiration of the text. HVSF’s primary home is a spectacular open-air theater tent at Boscobel House and Gardens in Garrison, NY. Every summer, more than 35,000 patrons join us there for a twelve-week season of plays presented in repertory, with the natural beauty of the Hudson Highlands as our backdrop. HVSF has produced more than 50 classical works on our mainstage. -
Doherty, Thomas, Cold War, Cool Medium: Television, Mccarthyism
doherty_FM 8/21/03 3:20 PM Page i COLD WAR, COOL MEDIUM TELEVISION, McCARTHYISM, AND AMERICAN CULTURE doherty_FM 8/21/03 3:20 PM Page ii Film and Culture A series of Columbia University Press Edited by John Belton What Made Pistachio Nuts? Early Sound Comedy and the Vaudeville Aesthetic Henry Jenkins Showstoppers: Busby Berkeley and the Tradition of Spectacle Martin Rubin Projections of War: Hollywood, American Culture, and World War II Thomas Doherty Laughing Screaming: Modern Hollywood Horror and Comedy William Paul Laughing Hysterically: American Screen Comedy of the 1950s Ed Sikov Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema Rey Chow The Cinema of Max Ophuls: Magisterial Vision and the Figure of Woman Susan M. White Black Women as Cultural Readers Jacqueline Bobo Picturing Japaneseness: Monumental Style, National Identity, Japanese Film Darrell William Davis Attack of the Leading Ladies: Gender, Sexuality, and Spectatorship in Classic Horror Cinema Rhona J. Berenstein This Mad Masquerade: Stardom and Masculinity in the Jazz Age Gaylyn Studlar Sexual Politics and Narrative Film: Hollywood and Beyond Robin Wood The Sounds of Commerce: Marketing Popular Film Music Jeff Smith Orson Welles, Shakespeare, and Popular Culture Michael Anderegg Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema, ‒ Thomas Doherty Sound Technology and the American Cinema: Perception, Representation, Modernity James Lastra Melodrama and Modernity: Early Sensational Cinema and Its Contexts Ben Singer -
Shakespeare, Madness, and Music
45 09_294_01_Front.qxd 6/18/09 10:03 AM Page i Shakespeare, Madness, and Music Scoring Insanity in Cinematic Adaptations Kendra Preston Leonard THE SCARECROW PRESS, INC. Lanham • Toronto • Plymouth, UK 2009 46 09_294_01_Front.qxd 6/18/09 10:03 AM Page ii Published by Scarecrow Press, Inc. A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 http://www.scarecrowpress.com Estover Road, Plymouth PL6 7PY, United Kingdom Copyright © 2009 by Kendra Preston Leonard All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Leonard, Kendra Preston. Shakespeare, madness, and music : scoring insanity in cinematic adaptations, 2009. p. cm. Includes bibliographical references and index. ISBN 978-0-8108-6946-2 (pbk. : alk. paper) — ISBN 978-0-8108-6958-5 (ebook) 1. Shakespeare, William, 1564–1616—Film and video adaptations. 2. Mental illness in motion pictures. 3. Mental illness in literature. I. Title. ML80.S5.L43 2009 781.5'42—dc22 2009014208 ™ ϱ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. Printed -
Running Head: POPULAR PEDAGOGY in CANADIAN TELEVISION
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Brock University Digital Repository Running head: POPULAR PEDAGOGY IN CANADIAN TELEVISION Popular Pedagogy in Canadian Television: A Feminist Critical Discourse Analysis of Trailer Park Boys Andrew Haddow, B.A. (Hons.) Department of Graduate Studies in Education Submitted in partial fulfillment of the requirements for the degree of Master of Education Faculty of Education, Brock University St. Catharines, Ontario © Andrew Haddow, 2017 POPULAR PEDAGOGY IN CANADIAN TELEVISION Abstract This major research paper studied the representations of masculinity in the Canadian television program Trailer Park Boys from the perspective of public pedagogy and education. Motivated by a desire to expose how patriarchal discourses are learned through everyday practices and texts, a methodology of feminist Critical Discourse Analysis (CDA) was formulated. Trailer Park Boys is a long-running mockumentary series set in a fictional trailer park near Halifax, Nova Scotia. It focuses on a cast of male characters with exaggerated personalities, and is satirical in tone. Prior to the main analysis of this paper, a collection of relevant literature was conducted and an opportunity to address a lack of gender-focused studies of Canadian television, including Trailer Park Boys, was noted. This study used the feminist CDA method to analyze what masculinities were reinforced as normal or abnormal in Seasons 3 and 9 of the program, based on the understanding that popular culture is a site of everyday learning. After the data was collected episode-by-episode, it became apparent that the themes of family, authority, and sexuality were helpful in understanding what relationship Trailer Park Boys had with traditional representations of heteronormative masculinity.