SHANE HURLBUT, ASC Director of Photography
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Serena Simpson
SERENA SIMPSON Production Sound Mixer Member IATSE 479 Serena Simpson is one of very few women Production Sound Mixers, still to this day. She takes great pride in her job and work ethic and has worked her way up through the business at an impressive clip. She got her start in the entertainment industry working in Commercial dialogue editing and Sound design. She then played a vital role in the start up of a successful Atlanta audiobook company. Her work in those Audio and Advertising related fields earned her two Telly Awards and an Audie before she transitioned to location Sound Mixing. Serena now does Commercials occasionally as Sound Mixer but now primarily works in Television and Features. She enjoys the different paces of the two formats and schedules and her versatility and experience allows her to adapt quickly to any logistical obstacles. Serena’s enthusiasm, calm and easy going personality and enjoyment of her work are always appreciated by Directors and Producers. When not on set, you can find Serena tending to her mini farm and family in Atlanta, Georgia. Features as Sound Mixer (selected credits); Production Director / Producer / Company HOLIDATE (Emma Roberts, Luke Bracey) John Whitesell / McG, Steve Bello / Netflix THE BANKER (Anthony Mackie, Samuel L. Jackson, Nicolas Hoult) George Nolfi / Tom Butterfield, Samuel Jackson / Apple AVENGERS: INFINITY WARS (Second Unit Mixer) Anthony & Joe Russo / Victoria Alonso / Marvel, Disney BOY ERASED (Mixer for re-shoot Unit) Joel Edgerton / Edgerton, David Joseph Craig / Focus THE VAULT (James Franco, Taryn Manning) Dan Bush / Alex Cutler, Tom Butterfield / Red Wire TRADING PAINT (John Travolta, Shania TWain) Karzen Kader / Mary C. -
Los Angeles Lawyer June 2010 June2010 Issuemaster.Qxp 5/13/10 12:26 PM Page 5
June2010_IssueMaster.qxp 5/13/10 12:25 PM Page c1 2010 Lawyer-to-Lawyer Referral Guide June 2010 /$4 EARN MCLE CREDIT PLUS Protecting Divorce Web Site Look and Estate and Feel Planning page 40 page 34 Limitations of Privacy Rights page 12 Revoking Family Trusts page 16 The Lilly Ledbetter Fair Pay Act Strength of page 21 Character Los Angeles lawyers Michael D. Schwartz and Phillip R. Maltin explain the effective use of character evidence in civil trials page 26 June2010_IssueMaster.qxp 5/13/10 12:42 PM Page c2 Every Legal Issue. One Legal Source. June2010_IssueMaster.qxp 5/13/10 12:25 PM Page 1 Interim Dean Scott Howe and former Dean John Eastman at the Top 100 celebration. CHAPMAN UNIVERSITY SCHOOL OF LAW PROUDLY ANNOUNCES OUR RANKING AMONG THE TOP 100 OF ONE UNIVERSITY DRIVE, ORANGE, CA 92866 www.chapman.edu/law June2010_IssueMaster.qxp 5/13/10 12:25 PM Page 2 0/&'*3. ."/:40-65*0/4 Foepstfe!Qspufdujpo Q -"8'*3.$-*&/54 Q"$$&445007&3130'&44*0/"- -*"#*-*5:1307*%&34 Q0/-*/&"11-*$"5*0/4'03 &"4:$0.1-&5*0/ &/%034&%130'&44*0/"--*"#*-*5:*/463"/$,&3 Call 1-800-282-9786 today to speak to a specialist. 5 ' -*$&/4&$ 4"/%*&(003"/(&$06/5:-04"/(&-&44"/'3"/$*4$0 888")&3/*/463"/$&$0. June2010_IssueMaster.qxp 5/13/10 12:26 PM Page 3 FEATURES 26 Strength of Character BY MICHAEL D. SCHWARTZ AND PHILLIP R. MALTIN Stringent rules for the admission of character evidence in civil trials are designed to prevent jurors from deciding a case on the basis of which party is more likeable 34 Parting of the Ways BY HOWARD S. -
KATHRINE GORDON Hair Stylist IATSE 798 and 706
KATHRINE GORDON Hair Stylist IATSE 798 and 706 FILM DOLLFACE Department Head Hair/ Hulu Personal Hair Stylist To Kat Dennings THE HUSTLE Personal Hair Stylist and Hair Designer To Anne Hathaway Camp Sugar Director: Chris Addison SERENITY Personal Hair Stylist and Hair Designer To Anne Hathaway Global Road Entertainment Director: Steven Knight ALPHA Department Head Studio 8 Director: Albert Hughes Cast: Kodi Smit-McPhee, Jóhannes Haukur Jóhannesson, Jens Hultén THE CIRCLE Department Head 1978 Films Director: James Ponsoldt Cast: Emma Watson, Tom Hanks LOVE THE COOPERS Hair Designer To Marisa Tomei CBS Films Director: Jessie Nelson CONCUSSION Department Head LStar Capital Director: Peter Landesman Cast: Gugu Mbatha-Raw, David Morse, Alec Baldwin, Luke Wilson, Paul Reiser, Arliss Howard BLACKHAT Department Head Forward Pass Director: Michael Mann Cast: Viola Davis, Wei Tang, Leehom Wang, John Ortiz, Ritchie Coster FOXCATCHER Department Head Annapurna Pictures Director: Bennett Miller Cast: Steve Carell, Channing Tatum, Mark Ruffalo, Siena Miller, Vanessa Redgrave Winner: Variety Artisan Award for Outstanding Work in Hair and Make-Up THE MILTON AGENCY Kathrine Gordon 6715 Hollywood Blvd #206, Los Angeles, CA 90028 Hair Stylist Telephone: 323.466.4441 Facsimile: 323.460.4442 IATSE 706 and 798 [email protected] www.miltonagency.com Page 1 of 6 AMERICAN HUSTLE Personal Hair Stylist to Christian Bale, Amy Adams/ Columbia Pictures Corporation Hair/Wig Designer for Jennifer Lawrence/ Hair Designer for Jeremy Renner Director: David O. Russell -
Tesis726.Pdf
i REGLAMENTO DE LA PONTIFICIA UNIVERSIDAD JAVERIANA ARTÍCULO 23 “La Universidad no se hace responsable por los conceptos emitidos por los alumnos en sus trabajos de grado, solo velará porque no se publique nada contrario al dogma y la moral católicos y porque el trabajo no contenga ataques y polémicas puramente personales, antes bien, se vean en ellas el anhelo de buscar la verdad y la justicia”. ii Pontificia Universidad Javeriana Facultad de comunicación y lenguaje Carrera de comunicación social Énfasis audiovisual Realidades paralelas Diseño de una miniserie para web 2.0 en narrativa paralela TRABAJO DE GRADO PARA OPTAR POR EL TÍTULO DE COMUNICADOR SOCIAL CON ÉNFASIS AUDIOVISUAL PRESENTADO POR: Rafael Andrés Becerra Saldaña DIRECTOR/ASESOR: Víctor Hugo Valencia Aristizábal BOGOTÁ, MAYO DE 2011 iii Esta página es dejada en blanco intencionalmente iv Agradecimientos – Dedicatoria considerado como parte de mi familia, también a Diana Rojas y a María Fernanda Granados, las adoró con todas mis fuerzas, a Pamela Morales por ser un amiga de verdad… No puedo dejar de pensar que mientras escribo este texto mi A pesar de varios malos ratos, la universidad me ha llenado de padre sufre los efectos de un cáncer desgarrador y una personas valiosas por las cuales se realiza este trabajo y a quienes quimioterapia llena de dolorosos efectos secundarios y que a espero siempre llevar en aquellos recuerdos que se almacenan en pesar de esto nunca ha dejado de trabajar para poder darnos a mi el corazón, muchas gracias Ricardo Suárez, Oneris Rico, Liliana hermana, mi madre y a mi todo lo que siempre hemos Avendaño, Sebastián Kowoll, Daniela Gómez, Daniela Vargas, necesitado, este trabajo te lo dedico a ti papá. -
Accepted Manuscript Version
Research Archive Citation for published version: Kim Akass, and Janet McCabe, ‘HBO and the Aristocracy of Contemporary TV Culture: affiliations and legitimatising television culture, post-2007’, Mise au Point, Vol. 10, 2018. DOI: Link to published article in journal's website Document Version: This is the Accepted Manuscript version. The version in the University of Hertfordshire Research Archive may differ from the final published version. Copyright and Reuse: This manuscript version is made available under the terms of the Creative Commons Attribution-NonCommercial- NoDerivatives License CC BY NC-ND 4.0 ( http://creativecommons.org/licenses/by-nc-nd/4.0/ ), which permits non-commercial re-use, distribution, and reproduction in any medium, provided the original work is properly cited, and is not altered, transformed, or built upon in any way. Enquiries If you believe this document infringes copyright, please contact Research & Scholarly Communications at [email protected] 1 HBO and the Aristocracy of TV Culture : affiliations and legitimatising television culture, post-2007 Kim Akass and Janet McCabe In its institutional pledge, as Jeff Bewkes, former-CEO of HBO put it, to ‘produce bold, really distinctive television’ (quoted in LaBarre 90), the premiere US, pay- TV cable company HBO has done more than most to define what ‘original programming’ might mean and look like in the contemporary TV age of international television flow, global media trends and filiations. In this article we will explore how HBO came to legitimatise a contemporary television culture through producing distinct divisions ad infinitum, framed as being rooted outside mainstream commercial television production. In creating incessant divisions in genre, authorship and aesthetics, HBO incorporates artistic norms and principles of evaluation and puts them into circulation as a succession of oppositions— oppositions that we will explore throughout this paper. -
SEAN FADEN VFX Supervisor Seanfaden.Com
SEAN FADEN VFX Supervisor seanfaden.com PROJECTS DIRECTORS PRODUCERS/STUDIOS LADY AND THE TRAMP VFX Supervisor Charlie Bean Walt Disney Pictures MULAN VFX Supervisor Niki Caro Walt Disney Pictures POWER RANGERS Dean Israelite Marty Bowen, Wyck Godfrey VFX Supervisor, 2nd Unit Director Brent O’Connor / Lionsgate / Temple Hill FANTASTIC FOUR (Pixomondo) Josh Trank 20th Century Fox SLEEPY HOLLOW Season 2 (Pixomondo) Various Directors Marc Alpert, Dennis Hammer 20th Century Fox SCORPION Pilot (Pixomondo) Justin Lin Don Tardino, Clayton Townsend / CBS GAME OF THRONES Season 3 (Pixomondo) Various Directors HBO VFX Supervisor, 2nd Unit Director Nomination - VES Award WANDA RIDE FILM (Pixomondo) Aerial Unit Director FAST & FURIOUS 6 (Pixomondo) Justin Lin Universal Pictures A GOOD DAY TO DIE HARD (Pixomondo) John Moore 20th Century Fox VFX Supervisor, On-set VFX Supervisor A NIGHTMARE ON ELM STREET (Method Studios) Samuel Bayer New Line Cinema VFX Supervisor, On-set VFX Supervisor, 2nd Unit Director PERCY JACKSON & THE OLYMPIANS: Chris Columbus Fox 2000 THE LIGHTNING THIEF (Method Studios) LET ME IN (Method Studios) Matt Reeves Overture Films VFX Supervisor, On-set VFX Supervisor A LITTLE BIT OF HEAVEN Nicole Kassell Davis Entertainment (Method Studios) The Weinstein Company GULLIVER’S TRAVELS Rob Letterman 20th Century Fox (Method Studios) LOCKE & KEY Pilot (Method Studios) Mark Romanek Dimension Films VFX Supervisor, On-set VFX Supervisor CAPTAIN AMERICA: THE FIRST AVENGER Joe Johnston Paramount (Method Studios) THE GIRL WITH THE DRAGON TATOO David Fincher Columbia Pictures (Method Studios) THE PURGE (Method Studios) James DeMonaco Blumhouse / Universal Pictures VFX Supervisor, On-set VFX Supervisor ARTHUR NEWMAN GOLF PRO (Method Studios) Dante Ariola Vertebra Films TERMINATOR: SALVATION (Asylum) McG Warner Bros. -
The Work of the Critic
CHAPTER 1 The Work of the Critic Oh, gentle lady, do not put me to’t. For I am nothing if not critical. —Iago to Desdemona (Shakespeare, Othello, Act 2, Scene I) INTRODUCTION What is the advantage of knowing how to perform television criticism if you are not going to be a professional television critic? The advantage to you as a television viewer is that you will not only be able to make informed judgment about the television programs you watch, but also you will better understand your reaction and the reactions of others who share the experience of watching. Critical acuity enables you to move from casual enjoyment of a television program to a fuller and richer understanding. A viewer who does not possess critical viewing skills may enjoy watching a television program and experience various responses to it, such as laughter, relief, fright, shock, tension, or relaxation. These are fun- damental sensations that people may get from watching television, and, for the most part, viewers who are not critics remain at this level. Critical awareness, however, enables you to move to a higher level that illuminates production practices and enhances your under- standing of culture, human nature, and interpretation. Students studying television production with ambitions to write, direct, edit, produce, and/or become camera operators will find knowledge of television criticism necessary and useful as well. Television criticism is about the evaluation of content, its context, organiza- tion, story and characterization, style, genre, and audience desire. Knowledge of these concepts is the foundation of successful production. THE ENDS OF CRITICISM Just as critics of books evaluate works of fiction and nonfiction by holding them to estab- lished standards, television critics utilize methodology and theory to comprehend, analyze, interpret, and evaluate television programs. -
Terminator and Philosophy
ftoc.indd viii 3/2/09 10:29:19 AM TERMINATOR AND PHILOSOPHY ffirs.indd i 3/2/09 10:23:40 AM The Blackwell Philosophy and Pop Culture Series Series Editor: William Irwin South Park and Philosophy Edited by Robert Arp Metallica and Philosophy Edited by William Irwin Family Guy and Philosophy Edited by J. Jeremy Wisnewski The Daily Show and Philosophy Edited by Jason Holt Lost and Philosophy Edited by Sharon Kaye 24 and Philosophy Edited by Richard Davis, Jennifer Hart Weed, and Ronald Weed Battlestar Galactica and Philosophy Edited by Jason T. Eberl The Offi ce and Philosophy Edited by J. Jeremy Wisnewski Batman and Philosophy Edited by Mark D. White and Robert Arp House and Philosophy Edited by Henry Jacoby Watchmen and Philosophy Edited by Mark D. White X-Men and Philosophy Edited by Rebecca Housel and J. Jeremy Wisnewski ffirs.indd ii 3/2/09 10:23:40 AM TERMINATOR AND PHILOSOPHY I'LL BE BACK, THEREFORE I AM Edited by Richard Brown and Kevin S. Decker John Wiley & Sons, Inc. ffirs.indd iii 3/2/09 10:23:41 AM This book is printed on acid-free paper. Copyright © 2009 by John Wiley & Sons. All rights reserved Published by John Wiley & Sons, Inc., Hoboken, New Jersey Published simultaneously in Canada No part of this publication may be reproduced, stored in a retrieval system, or trans- mitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 646-8600, or on the web at www.copyright.com. -
HASBRO, INC. (Name of Registrant As Specified in Its Charter)
SCHEDULE 14A INFORMATION PROXY STATEMENT PURSUANT TO SECTION 14(a) OF THE SECURITIES EXCHANGE ACT OF 1934 (AMENDMENT NO. ) Filed By The Registrant x Filed By A Party Other Than The Registrant ¨ Check the appropriate box: ¨ Preliminary Proxy Statement ¨ Confidential, for Use of the Commission Only (as permitted by Rule 14a-6(e)(2)) x Definitive Proxy Statement ¨ Definitive Additional Materials ¨ Soliciting Material Under Rule14a-12 HASBRO, INC. (Name of Registrant as Specified In Its Charter) Payment Of Filing Fee (Check The Appropriate Box): x No fee required. ¨ Fee computed on table below per Exchange Act Rules 14a-6(i)(4) and 0-11. 1) Title of each class of securities to which transaction applies: 2) Aggregate number of securities to which transaction applies: 3) Per unit price or other underlying value of transaction computed pursuant to Exchange Act Rule 0-11 (Set forth the amount on which the filing fee is calculated and state how it was determined): 4) Proposed maximum aggregate value of transaction: 5) Total fee paid: ¨ Fee paid previously with preliminary materials. ¨ Check box if any part of the fee is offset as provided by Exchange Act Rule 0-11(a)(2) and identify the filing for which the offsetting fee was paid previously. Identify the previous filing by registration statement number, or the Form or Schedule and the date of its filing. 1) Amount Previously Paid: 2) Form, Schedule or Registration Statement No.: 3) Filing Party: 4) Date Filed: HASBRO, INC. NOTICE OF 2012 ANNUAL MEETING OF SHAREHOLDERS Time: 11:00 a.m. local time Date: Thursday, May 17, 2012 Place: Hasbro, Inc. -
Terminator Salvation the Official Movie Novelization
TERMINATOR SALVATION THE OFFICIAL MOVIE NOVELIZATION ALAN DEAN FOSTER Based on the motion picture written by JOHN BRANCATO & MICHAEL FERRIS TITAN BOOKS Terminator Salvation: The Official Movie Novelization ISBN: 9781848569300 Published by Titan Books A division of Titan Publishing Group Ltd 144 Southwark St London SE1 0UP First edition April 2009 10 9 8 7 6 5 4 3 2 Terminator Salvation: The Official Movie Novelization is a work of fiction. Names, places and incidents either are products of the author’s imagination or are used fictitiously. Terminator Salvation™ & © 2009 T Asset Acquisition Company, LLC. Visit our website: www.titanbooks.com Did you enjoy this book? We love to hear from our readers. Please email us at [email protected] or write to us at Reader Feedback at the above address. To receive advance information, news, competitions, and exclusive Titan offers online, please register as a member by clicking the “sign up” button on our website: www.titanbooks.com No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means without the prior written permission of the publisher, nor be otherwise circulated in any form of binding or cover other than that in which it is published and without a similar condition being imposed on the subsequent purchaser. A CIP catalogue record for this title is available from the British Library. Printed and bound in Great Britain by CPI Group UK Ltd. For Brian Thomsen, who would have approved. But who left much too soon. In appreciation and friendship. -
Religion As a Role: Decoding Performances of Mormonism in the Contemporary United States
RELIGION AS A ROLE: DECODING PERFORMANCES OF MORMONISM IN THE CONTEMPORARY UNITED STATES Lauren Zawistowski McCool A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2012 Committee: Dr. Scott Magelssen, Advisor Dr. Jonathan Chambers Dr. Lesa Lockford © 2012 Lauren Zawistowski McCool All Rights Reserved iii ABSTRACT Dr. Scott Magelssen, Advisor Although Mormons have been featured as characters in American media since the nineteenth century, the study of the performance of the Mormon religion has received limited attention. As Mormonism (The Church of Jesus Christ of Latter-day Saints) continues to appear as an ever-growing topic of interest in American media, there is a gap in discourse that addresses the implications of performances of Mormon beliefs and lifestyles as performed by both members of the Church and non-believers. In this thesis, I closely examine HBO’s Big Love television series, the LDS Church’s “I Am a Mormon” media campaign, Mormon “Mommy Blogs” and the personal performance of Mormons in everyday life. By analyzing these performances through the lenses of Stuart Hall’s theories of encoding/decoding, Benedict Anderson’s writings on imagined communities, and H. L. Goodall’s methodology for the new ethnography the aim of this thesis is to fill in some small way this discursive and scholarly gap. The analysis of performances of the Mormon belief system through these lenses provides an insight into how the media teaches and shapes its audience’s ideologies through performance. iv For Caity and Emily. -
"Big Love"'?* the Recognition of Customary Marriages in South Africa Penelope E
Washington and Lee Law Review Volume 64 | Issue 4 Article 9 Fall 9-1-2007 "Big Love"'?* The Recognition of Customary Marriages in South Africa Penelope E. Andrews Follow this and additional works at: https://scholarlycommons.law.wlu.edu/wlulr Part of the Comparative and Foreign Law Commons, Family Law Commons, and the Religion Law Commons Recommended Citation Penelope E. Andrews, "Big Love"'?* The Recognition of Customary Marriages in South Africa, 64 Wash. & Lee L. Rev. 1483 (2007), https://scholarlycommons.law.wlu.edu/wlulr/vol64/iss4/9 This Article is brought to you for free and open access by the Washington and Lee Law Review at Washington & Lee University School of Law Scholarly Commons. It has been accepted for inclusion in Washington and Lee Law Review by an authorized editor of Washington & Lee University School of Law Scholarly Commons. For more information, please contact [email protected]. "Big Love"'?* The Recognition of Customary Marriages in South Africa Penelope E. Andrews" Abstract This Comment contextualizes the issue of polygamous marriages within the South African constitutional paradigm, one committed unequivocally to the principle of equality. This Comment analyzes how South African law, European in origin, had to incorporate the laws and institutions of indigenous communities within the national legal framework, as part of the overall transformativelegal project underway in the country since 1994. By focusing on the Recognition of Customary Marriages Act, this Comment examines such incorporation, while questioning its effect on the overall project of constitutionalism, human rights, and equality. Table of Contents I. Introduction ......................................................................... 1484 II. The Constitution and Gender Equality ................................