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Mla Style Guide for Bibliographical Citations
American School of Valencia Library MLA STYLE GUIDE FOR BIBLIOGRAPHICAL CITATIONS Used primarily for: Liberal Arts and Humanities. Some general things to know: MLA calls the list of bibliographical citations at the end of a paper the “Works Cited” page, and not a bibliography. Also, like APA, MLA style does not use bibliographical footnotes, favoring instead in-text citations. Footnotes and endnotes are only used for the purposes of authorial commentary. For full entries, titles of books are italicized*, and in-text citations tend to be as brief as possible. See some common examples below. If you don’t see an example that fits the kind of source you have, consult an MLA style guide in the Library, or ask the Librarian. Every line after the first is indented in the full citation. And remember, pay close attention to the examples. Punctuation is very important. * (This reflects a change made in 2009. All information provided in this document is based on the 7th edition of the MLA Handbook for Writers of Research Papers, available in the Library) For all examples below, the information following “Works Cited:” is what goes into your Works Cited page. The information following “In-Text:” is what goes at the end of your sentence that includes a citation. A BOOK: Author’s last name, First name. Title of the book. City: Publisher, year. Medium (Print). (Example) Works Cited: Smith, John G. When citation is almost too much fun. Trenton: Nice People Publications, 2007. Print. In-Text: (Smith 13) or (13) *if it’s obvious in the sentence’s context that you’re talking about Smith+ or (Smith, Citation 9-13) [to differentiate from another book written by the same Smith in your Works Cited] [If a book has more than one author, invert the names of the first author, but keep the remaining author names as they are. -
Pr-Dvd-Holdings-As-Of-September-18
CALL # LOCATION TITLE AUTHOR BINGE BOX COMEDIES prmnd Comedies binge box (includes Airplane! --Ferris Bueller's Day Off --The First Wives Club --Happy Gilmore)[videorecording] / Princeton Public Library. BINGE BOX CONCERTS AND MUSICIANSprmnd Concerts and musicians binge box (Includes Brad Paisley: Life Amplified Live Tour, Live from WV --Close to You: Remembering the Carpenters --John Sebastian Presents Folk Rewind: My Music --Roy Orbison and Friends: Black and White Night)[videorecording] / Princeton Public Library. BINGE BOX MUSICALS prmnd Musicals binge box (includes Mamma Mia! --Moulin Rouge --Rodgers and Hammerstein's Cinderella [DVD] --West Side Story) [videorecording] / Princeton Public Library. BINGE BOX ROMANTIC COMEDIESprmnd Romantic comedies binge box (includes Hitch --P.S. I Love You --The Wedding Date --While You Were Sleeping)[videorecording] / Princeton Public Library. DVD 001.942 ALI DISC 1-3 prmdv Aliens, abductions & extraordinary sightings [videorecording]. DVD 001.942 BES prmdv Best of ancient aliens [videorecording] / A&E Television Networks History executive producer, Kevin Burns. DVD 004.09 CRE prmdv The creation of the computer [videorecording] / executive producer, Bob Jaffe written and produced by Donald Sellers created by Bruce Nash History channel executive producers, Charlie Maday, Gerald W. Abrams Jaffe Productions Hearst Entertainment Television in association with the History Channel. DVD 133.3 UNE DISC 1-2 prmdv The unexplained [videorecording] / produced by Towers Productions, Inc. for A&E Network executive producer, Michael Cascio. DVD 158.2 WEL prmdv We'll meet again [videorecording] / producers, Simon Harries [and three others] director, Ashok Prasad [and five others]. DVD 158.2 WEL prmdv We'll meet again. Season 2 [videorecording] / director, Luc Tremoulet producer, Page Shepherd. -
Strategic Management and Global Competition Individual Paper
STRATEGIC MANAGEMENT AND GLOBAL COMPETITION INDIVIDUAL PAPER THE WALT DISNEY COMPANY AND ITS ACQUISITION STRATEGY: PIXAR, MARVEL & LUCASFILM Li Chi Ching Jane Strategic Management and Global Competition, Fall 2016 December 1, 2016 Abstract In this paper, I will analyze the rationale behind Disney’s acquisitions of Pixar, Marvel and Lucasfilm and the subsequent impacts they have on Disney as a whole. Disney has always been relying on its strategic model “The Ripple Effect” for sustainable growth—through creation of a film asset, value can be infused into an array of its related entertainment assets. And a popular film acts like a wave maker in creating ripples that go down to all of Disney’s businesses—success of films are central to Disney’s overall performance. Yet, the absence of successful films from Disney starting from the late 1990s stopped the Disney model from working, resulting in a decline in profits in various business segments within Disney. In light of this problem, Disney chose the path of acquisitions— Pixar was acquired in 2006, while Marvel and Lucasfilm were acquired in 2009 and 2012 respectively. All three acquisitions have one central goal—to find Disney’s way back to the wave makers, and hence make the Disney model work again. The announcement by Disney that it would buy its partner Pixar at $7.4 billion in 2006 once shook the world—many were either having doubts on how such an acquisition would turn out or considering the valuation as too high. Most acquisitions, particularly in media, are value-destroying as opposed to value-creating. -
Glioblastoma Cell Line-Derived Spheres in Serum-Containing Medium
INTERNATIONAL JOURNAL OF ONCOLOGY 41: 1693-1700, 2012 Glioblastoma cell line-derived spheres in serum-containing medium versus serum-free medium: A comparison of cancer stem cell properties XIN HONG1, KHALIL CHEDID2 and STEVEN N. KALKANIS1 1Department of Neurosurgery, Henry Ford Health System, Detroit, MI 48202; 2School of Medicine, Wayne State University, Detroit, MI 48201, USA Received May 15, 2012; Accepted July 6, 2012 DOI: 10.3892/ijo.2012.1592 Abstract. In addition to the primary culturing of cancer stem growth (1,2). CSCs are so defined because they possess many cells (CSCs) from tumor tissues, CSCs are found in established characteristics of normal stem cells, which have the potential tumor cell lines. However, it is unclear how culture condi- for self-renewal, in vitro sphere formation, differentiation and tions affect CSC enrichment. Additionally, the differentiation tumorigenicity (3,4). In addition they are relatively quiescent potential of cell line-derived CSCs has not been well studied. and resistant to many chemotherapy drugs, and thus become In our study, the glioblastoma cell lines LN229, T98G, U251n sources of tumor recurrence (5-7). CSCs are a new target of the and U87, were cultured as spheres in serum-containing next generation of tumor therapeutic agents. medium (serum spheres) or serum-free medium (serum-free CSCs were first isolated from leukemia (8), and then from spheres). We found that LN229 and U251n cells expressed solid tumors including glioblastoma (GBM, WHO grade IV) (9). multiple stem cell markers such as Nestin, Sox2, Musashi-1 In vitro culturing of CSCs is widely used to test their character- and CD44, and their serum spheres expressed even higher ization and functionality. -
Allison Goes Head-To-Head Against Another Psychic in a Murder Trial, on “Medium,” Monday, October 22
ALLISON GOES HEAD-TO-HEAD AGAINST ANOTHER PSYCHIC IN A MURDER TRIAL, ON “MEDIUM,” MONDAY, OCTOBER 22 “Dead Aim“ #022–A dream of a gunman in the DA’s office causes Allison to fear for the safety of her colleagues. Meanwhile, tension runs high in the office as she helps Devalos with a high-profile case immediately prior to the mayoral election, On MEDIUM, Monday, October 22, 2005 (10:00-11:00 PM, ET/PT) on NBC. Richard Pearce directed the episode written by Melinda Hsu. When Joe takes Bridgette to work, she becomes convinced that his company is making a bomb. When her vision proves to be true, Joe is faced with the dilemma of whether or not he should quit his job. Meanwhile, when Allison discovers that the psychic hired by the defense is a phony, she must figure out how the defense is gaining private information about the prosecution’s witnesses. CAST GUEST STARRING Allison Dubois .................. PATRICIA ARQUETTE Larry Watt ..........................CONOR O’FARRELL Joe Dubois ..................................... JAKE WEBER Lynn Dinovi/Mayor’s Liason......TINA DIJOSEPH DA Devalos .........................MIGUEL SANDOVAL Devalos Assistant ..................... KENDAHL KING Ariel Dubois...........................SOFIA VASSILIEVA Amanda Staley....................... JEANETTE BROX Bridgette Dubois...............................MARIA LARK Andrew Stam ....................... HARRY GROENER Lee Scanlon ................................. DAVID CUBITT Chand Sooran.............................HARI DHILLON Randy Pilgrim...................HAYES MACARTHUR -
Irishness in American Gangster Films
Trabajo Fin de Grado Commodifying the American Other: Irishness in American Gangster Films Autora Raquel Connell García Director Celestino Deleyto Alcalá Facultad de Filosofía y Letras 2014 Repositorio de la Universidad de Zaragoza – Zaguan http://zaguan.unizar.es Table of Contents Introduction: Irishness in American Cinema.....................................................................1 The Gangster Genre and American-Irishness....................................................................6 Irishness in Martin Scorsese’s Cinema............................................................................11 The Departed (Martin Scorsese, 2006)............................................................................15 Conclusion.......................................................................................................................24 Works Cited.....................................................................................................................26 Contemporary US culture has absorbed, transformed and assimilated Irishness as a reliable multifunctional tool to suggest a great variety of meanings. Many critics have defined Irishness as a synonym of whiteness (Negra 2006bc, 2009; Eagan, 2006); others have tried to explain the tremendous visibility of the subculture as a result of a quest for the good old values (Third 2006: 224) or as a subtle manner of portraying new masculinities (Negra, 2009). This dissertation will analyse and discuss the portrayal of this particular identity in cinema in order -
Download-To-Own and Online Rental) and Then to Subscription Television And, Finally, a Screening on Broadcast Television
Exporting Canadian Feature Films in Global Markets TRENDS, OPPORTUNITIES AND FUTURE DIRECTIONS MARIA DE ROSA | MARILYN BURGESS COMMUNICATIONS MDR (A DIVISION OF NORIBCO INC.) APRIL 2017 PRODUCED WITH THE ASSISTANCE OF 1 EXPORTING CANADIAN FEATURE FILMS IN GLOBAL MARKETS Acknowledgements This study was commissioned by the Canadian Media Producers Association (CMPA), in partnership with the Association québécoise de la production médiatique (AQPM), the Cana- da Media Fund (CMF), and Telefilm Canada. The following report solely reflects the views of the authors. Findings, conclusions or recom- mendations expressed in this report are those of the authors and do not necessarily reflect the views of the funders of this report, who are in no way bound by any recommendations con- tained herein. 2 EXPORTING CANADIAN FEATURE FILMS IN GLOBAL MARKETS Executive Summary Goals of the Study The goals of this study were three-fold: 1. To identify key trends in international sales of feature films generally and Canadian independent feature films specifically; 2. To provide intelligence on challenges and opportunities to increase foreign sales; 3. To identify policies, programs and initiatives to support foreign sales in other jurisdic- tions and make recommendations to ensure that Canadian initiatives are competitive. For the purpose of this study, Canadian film exports were defined as sales of rights. These included pre-sales, sold in advance of the completion of films and often used to finance pro- duction, and sales of rights to completed feature films. In other jurisdictions foreign sales are being measured in a number of ways, including the number of box office admissions, box of- fice revenues, and sales of rights. -
(Nhris) and Regional Human Rights Institutions
HUMAN RIGHTS INSTITUTIONS AS MEDIUM: NATIONAL HUMAN RIGHTS INSTITUTIONS (NHRIS) AND REGIONAL HUMAN RIGHTS INSTITUTIONS (RHRIS) IN ASIAN HUMAN RIGHTS CONTEXT A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of the Science of Law by Buhm Suk Baek August 2011 © 2011 Buhm Suk Baek HUMAN RIGHTS INSTITUTIONS AS MEDIUM: NATIONAL HUMAN RIGHTS INSTITUTIONS (NHRIS) AND REGIONAL HUMAN RIGHTS INSTITUTIONS (RHRIS) IN ASIAN HUMAN RIGHTS CONTEXT Buhm Suk Baek, J.S.D. Cornell University 2011 The purpose of my dissertation is to examine whether and how national human rights institutions (NHRIs) can be a driving force for the establishment of regional human rights institutions (RHRIs) in the Asia-Pacific region, which remains the only region without such institutions in contrast to Europe, the Americas, and Africa. I first explore the issue of whether RHRIs are desirable in this region, and argue that such a system is desirable. Then I examine the reasons why RHRIs have not emerged in this region. I located these reasons in part by examining the reception of human rights in Asia and issues like the emergence of international human rights law from the Western cultural heritage, and the problematic question of what the Asian way of human rights means. The analysis of the obstacles that have hampered the creation of RHRIs leads me to focus on NHRIs. By reviewing the role that NHRIs can play in addressing the concerns and inhibitions of Asian states, while furthering the aims of international human rights law, I maintain that the way in which NHRIs collaborate demonstrates that they can be eminent actors toward the establishment of RHRIs. -
Vodafone Idea and Starz Strike Strategic Alliance; Launch Lionsgate Play in India
VODAFONE IDEA AND STARZ STRIKE STRATEGIC ALLIANCE; LAUNCH LIONSGATE PLAY IN INDIA ~ VIL customers will have easy access to popular content from Lionsgate library ~ Portfolio includes movie premieres and blockbuster films across genres ~ A seamless viewing experience of customised and differentiated content Mumbai, Aug 19, 2019: Vodafone Idea Limited, India’s leading telecom operator and STARZPLAY, the international premium subscription platform from STARZ, a Lionsgate (NYSE: LGF.A, LGF.B) company, have joined hands to launch Lionsgate’s premium service Lionsgate Play in India. This partnership will enable Vodafone Idea customers’ access to a broad portfolio of celebrated blockbusters and award-winning feature films from the studio. Video is the new growth driver in the digital content consumption today. Vodafone Idea’s partnership with STARZPLAY is a step towards boosting the growth of the digital ecosystem in India. The partnership will capitalize on this huge potential by offering viewers with an array of premium content across genres. Lionsgate Play will be available to Vodafone Play and Idea Movies & TV subscribers as a part of this strategic collaboration between the two companies. The offering includes multibillion-dollar global blockbuster franchises The Hunger Games and The Twilight Saga, multiple Academy Award ® winner La La Land and the international breakout hit Wonder, with much of it available in four local languages. The content library will be spread across genres like horror, comedy, drama, action, thriller, documentaries to name a few. Following the launch, the offering will boast an illustrious line up of digital premieres of Lionsgate films coming to the service in the first year including Robin Hood, Crank, Sahara, Redcliff, Jersey Shore Attack, Killers, Grudge, Letters to Juliet, American Pyscho 2, Nerve, Facing Ali, Down A Dark Hall and American Assassin. -
C U R R I C U L U M G U I
C U R R I C U L U M G U I D E NOV. 20, 2018–MARCH 3, 2019 GRADES 9 – 12 Inside cover: From left to right: Jenny Beavan design for Drew Barrymore in Ever After, 1998; Costume design by Jenny Beavan for Anjelica Huston in Ever After, 1998. See pages 14–15 for image credits. ABOUT THE EXHIBITION SCAD FASH Museum of Fashion + Film presents Cinematic The garments in this exhibition come from the more than Couture, an exhibition focusing on the art of costume 100,000 costumes and accessories created by the British design through the lens of movies and popular culture. costumer Cosprop. Founded in 1965 by award-winning More than 50 costumes created by the world-renowned costume designer John Bright, the company specializes London firm Cosprop deliver an intimate look at garments in costumes for film, television and theater, and employs a and millinery that set the scene, provide personality to staff of 40 experts in designing, tailoring, cutting, fitting, characters and establish authenticity in period pictures. millinery, jewelry-making and repair, dyeing and printing. Cosprop maintains an extensive library of original garments The films represented in the exhibition depict five centuries used as source material, ensuring that all productions are of history, drama, comedy and adventure through period historically accurate. costumes worn by stars such as Meryl Streep, Colin Firth, Drew Barrymore, Keira Knightley, Nicole Kidman and Kate Since 1987, when the Academy Award for Best Costume Winslet. Cinematic Couture showcases costumes from 24 Design was awarded to Bright and fellow costume designer acclaimed motion pictures, including Academy Award winners Jenny Beavan for A Room with a View, the company has and nominees Titanic, Sense and Sensibility, Out of Africa, The supplied costumes for 61 nominated films. -
Prop Master Production Designer Art Director
STRENGTHS Strong VFX understanding and experience CONTACT Exceptional leadership and organisational skills Cell: +64 27 537 2531 Webpage: https://www.melissaspicerartdept.com/ Detail, budget and deadline orientated Email: [email protected] IMDB: https://www.imdb.com/name/nm2373975/ Collaborative and creative problem solving Location Base: Wellington New Zealand/Aotearoa LinkedIn: https://www.linkedin.com/in/melissa-spicer-86950514/ PRODUCTION DESIGNER PROP MASTER ART DIRECTOR AVATAR SEQUELS PICK UPS' (FF) THE BFG' (FF) SPARTACUS - BLOOD AND SAND' (TV) Prop Master Digital Set Decorator Prop Master July 2021- October 2014 - Sept 2015 January 2009 - May 2009 Production Designer: Ben Procter Production Designer: Rick Carter Production Designer: Iain Aitken 880 Productions NZ Partnership Ltd/Lightstorm Entertainment Big Valley Productions/Amblin Entertainment Pacific Renaissance Spartacus Ltd WELLINGTON PARANORMAL SEASON 4' (TV) WETA DIGITAL VFX SEPARATION CITY' (FF) Production Designer Department Manager (Layout, Compositing) Prop Master April 2021 - June 2021 September 2012 - April 2018 August 2008 - November 2008 Producers: Taika Waititi, Jermain Clement, Paul Yates Multiple feature films and TV Series, including Game of Thrones, Hunger Production Designer: Iain Aitken Wellington Documentary Board Games, Mortal Engines, Avengers Infinity Wars, Guardian of the Galaxy Vol 2 Redhead Films GOING GOING' (FF) THE HOBBIT TRILOGY' (FF) AVATAR' (FF) Production Designer Assistant Prop Master Lead Props Jan 2021 - April 2021 September 2010 - -
Stellar Energy Lightstorm Entertainment
P "#$%&' System Profiles Stellar Energy Lightstorm Entertainment Overview DESIGNER: Chris Pettigrew, senior Courtesy Stellar Energy (4) commercial PV designer, Stellar Energy, stellarenergy.com n June 2012, Stellar Energy commis- period based on the facility’s historical sioned a 960 kW roof-mounted PV sys- energy consumption, which included LEAD INSTALLERS: Jim Nash, project I manager, Stellar Energy; Steve Foster, tem that provides clean energy for James the energy used to produce the #rst #lm. project manager, CSI Electrical Con- Cameron’s Lightstorm Entertainment Stellar Energy designed the system, which tractors, csielectric.com production studio. "e Lightstorm team utilizes 3,692 Yingli Solar 260 W modules DATE COMMISSIONED: June 13, 2012 wanted to make a signi#cant statement and three Solectria SGI central inverters, by powering 100% of the #lming and pro- to generate a projected 1,667 MWh annu- INSTALLATION TIME FRAME: duction of the Avatar movie sequels with ally. "e system will allow the #lmmakers 113 days solar energy. Installed at the MBS Media to achieve their goal of producing 100% LOCATION: Manhattan Beach, CA, Campus in Manhattan Beach, California, solar-powered Avatar sequels. 33.9°N the system required close cooperation "e 212,481-square-foot array is 2 SOLAR RESOURCE: 5.6 kWh/m /day between Lightstorm; the property owner, distributed over three buildings. "e ASHRAE DESIGN TEMPERATURES: the Carlyle Group; and the property man- barrel roofs presented a design chal- 78.8°F 2% average high, 39.2°F ager, Raleigh Studios. lenge requiring Stellar Energy to develop extreme minimum Stellar Energy worked with Light- a unique penetrating racking system ARRAY CAPACITY: 960 kWdc storm Entertainment to determine the that fans over the roof surfaces.