2019 Boston Latin Invitational Scholastic Series (BLISS) I Round 6
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Grammar & Reading Section
JUNIOR HIGH SCHOOL ENTRANCE EXAMINATION 2021 SCHOOL YEAR KANSAI GRAMMAR & READING SECTION Student Name: ______________________________________________ Applicant Number: ______________________________________________ 1 CONTENTS This booklet contains the following sections: Section 1 Error identification 15 Questions Section 2 Choosing the appropriate words 15 Questions Choosing the best response to the Section 3 10 Questions 40 minutes prompt Reading A 5 Questions Reading Comprehension Reading B 5 Questions If anything is missing, please inform the examiner immediately. 2 THIS PAGE INTENTIONALLY LEFT BLANK 3 Section 1: Error identification INSTRUCTIONS Find the mistakes in the following sentences. If there is no mistake, choose option d), (no mistake). Only ONE answer will be accepted. If two or more answers are chosen for a question, ZERO points will be given for that question. e.g. ‘Everyone knows that Osaka is more smaller than Tokyo.’ a) Everyone knows b) more smaller c) than Tokyo d) no mistake The answer is b (more smaller). Mark your answer on the sheet provided as indicated below (on the left). Section 1 Section 1 1. (a) (b) (c) (d) 1. (a) (b) (c) (d) THE CORRECT WAY THE INCORRECT WAY FULL points ZERO points If you have a problem, please ask for help. 4 1) What part of Japan is your family from? a) What part b) is c) family from d) no mistake 2) I’m not use to speaking so much English at school. a) use to b) so much c) at school d) no mistake 3) I’m sorry for being lately to class. a) for b) lately c) to d) no mistake 4) Could you speak more slow please? a) Could b) speak c) slow d) no mistake 5) You haven’t seen this movie before, did you? a) haven’t b) before c) did you d) no mistake 5 Section 1: Error identification 6) Your not going home after school, are you? a) Your b) going home after c) are you d) no mistake 7) I think geography class is more harder than history class. -
Paramount Consent Decree Review Public Comments 2018
COMMENTS OF THE NATIONAL ASSOCIATION OF THEATRE OWNERS U.S. DEPARTMENT OF JUSTICE, ANTITRUST DIVISION REVIEW OF PARAMOUNT CONSENT DECREES October 1, 2018 National Association of Theatre Owners 1705 N Street, N.W. Washington, D.C. 20036 (202) 962-0054 I. INTRODUCTION The National Association of Theatre Owners (“NATO”) respectfully submits the following comments in response to the U.S. Department of Justice Antitrust Division’s (the “Department”) announced intentions to review the Paramount Consent Decrees (the “Decrees”). Individual motion picture theater companies may comment on the five various provisions of the Decrees but NATO’s comment will focus on one seminal provision of the Decrees. Specifically, NATO urges the Department to maintain the prohibition on block booking, as that prohibition undoubtedly continues to support pro-competitive practices. NATO is the largest motion picture exhibition trade organization in the world, representing more than 33,000 movie screens in all 50 states, and additional cinemas in 96 countries worldwide. Our membership includes the largest cinema chains in the world and hundreds of independent theater owners. NATO and its members have a significant interest in preserving an open marketplace in the North American film industry. North America remains the biggest film-going market in the world: It accounts for roughly 30% of global revenue from only 5% of the global population. The strength of the American movie industry depends on the availability of a wide assortment of films catering to the varied tastes of moviegoers. Indeed, both global blockbusters and low- budget independent fare are necessary to the financial vitality and reputation of the American film industry. -
Moviepass: Disruption Through Subscription1
For the exclusive use of J. FITZSIMMONS, 2020. W19504 MOVIEPASS: DISRUPTION THROUGH SUBSCRIPTION1 Ram Subramanian wrote this case solely to provide material for class discussion. The author does not intend to illustrate either effective or ineffective handling of a managerial situation. The author may have disguised certain names and other identifying information to protect confidentiality. This publication may not be transmitted, photocopied, digitized, or otherwise reproduced in any form or by any means without the permission of the copyright holder. Reproduction of this material is not covered under authorization by any reproduction rights organization. To order copies or request permission to reproduce materials, contact Ivey Publishing, Ivey Business School, Western University, London, Ontario, Canada, N6G 0N1; (t) 519.661.3208; (e) [email protected]; www.iveycases.com. Our goal is to publish materials of the highest quality; submit any errata to [email protected]. i1v2e5y5pubs Copyright © 2019, Ivey Business School Foundation Version: 2019-09-13 On August 7, 2018, MoviePass Inc. (MoviePass), the New York City–based movie ticket subscription service, announced that it would restore its popular US$9.952 per month plan, but in a change from the past, subscribers would be restricted to three movies a month instead of having access to an unlimited number of movies. In announcing the new pricing plan, MoviePass’s chief executive officer (CEO), Mitch Lowe, noted that the new plan would reduce MoviePass’s cash burn rate by 60 per cent and help make its path to profitability “more manageable.”3 While the summer of 2018 was the second-best year ever for the movie business, with $4.8 billion in ticket sales,4 MoviePass faced significant challenges in its role as a disruptor. -
“Why So Serious?” Comics, Film and Politics, Or the Comic Book Film As the Answer to the Question of Identity and Narrative in a Post-9/11 World
ABSTRACT “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD by Kyle Andrew Moody This thesis analyzes a trend in a subgenre of motion pictures that are designed to not only entertain, but also provide a message for the modern world after the terrorist attacks of September 11, 2001. The analysis provides a critical look at three different films as artifacts of post-9/11 culture, showing how the integration of certain elements made them allegorical works regarding the status of the United States in the aftermath of the attacks. Jean Baudrillard‟s postmodern theory of simulation and simulacra was utilized to provide a context for the films that tap into themes reflecting post-9/11 reality. The results were analyzed by critically examining the source material, with a cultural criticism emerging regarding the progression of this subgenre of motion pictures as meaningful work. “WHY SO SERIOUS?” COMICS, FILM AND POLITICS, OR THE COMIC BOOK FILM AS THE ANSWER TO THE QUESTION OF IDENTITY AND NARRATIVE IN A POST-9/11 WORLD A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of Communications Mass Communications Area by Kyle Andrew Moody Miami University Oxford, Ohio 2009 Advisor ___________________ Dr. Bruce Drushel Reader ___________________ Dr. Ronald Scott Reader ___________________ Dr. David Sholle TABLE OF CONTENTS ACKNOWLEDGMENTS .......................................................................................................................... III CHAPTER ONE: COMIC BOOK MOVIES AND THE REAL WORLD ............................................. 1 PURPOSE OF STUDY ................................................................................................................................... -
Personal Finance Ratios
Personal finance ratios There are seemingly countless ways to measure financial health for both individuals and corporations. In earnings reports, companies use complicated calculations and ratios to inform investors—and the general public—regarding the health of their business. However, the average American can use these principles to assess their own financial health. Personal savingsi Formally known as “average propensity to save,” the personal savings ratio is the amount of income saved for an individual or household. According to the Federal Reserve Bank of St. Louis, the average saving rate was just under 5 percent for Americans in 2016. Historically, the average savings rate in any given year since 1959 has been about 8.5 percent. Debt-to-income As its name would indicate, a debt-to-income (DTI) ratio is the proportion of an individual’s monthly debt payments in relation to his or her gross monthly income. Many lenders use DTI as a primary indicator of worthiness of loans because it gauges the individual’s ability to cover loan payments. Though there is no consistent, unilateral recommended ratio, it is popular convention that a DTI over 40 percent will make it more difficult to secure a loan. Liquidity This ratio is used to determine how an individual is able to make ends meet in the event of an emergency. Liquidity is calculated by taking all liquid assets (such as nonqualified accounts and cash) divided by fixed monthly expenses (like debt payments). It is commonly suggested that an individual should have 3-6 months’ worth of expenses in liquid assets. -
Bollywood Produces More Movies in a Year Than Hollywood
a-z CONTENTS a ANALYZE, ANALYZE, ANALYZE by Klara Gavran P6 b BLOCKBUSTER PHENOMENON by Klara Malnar P12 c CINEMAS, ARE THEY DYING? by Klara Malnar P17 d DID YOU KNOW? by Irma Jakić P22 e ENTERTAINMENT MARKETING IN 2019 by Klara Malnar P27 f FAMOUS CELEBRITY ENDORSEMENTS by Irma Jakić P30 g GO BIG OR GO HOME by Irma Jakić P31 h HOLLYWOOD VS BOLLYWOOD by Klara Malnar P35 i I WANT TO THANK THE ACADEMY…AND MY CAMPAIGN STRATEGIST by Klara Malnar P38 j JOYS OF DIGITALIZATION by Klara Gavran P43 k KEEPING UP WITH THE STREAMING SERVICES by Klara Gavran P47 l LEANING INTO SOCIAL LISTENING by Klara Gavran P51 m MUSICIANS TO ACTORS AND VICE VERSA by Irma Jakić P60 n NOT YOUR AVERAGE MARKETING CAMPAIGN by Klara Gavran P62 o OFF-CAMERA: ENTERTAINMENT INDUSTRY BY THE DOLLAR by Irma Jakić P71 p PR NIGHTMARE, BUT LONG OVERDUE by Iva Anušić P75 q QUICK FIX by Iva Anušić P79 r RAZZIES by Irma Jakić P88 s SOCIAL MEDIA’S IMPACT ON THE ENTERTAINMENT INDUSTRY by Klara Malnar P90 t THE COMPETITIVE ANALYSIS: HOW CAN STREAMING SERVICES BENEFIT by Klara Gavran P96 u USER-GENERATED CONTENT by Klara Malnar P99 v VIEWER’S CHOICE by Klara Gavran P103 w WHAT ABOUT FILM FESTIVALS? by Klara Malnar P105 x X FACTOR by Irma Jakić P111 y YHBT (YOU HAVE BEEN TROLLED) CULTURE by Iva Anušić P113 z ZOMBIES by Irma Jakić P116 a ANALYZE, ANALYZE, ANALYZE “Pay attention to what the people and the start a few months, half a year, or even a whole press are talking about. -
To Academy Oral Histories Marvin J. Levy
Index to Academy Oral Histories Marvin J. Levy Marvin J. Levy (Publicist) Call number: OH167 60 MINUTES (television), 405, 625, 663 ABC (television network) see American Broadcasting Company (ABC) ABC Circle Films, 110, 151 ABC Pictures, 84 A.I. ARTIFICIAL INTELLIGENCE, 500-504, 615 Aardman (animation studio), 489, 495 AARP Movies for Grownups Film Festival, 475 Abagnale, Frank, 536-537 Abramowitz, Rachel, 273 Abrams, J. J., 629 ABSENCE OF MALICE, 227-228, 247 Academy Awards, 107, 185, 203-204, 230, 233, 236, 246, 292, 340, 353, 361, 387, 432, 396, 454, 471, 577, 606, 618 Nominees' luncheon, 348 Student Academy Awards, 360 Academy of Motion Pictures Arts and Sciences, 361-362, 411 Academy Board of Governors, 312, 342, 346-349, 357, 521 Academy Film Archive, 361, 388, 391, 468 Public Relations Branch, 342, 344, 348, 356 Visiting Artists Program, 614, 618 ACCESS HOLLYWOOD (television), 100, 365 Ackerman, Malin, 604 Activision, 544 Actors Studio, 139 Adams, Amy, 535 THE ADVENTURES OF HUCKLEBERRY FINN, 71, 458 THE ADVENTURES OF TINTIN, 126 Aghdashloo, Shohreh, 543 Aldiss, Brian, 502 Aldrich, Robert, 102, 107, 111 Alexander, Jane, 232, 237 Ali, Muhammad, 177 ALICE IN WONDERLAND (2010), 172, 396 ALIVE, 335 Allen, Debbie, 432 Allen, Herbert, 201, 205 Allen, Joan, 527-528 Allen, Karen, 318, 610 Allen, Paul, 403-404 Allen, Woody, 119, 522-523, 527 ALMOST FAMOUS, 525-526, 595 ALWAYS (1989), 32, 323, 326, 342, 549 Amateau, Rod, 133-134 Amazing Stories (comic book), 279 AMAZING STORIES (television), 278-281, 401 Amblimation, 327, 335-336, 338, 409-410 -
Case 1:18-Cv-06965-JGK Document 137 Filed 04/29/21 Page 1 of 17
Case 1:18-cv-06965-JGK Document 137 Filed 04/29/21 Page 1 of 17 UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF NEW YORK Case No. 1:18-CV-06965-JGK IN RE HELIOS AND MATHESON ANALYTICS, INC. SECURITIES CLASS ACTION LITIGATION REPLY MEMORANDUM OF LAW IN FURTHER SUPPORT OF (1) LEAD PLAINTIFF’S MOTION FOR FINAL APPROVAL OF CLASS ACTION SETTLEMENT AND PLAN OF ALLOCATION AND FINAL CERTIFICATION OF SETTLEMENT CLASS, AND (2) LEAD COUNSEL’S MOTION FOR AN AWARD OF ATTORNEYS’ FEES, REIMBURSEMENT OF EXPENSES, AND INCENTIVE AWARDS TO LEAD PLAINTIFF Dated: April 29, 2021 LEVI & KORSINSKY, LLP Shannon L. Hopkins (SH-1887) [email protected] Gregory M. Potrepka (GP-1275) [email protected] Andrew W. Rocco (admitted Pro Hac Vice) [email protected] 1111 Summer Street, Suite 403 Stamford, CT 06905 Telephone: (203) 992-4523 Facsimile: (212) 363-7171 Counsel for Lead Plaintiff and Lead Counsel for the Class Case 1:18-cv-06965-JGK Document 137 Filed 04/29/21 Page 2 of 17 TABLE OF CONTENTS PRELIMINARY STATEMENT .................................................................................................... 2 ARGUMENT .................................................................................................................................. 3 I. The Court-Approved Notice Program Has Been Completed and Satisfies Rule 23 and Due Process ......................................................................................................................... 3 II. The Reaction of the Settlement Class Strongly Supports Final Approval of the Settlement and Plan of Allocation ........................................................................................................ 4 III. The Reaction of the Settlement Class Strongly Supports Approval of the Fee Motion ..... 9 CONCLUSION ............................................................................................................................. 10 ii Case 1:18-cv-06965-JGK Document 137 Filed 04/29/21 Page 3 of 17 TABLE OF AUTHORITIES Cases Guevoura Fund Ltd. v. Sillerman, 2019 WL 6889901 (S.D.N.Y. -
Unmistaken Identity
Eastern Illinois University The Keep January 2006 1-13-2006 Daily Eastern News: January 13, 2006 Eastern Illinois University Follow this and additional works at: http://thekeep.eiu.edu/den_2006_jan Recommended Citation Eastern Illinois University, "Daily Eastern News: January 13, 2006" (2006). January. 5. http://thekeep.eiu.edu/den_2006_jan/5 This Article is brought to you for free and open access by the 2006 at The Keep. It has been accepted for inclusion in January by an authorized administrator of The Keep. For more information, please contact [email protected]. “Tell the truth and don’t be afraid.” SECTION N Men’s basketball wins in OT: page 12A FRIDAY JANUARY 13 2006 VOLUME 91, ISSUE 05 thedailyeasternnews.com 90th Anniversary Eastern Illinois University, Charleston UNMISTAKEN IDENTITY Bars not oblivious or she may ask for identification as well. Some businesses, like the Panther Paw, may ask for to fake ID use more than one ID, to make sure that the two match up. There are also certain other features BY ROB SIEBERT on an ID card that may give away forgeries. STAFF REPORTER On the other hand, some bouncers simply quiz suspicious customers on their credentials. In a town filled with bars and college stu- “We just drill them for any information on dents, it may come as no surprise that fake iden- the ID,” said Stephanie Stiles, a manager at the tification cards are an issue to be dealt with in Uptowner. Charleston. If caught with false identification, a person “The problem’s pretty rampant in may receive an ordinance violation, a fine and be Charleston,” said Mike Knoop, owner of Roc’s forced to appear in court. -
Signature Redacted
Perspectives on Film Distribution in the U.S.: Present and Future By Loubna Berrada Master in Management HEC Paris, 2016 SUBMITTED TO THE MIT SLOAN SCHOOL OF MANAGEMENT IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN MANAGEMENT STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUNE 2016 OFTECHNOLOGY 2016 Loubna Berrada. All rights reserved. JUN 08 201 The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic LIBRARIES copies of this thesis document in whole or in part ARCHIVES in any medium now known or hereafter created. Signature of Author: Signature redE cted MIT Sloan School of Management May 6, 2016 Certified by: Signature redacted Juanjuan Zhang Epoch Foundation Professor of International Management Professor of Marketing MIT Sloan School of Management Thesis Supervisor Accepted by: Signature redacted Rodrigo S. Verdi Associate Professor of Accounting Program Director, M.S. in Management Studies Program MIT Sloan School of Management 2 Perspectives on Film Distribution in the U.S.: Present and Future By Loubna Berrada Submitted to MIT Sloan School of Management on May 6, 2016 in Partial fulfillment of the requirements for the Degree of Master of Science in Management Studies. Abstract I believe film has the power to transform people's lives and minds and to enlighten today's generation like any other medium. This is why I wanted to write my thesis about film distribution as it will determine the future of the industry itself. The way films are distributed, accessed and consumed will be critical in shaping our future entertainment culture and the way we approach content. -
Early Et Al. V. Sinemia Inc
Case 1:18-cv-01774-UNA Document 1 Filed 11/09/18 Page 1 of 31 PageID #: 1 IN THE UNITED STATES DISTRICT COURT FOR THE DISTRICT OF DELAWARE PAUL EARLY and JONATHAN GOLLNER, CASE NO. individually and on behalf of all others similarly situated, CLASS ACTION Plaintiffs, JURY TRIAL DEMANDED v. SINEMIA INC., Defendant. PLAINTIFFS' CLASS ACTION COMPLAINT Plaintiffs Paul Early and Jonathan Gollner (hereinafter "Plaintiffs"), on behalf of themselves and proposed classes of all others who are similarly situated, submit this Class Action Complaint (the "Complaint") against Defendant Sinemia Inc. (hereinafter "Sinemia" or "Defendant"), and upon information and belief and investigation of counsel, state as follows: NATURE OF THE CASE 1. This is a consumer class action lawsuit against Sinemia, Inc. Sinemia offers subscription-based movie ticket plans whereby consumers can pay for a monthly or yearly plan that allows them to see a certain number of movies per month. Sinemia, however, has essentially become a bait-and-switch scheme: it lures consumers in by convincing them to purchase a purportedly cheaper movie subscription, and then adds undisclosed fees that make such purchases no bargain at all. Sinemia fleeces consumers with an undisclosed, unexpected, and not-bargained-for processing fee each time a plan subscriber goes to the movies using Sinemia' s service. Case 1:18-cv-01774-UNA Document 1 Filed 11/09/18 Page 2 of 31 PageID #: 2 2. Like many industries, the movie theater ticket business is changing with the proliferation of websites and smartphone apps. Starting most notably with MoviePass, consumers now have the option of paying for subscription services that allow them to see either an unlimited or a specific number of movies per month at just about any theater they want. -
New Media Goes to the Movies: Digitizing the Theatrical Audience
New Media Goes to the Movies: Digitizing the Theatrical Audience Published in Television & New Media, pp. 1-21, 2019, DOI: 10.1177/1527476429863131 Blake Hallinan1 and C.J. Reynolds2 Abstract Movie theaters typically appear adjacent to discussions of new media. Although there has been work on digital cinema, we shift the focus from the digitization of the medium to the digitization of the theatrical audience and analyze the movie theater as new media. To do so, we look at the historical and contemporary strategies for digitizing the theatrical audience of a prominent theater chain. We identify common media of digitization, including credit cards, computerized point-of-sale systems, and loyalty programs. The origins of these techniques and imperatives trace back to the 1970s and 1980s, even as they take on new forms today. We then analyze the industrial logics of audience digitization and emergent communication and data collection methods. Finally, we analyze the movie theater as a platform, showing both the relevance of movie theaters and the challenges their inclusion as an object of study poses for contemporary platform studies. Introduction In 1999, Variety published an article about the changes coming to theatrical distribution and exhibition with the dawn of a new “Digital Era,” which began with a speculative account of what the industry would look like in five years’ time: Using his computer keyboard and mouse, the president of top U.S. theater chain Regal/Loews-AMC books the upcoming weekend’s films into his circuit’s theaters. As he clicks on the titles (“Austin Powers 4: You Only Shag Twice,” “The Matrix III” and MGM’s long-awaited “Supernova”) the films begin downloading via satellite to the 1 University of Colorado Boulder, Boulder, USA 2 Independent Scholar Corresponding Author: Blake Hallinan, University of Colorado Boulder, Hellems 96 UCB 270, Boulder, CO 80303, USA Email: [email protected] 2 Television & New Media 00(0) circuit’s digital megaplexes around the globe.