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Sexual Power for Women by Georgeann Cross Copyright © 1997 by Georgeann Cross Contents Chapter 1, In which Patrick is enslaved ........................................................................ 1 Chapter 2, In which the author gives an account of herself and this work ................... 7 Chapter 3, In which we examine the Loop .................................................................. 13 Chapter 4, In which we examine the anatomy, the physiology, and some of the psychology of male sexual response, from a practical point of view......... 19 Chapter 5, In which the reader is invited to take an inventory of herself for the purpose of gauging how well female domination might suit her ............... 27 Trustworthiness ..................................................................................... 29 Empathy ................................................................................................ 30 The ability to communicate effectively ................................................ 30 The ability to act strategically ............................................................... 31 A talent for teasing ................................................................................ 32 Attractiveness ....................................................................................... 32 Confidence ............................................................................................ 33 Chapter 6, In which we explore the advantages a man may find in being a woman’s sex slave ..................................................................................... -
08 Tituloscredito.Pdf
Los títulos de crédito • ¿Qué hay antes de Saul Bass y qué hay después? • El cine nace oficialmente el 22 de marzo de 1895. • Primero hablamos de cine documental. El grafismo lo encontramos prácticamente en los carteles • Con George Méliès, el cine pasa a ser un entretenimiento y plantea la necesidad de empaquetar el cine, de crear una marca con cada película. • Cuando las películas eran mudas, se pretendía utilizar el menor número de cartones para decir quién intervenía. Al final un escaso “THE END” • Gráficamente, estaban formadas por títulos principales, donde aparecían la productora, título, actores, director, etc. Y intertítulos, donde se daba la información narrativa complementaria (diálogos, transiciones temporales, etc.) • Deberíamos destacar que desde los años 70 los títulos se dividen en dos partes: • Secuencia de obertura: información estelar. El gancho. • Roll final: listado de personas que han participado en el film. • Como diseñador de títulos de la época, tenemos a RALPH SPENCE, considerado un doctor en medicina para las películas ya que las podía llevar al éxito con el tratamiento del intertítulo. Cobraba 10.000$ por arreglo. • Otros: Frank E.Woods realizó títulos para Griffith. • Jack Jarmuth creó más de 12 películas como “The jazz singer”. EH. • TIPOGRAFÍA BLANCA SOBRE FONDO NEGRO. • Disimular. El blanco enseñaba más defectos. • Existen directores que no conciben los créditos dentro del film por la simple razón de que su película está pensada sin ellos. No los necesitan. • Muchos directores confían en la narrativa del film y no en el marketing comercial. Continúan prefiriendo el Blanco sobre Negro. • O la ausencia de títulos de obertura: Fellini, Wilder, Coppola o Allen, han entendido los créditos como un empaquetamiento simple, información necesaria nada más. -
Animierter Filmvorspann Mit Motion Graphics Entwurf, Gestaltung Und Umsetzung
Bachelorarbeit Animierter Filmvorspann mit Motion Graphics Entwurf, Gestaltung und Umsetzung Verlegt von Christoph Schwantuschke Matrikelnr.: 735117 Prüfungskommission: Betreuerin: Prof. Dipl.-Des. Antya Umstätter Gutachter: Prof. Peter Wutz Vorgelegt in der Bachelorprüfung im Studiengang Audiovisuelle Medien (Kamera) Beuth Hochschule für Technik Berlin, Fachbereich VIII Berlin, Juni 2013 Unsere Gesellschaft, die sich nun einmal entschieden hat, in Bildern zu kommunizieren, wäre ohne Animation lebensuntüchtig. (Giesen 2003: 11) Inhaltsverzeichnis I Einleitung ������������������������������������������������������������������������������9 4 Geschichte der animierten Titelsequenzen ������32 41 Die Anfänge: bis 1953 �����������������������������������������������33 II Theoretischer Teil 13 42 Die Boomjahre: 1954 - 1965 ������������������������������������36 43 Die Rezession: 1966 - 1989 ���������������������������������������40 1 Filmvorspann ������������������������������������������������������������������13 44 Die Wiederentdeckung: ab 1990 42 11 Die Funktionen����������������������������������������������������������14 45 Animierte Titelsequenzen heute ������������������������������48 111 Einleitende Funktion ������������������������������������14 112 Rechtliche Funktion ������������������������������������16 III Praktischer Teil ���������������������������������������������������������������49 113 Verhältnis der Funktionen ���������������������������18 12 Titeldesign ������������������������������������������������������������������21 -
The Official High Times Cannabis Cookbook: More Than 50 Irresistible Recipes That Will Get You High
CONTENTS ACKNOWLEDGMENTS INTRODUCTION TO CANNABIS COOKERY CHAPTER 1: Active Ingredients Basic Recipes THC Oil (Cannabis-Infused Oil) Cannacoconut Oil Cannabis-Infused Mayonnaise Simple Cannabutter Long-Simmering Cannabutter Wamm Marijuana Flour Tinctures Quick Cannabis Glycerite Long-Simmering Ganja Glycerin Green Avenger Cannabis Tincture CHAPTER 2: Irie Appetizers Roasted Ganja Garlic Cannellini Dip Hookah Lounge Hummus Green Leafy Kale Salad in Brown Cannabutter Vinaigrette Obama’S Sativa Samosas Stuffed Stoned JalapeñO Poppers Sativa Shrimp Spring Rolls with Mango Sauce Ganja Guacamole Mini Kind Veggie Burritos Pico de Ganja and Nachos Kind Bud Bruschetta with Pot Pesto Stoner Celebrity Favorite: Lil’ Snoop Hot Doggy Doggs CHAPTER 3: Munchie Meals Reggae Rice and Bean Soup Cream of Sinsemilla Soup Tom Yum Ganja Stoner Celebrity Favorite: Texas Cannabis Chili Shroomin’ Broccoli Casserole Om Circle Stuffed Butternut Squash Chicken and Andouille Ganja Gumbo Time-Warp Tamales Red, Green, and Gold Rasta Pasta Potato Gnocchi with Wild Mushroom Ragu Big Easy Eggplant Alfredo Ganja Granny’s Smoked Mac ‘n’ Cheese Psychedelic Spanakopita Sour Diesel Pot Pie Cheeto Fried Chicken Bacon-Wrapped Pork Tenderloin with Mango Chipotle Glaze Pot-and-Pancetta-Stuffed Beef Tenderloin with Port Mushrooms CHAPTER 4: High Holidays Valentine’s Day, February 14: Sexy Ganja–Dipped Strawberries St. Patrick’s Day, March 17: Green Ganja Garlic Smashed Potatoes 4/20, Cannabis Day, April 20: 420 Farmers’ Market Risotto Independence Day, July 4: Sweet and Tangy Bar–B–Cannabis -
El Grafismo Americano: Análisis Y Evolución En El Cine De Animación 3D”
UNIVERSITAT POLITÈCNICA DE VALÈNCIA ESCOLA POLITECNICA SUPERIOR DE GANDIA G RADO EN C OMUNICACIÓN A UDIOVISUAL “El Grafismo Americano: Análisis y Evolución en el cine de animación 3D” TRABAJO FINAL DE GRADO Autor/a: José Alberto Méndez González Tutor/a: Sofia Escudero Fernández GANDIA, 2017 Resumen El grafismo es el arte de elaborar un discurso audiovisual donde se utilizan elementos gráficos en movimiento como pueden ser la tipografía, el color o las figuras geométricas. Se ha utilizado desde prácticamente los inicios del cine, aunque en la actualidad se ha profesionalizado tanto que ha llegado a convertirse en una forma de expresión artística y comunicativa más. Aunque el grafismo en el cine de animación no se popularizó hasta finales de los 90, en Japón, películas como Ghost in the Shell (1995) ya añadían grafismo para introducir al espectador en un mundo digitalizado controlado por las máquinas. Eso no quiere decir, que no hubiera precedentes, ya que Alfred Hitchcock fue pionero en utilizar grafismo en sus películas. Un ejemplo destacable es Vertigo (1958) donde el maestro y pionero del grafismo, Saul Bass, muestra la manera de preparar al espectador para lo que va a ver más adelante. Dentro del grafismo podemos distinguir diferentes funciones que se utilizan según el tipo de discurso audiovisual que se quiera transmitir. Estas funciones pueden ser organizativas, utilizada en la televisión para poder diferenciar un contenido audiovisual de otro; informativas, para que a través de una serie de imágenes puedas informarte de una situación en concreto; persuasivas, utilizadas mayormente en la publicidad para intentar captar la atención al espectador e intentar venderle un producto; y simbólica, donde una serie de elementos gráficos en movimiento ayudan al espectador a reconocer el producto. -
Download Spring 2020
TABLE OF CONTENTS RIZZOLI 50 Lessons to Learn from Frank Lloyd Wright . .17 Rashid Al Khalifa: Full Circle . .45 Alicia Rountree: Fresh Island Style . .25 Rika’s Japanese Home Cooking . .22 The Appalachian Trail . .54 Rooms of Splendor . .18 At Home in the English Countryside: Schumann’s Whisk(e)y Lexicon . .26 Designers and Their Dogs . .2 Scott Mitchell Houses . .10 Automobili Lamborghini . .51 Sicily . .56 The Best Things to Do in Los Angeles: Revised Edition . .52 Skylines of New York . .54 The Candy Book of Transversal Creativity . .34 Taking Time . .44 Christian Louboutin: Exhibition . .27 Voyages Intérieurs . .16 Classicism at Home . .19 Watches International Vol. XXI . .50 Climbing Bare . .41 Wayne Thiebaud Mountains . .42 The Cobrasnake: All Yesterday’s Parties . .35 We Protest . .33 Dan Colen . .46 Wine Country Living . .11 de Gournay: Art on the Walls . .5 The Women’s Heritage Sourcebook . .21 Decorate Happy . .4 You’re Invited . .20 Design Fix . .8 Zeng Fanzhi: Untitled . .43 Designing History . .3 Diana Vreeland: Bon Mots . .28 RIZZOLI ELECTA Dior Joaillerie . .29 Alice Trumbull Mason . .73 Elan: The Interior Design on Kate Hume . .15 Alma Allen . .72 Eva Hesse and Hannah Wilke . .42 At First Light . .66 Eyes Over the World . .37 BATA Shoe Museum . .65 Federico Fellini . .38 Bosco Sodi . .70 From the Archive: RIMOWA . .49 City/Game . .63 Futura . .36 David Wiseman . .62 Garden Design Master Class . .6 A Garden for All Seasons . .77 Gathering . .24 I Was a Teenage Banshee . .75 Hamilton: Portraits of a Revolution . .31 Laurent Grasso . .74 The Heart of Cooking . .50 Lens on American Art . -
Local Election Results 2006
Local Election Results May 2006 Andrew Teale July 29, 2013 2 LOCAL ELECTION RESULTS 2006 Typeset by LATEX Compilation and design © Andrew Teale, 2011. Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.3 or any later version published by the Free Software Foundation; with no Invariant Sections, no Front-Cover Texts, and no Back-Cover Texts. A copy of the license is included in the section entitled “GNU Free Documentation License”. This file is available for download from http://www.andrewteale.me.uk/ The LATEX source code is available for download at http://www.andrewteale.me.uk/pdf/2006/2006-source.zip Please advise the author of any corrections which need to be made by email: [email protected] Change Log 29 July 2013: Corrected gain information for Derby. Chaddesden ward was a Labour hold; Chellaston ward was a Labour gain from Conservative. 23 June 2013: Corrected result for Plymouth, Southway. The result previously shown was for a June 2006 by-election. Contents I London Boroughs 11 1 North London 12 1.1 Barking and Dagenham....................... 12 1.2 Barnet.................................. 14 1.3 Brent.................................. 17 1.4 Camden................................ 20 1.5 Ealing.................................. 23 1.6 Enfield................................. 26 1.7 Hackney................................ 28 1.8 Hammersmith and Fulham...................... 31 1.9 Haringey................................ 33 1.10 Harrow................................. 36 1.11 Havering................................ 39 1.12 Hillingdon............................... 42 1.13 Hounslow............................... 45 1.14 Islington................................ 47 1.15 Kensington and Chelsea....................... 50 1.16 Newham................................ 52 1.17 Redbridge............................... 56 1.18 Tower Hamlets........................... -
Quodlibet-3.4
Ex Falso / Quod Libet Release 3.4.1 May 24, 2015 Contents 1 Table of Contents 3 1.1 Screenshots................................................3 1.2 Changelog................................................3 1.3 Downloads................................................ 44 1.4 Features.................................................. 47 1.5 Bug Tracker / Git Repo.......................................... 49 1.6 User Guide................................................ 50 1.7 Packaging Guide............................................. 91 1.8 Translation Guide............................................ 95 1.9 Development Guide........................................... 98 1.10 License & Contributors......................................... 111 1.11 Contact.................................................. 112 i ii Ex Falso / Quod Libet, Release 3.4.1 Note: There exists a newer version of this page and the content below may be outdated. See https://quodlibet.readthedocs.org/en/latest for the latest documentation. Quod Libet is a GTK+-based audio player written in Python, using the Mutagen tagging library. It’s designed around the idea that you know how to organize your music better than we do. It lets you make playlists based on regular expressions (don’t worry, regular searches work too). It lets you display and edit any tags you want in the file, for all the file formats it supports. Unlike some, Quod Libet will scale to libraries with tens of thousands of songs. It also supports most of the features you’d expect from a modern media player: Unicode support, advanced tag editing, Replay Gain, podcasts & internet radio, album art support and all major audio formats - see the screenshots. Ex Falso is a program that uses the same tag editing back-end as Quod Libet, but isn’t connected to an audio player. If you’re perfectly happy with your favorite player and just want something that can handle tagging, Ex Falso is for you. -
Grey Area: Regulating Amsterdam's Coffeeshops
Grey Area Grey Area Regulating Amsterdam’s Coffeeshops Scott Jacques First published in 2019 by UCL Press University College London Gower Street London WC1E 6BT Available to download free: www.ucl.ac.uk/ucl-press Text © Scott Jacques, 2019 Images © Author and copyright holders named in captions, 2019 Scott Jacques has asserted his right under the Copyright, Designs and Patents Act 1988 to be identified as author of this work. A CIP catalogue record for this book is available from The British Library. This book is published under a Creative Commons 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work providing attribution is made to the authors (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: Jacques, S. 2019. Grey Area: Regulating Amsterdam’s Coffeeshops. London, UCL Press. https://doi.org/10.14324/111.9781787355880 Further details about Creative Commons licenses are available at http://creativecommons.org/licenses/ Any third-party material in this book is published under the book’s Creative Commons license unless indicated otherwise in the credit line to the material. If you would like to re-use any third-party material not covered by the book’s Creative Commons license, you will need to obtain permission directly from the copyright holder. ISBN: 978–1-78735–590-3 (Hbk.) ISBN: 978–1-78735–589-7 (Pbk.) ISBN: 978–1-78735–588-0 (PDF) ISBN: 978–1-78735–591-0 (epub) ISBN: 978–1-78735–592-7 (mobi) ISBN: 978–1-78735–593-4 (html) DOI: https://doi.org/10.14324/111.9781787355880 To my parents and Jake Jacques Contents List of figures vii List of tables ix Acknowledgements x Preface Visiting coffeeshops xi Introduction The law and rules 1 1 500 grams 23 2 Advertising 51 3 Minors 72 4 5 grams 98 5 Hard drugs 111 6 Nuisance 122 Conclusion The utility of rules 136 References 144 Index 157 vi List of figures Figure 0.1 Map of the 1012. -
Master Class with Richard Morrison: Selected Filmography 1 the Higher
Master Class with Richard Morrison: Selected Filmography The Higher Learning staff curate digital resource packages to complement and offer further context to the topics and themes discussed during the various Higher Learning events held at TIFF Bell Lightbox. These filmographies, bibliographies, and additional resources include works directly related to guest speakers’ work and careers, and provide additional inspirations and topics to consider; these materials are meant to serve as a jumping-off point for further research. Please refer to the event video to see how topics and themes relate to the Higher Learning event. *title sequence available to view online at The Art of the Title (http://www.artofthetitle.com) Morrison’s title designs mentioned or discussed during the Master Class *Batman. Dir. Tim Burton, 1989, U.S.A. and U.K. 126 mins. Production Co.: Warner Bros. Pictures / The Guber-Peters Company / PolyGram Filmed Entertainment. Enemy at the Gates. Dir. Jean-Jacques Annaud, 2001, U.S.A., Germany, U.K., and Ireland. 131 mins. Production Co.: Paramount Pictures / Mandalay Pictures / KC Medien / Reperage / DOS / Little Bird / MP Film Management / Swanford Films. A Fish Called Wanda. Dirs. Charles Crichton and John Cleese, 1988, U.S.A. and U.K. 108 mins. Production Co.: MGM / Prominent Features / Star Partners Limited Partnership. A Passage to India. Dir. David Lean, 1984, U.K. and U.S.A. 164 mins. Production Co.: EMI Films / HBO / Thorn EMI Screen Entertainment. *Brazil. Dir. Terry Gilliam, 1985, U.K. 132 mins. Production Co.: Embassy International Pictures. *Sweeney Todd: The Demon Barber of Fleet Street. Dir. Tim Burton, 2007, U.S.A. -
M.B.A. Tf^Vtf0 PREFACE
SAMUEL ALLIN, REVOLUTIONARY WAR SOLDIER 1756 - 1841 of North Carolina and Kentucky A record of his many descendants 1756 - 1960 Compiled by Maud B, Allen Indexed by Flora F. Iverson and Carma Iverson Pv This record is dedicated to the memory of my beloved husband WILFORD J. ALLEN, without whose kind help and encouragement its success would be less complete. G*\ "' .- M.B.A. tf^Vtf0 PREFACE The compiling of this Allen Record, the story of the forefathers of my children, began at the request of father William Coleman Allen, pioneer of 1847 to Utah, who commissioned me to gather his genealogy for his posterity. The foundation was given to me in 1926, just before his death, in two hand-written family records of his father Andrew Jackson Allen and his own personal record. In the two first generations there was only one date, that of Rial Allen, 1791, and his wife, 1784. This seemed strange, but was later proved to be correct by Pulaski Court vital records which also showed the date of his marriage, 21 Oct. 1806 by Thomas Hill. Much correspondence with a Mr. Hillier of the National Archives at Washington, D.C. proved Samuel Allin's pension record as a Revolutionary Soldier, gave us the first positive PROOF of his age, and provided much valuable information from his records. On a trip to Washington, D.C. in 1934, it was a great thrill and a privilege for me to browse through Samuel's personal record at the National Archives and to read his personal papers, his complete file concerning his pension records, a promisory note to Robert Childress, his statement in 1783 "that his mother was ill and lived alone with a Negro servant" thus preventing him from serving a third enlistment. -
Artmobile Program
VMFA Artmobile Exhibition History (1953-1994) Exhibition 1 Little Dutch Masters Collection: Walter P. Chrysler, Jr. Dates: 1953 – 1955 Little Dutch Masters, the Virginia Museum's first artmobile exhibition, consisted of works by the 16th and 17th century Dutch and Flemish masters. The earliest painting, "The Temptation of St. Anthony" by Hieronymus Bosch, was painted near the beginning of the 16th century. Other works in the exhibit reflected a "golden age" for Dutch painting and the commercial prosperity in the Netherlands. "River Landscape" by Meindert Hobbema depicts a tranquil and serene Dutch countryside, and the portraits of wealthy Dutch families provide evidence of prosperity. Many Dutch painters took their inspiration from the sea, the life-blood of the nation as well as its archenemy. This paradox is reflected in "A Calm Sea" by Willem van de Velde and "Warships on a Rough Sea" by Ludolf Bakhuyzen. Paintings in the Exhibition: 1. "Temptation of St. Anthony," Heironymus Bosch, c. 1450-1516 2. "Girl with the Mousetrap," Gerard Dou, 1613-1675 3. "The Kermess," Pieter Brueghel the Younger 1564-1638 4. "Adoration of the Shepherds," Benjamin Cuyp 1612-1652 5. "Travelers Passing a Ford," Philips Wouwerman 1619-1668 6. "A Calm Sea," Willem van de Velde, 1633-1707 7. "River Landscape," Meindert Hobbema, 1638-1709 8. "River Scene," Jan Van Goyen, 1596-1656 9. "Warships on the Rough Sea," Ludolf Bakhuyzen, 1631-1708 10. "Landscape with Cattle," Salomon van Ruysdael, 1600-1670 11. "Horsemen Halting on a Road," Aelbert Cuyp, 1620-1691 12. "Portrait of a Scholar," Gerard Terborch, 1617(?)-1681 13.