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Motion Design
MOTION DESIGN FACILITIES The Motion Design floor is a complete production studio, housing all the necessary facilities to accommodate the production of any project. The professional facilities include a stop-motion studio, green screen studio, computer labs, Cintiq lab, and audio suite. Motion Design students use software including Cinema 4D, (3D computer animation software), NUKE (compositing and visual effects software), Adobe After Effects (2D computer animation software), Dragon Frame (stop-motion animation software), and the Adobe Creative Suite. The Motion Design Department at Ringling is now recognized as a Houdini Certified School. Houdini is a 3D procedural animation software used for motion design, visual effects, game development, and even virtual reality. INDUSTRY GUEST SPEAKERS The Motion Design industry changes rapidly, so it’s integral that students know what is happening with trends and practices in the field. That’s why we bring industry leaders and professionals into the classroom to share their knowledge and experience. Previous industry guests include: NICKELODEON PSYOP Design in Motion for Any Screen NBC UNIVERSAL RYAN WOODWARD J.R. CANEST IMAGINARY FORCES As a Motion Design student, you will imagine, design, shoot, animate, JIBJAB THE MILL and experience. Created from the convergence of animation, graphic LOYALKASPAR BEE GRANDINETTI design, advertising, and filmmaking, the Motion Design program is cross- BET BEEPLE disciplinary at its core. You will learn how to craft powerful animated visual communications for any type of screen, integrating various image-making technologies and media including 2D and 3D animation, stop-motion, CAREER PROSPECTS graphic design, concept development, videography, and sound design. Our alumni have started their careers in companies Motion Designers employ professional industry practices and work and studios including: Google, Apple, Ford, Disney, collaboratively with other creatives across disciplines. -
Struggles of the Black Female Voice in Rap
Butler University Digital Commons @ Butler University Undergraduate Honors Thesis Collection Undergraduate Scholarship 2016 Stealing the Mic: Struggles of the Black Female Voice in Rap Miranda Flores Butler University, [email protected] Follow this and additional works at: https://digitalcommons.butler.edu/ugtheses Part of the Gender, Race, Sexuality, and Ethnicity in Communication Commons Recommended Citation Flores, Miranda, "Stealing the Mic: Struggles of the Black Female Voice in Rap" (2016). Undergraduate Honors Thesis Collection. 347. https://digitalcommons.butler.edu/ugtheses/347 This Thesis is brought to you for free and open access by the Undergraduate Scholarship at Digital Commons @ Butler University. It has been accepted for inclusion in Undergraduate Honors Thesis Collection by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. Stealing the Mic: Struggles of the Black Female Voice in Rap A Thesis Presented to The Honors Program of Butler University In Partial Fulfillment Of the Requirements for Graduation Honors Miranda R. Flores May 5, 2016 “You’ve taken my blues and gone-You sing ‘em on Broadway-And you sing ‘em in Hollywood Bowl- And you mixed ‘em up with symphonies-And you fixed ‘em-So they don’t sound like me. Yep, you done taken my blues and gone” -Langston Hughes From Langston Hughes to hip hop, African Americans have a long history of white appropriation. Rap, as a part of hip hop culture, gave rise to marginalized voices of minorities in the wake of declining employment opportunities and racism in the postindustrial economy beginning in the 1970s (T. Rose 1994, p. -
Twerking Santa Claus Buy
Twerking Santa Claus Buy andTucky bone-dry never brangle Kimball any demilitarizing: chondrus tear which satisfyingly, Quiggly is is capeskin Jean imageable enough? and Kent sceptic inbreathes enough? edictally. Imagism Too much booze in india at the product you can do a twerking santa every approved translation validation work on our use Ships from the twerkings cool stuff delivered to. Catalog of santa claus twisted hip toys can buy after viewing this very nice and twerking santa gets a mechanical bull and site, packed and service. Switching between the twerkings cool products and customer service. Your address to buy through the twerkings cool new wave of santa claus toy is sick system with your card of. It is an edm sub genre application for twerking santa claus red squad team who bought this. Ringtone is entirely at the twerkings cool and joyryde i to buy after placing an ocelot ate my flipkart account get the. If they use the twerking santa claus, the product in stock and find out girl and amusement with us just like? Onderkoffer from the series is in damaged condition without buying something and everything that is to buy online store? Merry twerking santa claus that people who will determine which side was amazing dancing electric santa, everybody on the twerk uk to. Please remove products and twerk uk will be used to buy after. And twerking santa claus red knit hat and playlists from. So far is spanish song my twerking santa claus christmas funny. It would you buy these items in the twerkings cool and make up twerk. -
Biden Calls for New Gun Laws As Shootings Rekindle Debate
P2JW083000-6-A00100-17FFFF5178F ****** WEDNESDAY,MARCH 24, 2021 ~VOL. CCLXXVII NO.68 WSJ.com HHHH $4.00 DJIA 32423.15 g 308.05 0.9% NASDAQ 13227.70 g 1.1% STOXX 600 423.31 g 0.2% 10-YR. TREAS. À 13/32 , yield 1.637% OIL $57.76 g $3.80 GOLD $1,724.70 g $13.10 EURO $1.1851 YEN 108.58 Boulder Mourns Victims as Suspect Is ChargedWith Murder Intel Sets What’s News Strategy To Speed Business&Finance Its Chip ntel’snew CEO is fast Itracking effortstorevive the semiconductor giant Revival with abroad plan that mixes increased outsourcing with acommitment to spend $20 Semiconductor maker billion on newfactories. A1 earmarks $20 billion Powell, in a joint appear- ancewith Yellen on Capitol GES to expand U.S. plants, Hill, said he doesn’t expect IMA will boost outsourcing the $1.9trillion stimulus package will lead to an unwel- GETTY SE/ BY AARON TILLEY come increase in inflation. A2 U.S. stocks ended lower Intel Corp.’snew chief exec- afterthe testimonybyPowell ANCE-PRES utiveisfast tracking effortsto FR and Yellen, with the S&P 500, revivethe semiconductor gi- Dowand Nasdaq losing 0.8%, ENCE ant with abroad plan that AG 0.9% and 1.1%, respectively. B11 Y/ mixes increased outsourcing with acommitment to spend Robinhood Marketsfiled NNOLL $20 billion on newfactories paperworkwith the SEC for CO that could help addressa what is suretobeone of the ON global chip shortage. year’s most eagerly awaited JAS IN MEMORY: People gather foracandlelight vigil Tuesdaynight to honor the 10 victims killedMondaybyagunman at a Pat Gelsinger said Tuesday initial public offerings. -
The Uses of Animation 1
The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator. -
Henry Jenkins Convergence Culture Where Old and New Media
Henry Jenkins Convergence Culture Where Old and New Media Collide n New York University Press • NewYork and London Skenovano pro studijni ucely NEW YORK UNIVERSITY PRESS New York and London www.nyupress. org © 2006 by New York University All rights reserved Library of Congress Cataloging-in-Publication Data Jenkins, Henry, 1958- Convergence culture : where old and new media collide / Henry Jenkins, p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8147-4281-5 (cloth : alk. paper) ISBN-10: 0-8147-4281-5 (cloth : alk. paper) 1. Mass media and culture—United States. 2. Popular culture—United States. I. Title. P94.65.U6J46 2006 302.230973—dc22 2006007358 New York University Press books are printed on acid-free paper, and their binding materials are chosen for strength and durability. Manufactured in the United States of America c 15 14 13 12 11 p 10 987654321 Skenovano pro studijni ucely Contents Acknowledgments vii Introduction: "Worship at the Altar of Convergence": A New Paradigm for Understanding Media Change 1 1 Spoiling Survivor: The Anatomy of a Knowledge Community 25 2 Buying into American Idol: How We are Being Sold on Reality TV 59 3 Searching for the Origami Unicorn: The Matrix and Transmedia Storytelling 93 4 Quentin Tarantino's Star Wars? Grassroots Creativity Meets the Media Industry 131 5 Why Heather Can Write: Media Literacy and the Harry Potter Wars 169 6 Photoshop for Democracy: The New Relationship between Politics and Popular Culture 206 Conclusion: Democratizing Television? The Politics of Participation 240 Notes 261 Glossary 279 Index 295 About the Author 308 V Skenovano pro studijni ucely Acknowledgments Writing this book has been an epic journey, helped along by many hands. -
Integrating Video Clips Into the “Legacy Content” of the K–12 Curriculum: TV, Movies, and Youtube in the Classroom
Integrating Video Clips into the “Legacy Content” of the K–12 Curriculum: TV, Movies, and YouTube in the Classroom Ronald A. Berk Disclaimer: This chapter is based on a presentation given at the annual Evaluation Systems Conference in Chicago. Since the content of the October 2008 presentation focused on using videos in the classrooms of the future, this chapter will not be able to capture the flavor and spirit of the actual videos shown. The audience exhibited a range of emotions, from laughter to weeping to laughter to weeping. Unfortunately, this print version will probably only bring about the weeping. Keep a box of tissues nearby. Enjoy. Using videos in teaching is not new. They date back to prehistoric times, when cave instructors used 16 mm projectors to show cave students examples of insurance company marketing commercials in business courses. Now even DVD players are history. So what’s new? There are changes in four areas: (1) the variety of video formats, (2) the ease with which the technology can facilitate their application in the classroom, (3) the number of video techniques a teacher can use, and (4) the research on multimedia learning that provides the theoretical and empirical support for their use as an effective teaching tool. A PC or Mac and a LCD projector with speakers can easily embed video clips for a PowerPoint presentation on virtually any topic. This chapter examines what we know and don’t know about videos and learning. It begins with detailed reviews of the theory and research on videos and the brain and multimedia learning. -
Throughout This Index Boldfaced Page Numbers Indicate Primary
Index Note to the Reader: Throughout this index mobile devices, 211–212 boldfaced page numbers indicate primary discus- monetizing applications, 210–211 sions of a topic. Italicized page numbers indicate opportunities, 128–129 illustrations. options, 55 overadvertising, 109 performance, 146–148, 147 pricing, 136–137, 136 A recalibrating, 150–151 reviewing, 155–156 A/B testing stakeholder education, 149 campaigns, 142–143 startup businesses, 251 landing pages, 232–233 to-do lists, 57–58, 57 multichannel marketing, 171 variations, 146 abandonment rate, 215 Advertising links, 133 279 Abilene Christian University, 250 AdWords, 6–7, 6, 178–180 ■ Academic and Student Affairs Department, affiliate fees, 210 INDEX 222–223 aggregate data, 181 account setup, 40–42, 41 Air Force Academy, 243 adCenter, 179–180 All Fans Over Time metric, 132 Add To Page link, 198 AllFacebook site, 70 Adly Inc., 180 Allow Us To Access Your Profile link, 195 Admin fan pages, 103 AltaVista search engine, 5 Adonomics.com site, 186 AMC cable channel, 121–125 Ads and Pages application America Online (AOL), 3–4 ad summary, 133, 133 analytics, 213 campaigns, 103, 149 engagement, 226–229, 226–227 copying ads, 146 landing pages, 229–230 title, 143 overview, 230–231 advertising testing, 232–233 analyzing and revising, 59–60 metrics and monitoring, 214–221, 214, banner, 4–6, 4 218–219, 221 campaigns. See campaigns return on investment content procurement, 58–59 Mayo Medical School, 222–224 content updates, 59 perspective on, 224–226 copy basics, 143–146 analyzing advertising, -
Feminist Perspectives on Twerking
Alexis DIOP Student number : 3002 05 988 266 International Master in Cinema and Audiovisual Studies (2nd semester) From France / Université Sorbonne Nouvelle – Paris 3 [email protected] FEMINISMS (M. SIEGEL) _____________________ “COSMIC ASS” (2015) By Marilou Poncin and Fannie Sosa : Feminist perspectives on twerking “I twerk to remember, I twerk to resist.” Fannie Sosa in Cosmic Ass “Cosmic Ass” is a video made by the French Artist Marilou Poncin. This work, posted on Vimeo in April 2015, is about the Argentinian and Black-Brazilian performer Fannie Sosa, who is also known as an academic and an activist in the field of Feminist theory. After discovering twerk in 2012 in Paris, she has been posting videos on her Facebook and Twitter accounts for years, where you can see her dancing – more exactly twerking – and teaching it in workshops (called “twerkshops”). According to Oxford Dictionaries, twerking is “dancing to popular music in a sexually provocative manner involving thrusting hip movements and a low, squatting stance1.” It is actually a contraction of the words “twist” and “jerk”. Mostly danced by women, twerk first appeared in West Africa and was then spread over the world by diasporas. It was recently adopted by more recent Black-American generations in the USA. According to Fannie Sosa, it developed in New Orleans in the 1990s. The video begins with a twerk history. Sosa thinks it as a legacy, as it comes “from our erotically, autonomous, and reproductively independent foremothers”, she says in the first minute of the video. Her definition is very insightful as one can see more and more white female singers seizing upon this gesture, distorting its original function for commercial purposes. -
The Satire/Parody Distinction in Copyright and Trademark Law— Can Satire Ever Be a Fair Use?
ABA SECTION OF LITIGATION INTELLECTUAL PROPERTY LITIGATION COMMITTEE ROUNDTABLE DISCUSSION ONLINE The Satire/Parody Distinction in Copyright and Trademark Law— Can Satire Ever Be a Fair Use? Juli Wilson Marshall Nicholas J. Siciliano Latham & Watkins LLP 233 South Wacker Drive Sears Tower, Suite 5800 Chicago, Illinois 60606 [email protected] I. PARODY VERSUS SATIRE IN COPYRIGHT LAW: JUST ARGUE PARODY A. Fair Use Defense for a Copyright Claim The fair use of copyrighted works for purposes such as criticism or comment is not an infringement of copyright. See 17 U.S.C. § 107. The idea of fair use reflects copyright law’s careful consideration of First Amendment principles, as fair use permits later authors “to use a previous author’s copyright to introduce new ideas or concepts to the public.” SunTrust Bank v. Houghton Mifflin Co., 268 F.3d 1257, 1265 (11th Cir. 2001). Section 107 of the Copyright Act delineates a nonexclusive list of four factors to assist courts in determining whether a given use of a copyrighted work is fair. The factors include: 1. The purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes; 2. The nature of the copyrighted work; 3. The amount and substantiality of the portion used in relation to the copyrighted work as a whole; and 4. The effect of the use upon the potential market for or value of the copyrighted work. 17 U.S.C. § 107. Each factor should be explored and weighed on a case-by-case basis, and depending on the facts of the case, some factors may weigh more heavily than others. -
Granting Presumptive Fair Use Protection for Musical Parodies Maureen Mccrann Roger Williams University School of Law
Roger Williams University Law Review Volume 14 Issue 1 Symposium: Complexity and Aggregation in Article 6 the Choice of Law Winter 2009 A Modest Proposal: Granting Presumptive Fair Use Protection for Musical Parodies Maureen McCrann Roger Williams University School of Law Follow this and additional works at: http://docs.rwu.edu/rwu_LR Recommended Citation McCrann, Maureen (2009) "A Modest Proposal: Granting Presumptive Fair Use Protection for Musical Parodies ," Roger Williams University Law Review: Vol. 14: Iss. 1, Article 6. Available at: http://docs.rwu.edu/rwu_LR/vol14/iss1/6 This Notes and Comments is brought to you for free and open access by the Journals at DOCS@RWU. It has been accepted for inclusion in Roger Williams University Law Review by an authorized administrator of DOCS@RWU. For more information, please contact [email protected]. Notes A Modest Proposal: Granting Presumptive Fair Use Protection for Musical Parodies "YOU CAN'T MAKE UP ANYTHING ANYMORE. THE WORLD ITSELF IS A SATIRE. ALL YOU'RE DOING IS RECORDING IT." 1 In October 2007, the Bourne Company, copyright owners of "When You Wish Upon a Star," filed a complaint against Twentieth Century Fox and the producers of the popular animated TV show The Family Guy alleging "willful infringement of Plaintiffs copyright interests in the famous and iconic song."'2 This action resulted from an episode of The Family Guy titled "When You Wish Upon a Weinstein" in which the main character Peter Griffin sings re-written lyrics of "I Need a Jew" to the melody of "When You Wish Upon a Star."' 3 The defendants will likely assert fair use under copyright law, an affirmative defense to copyright infringement. -
Wrecking Ball<Span Class="Orangetitle">
Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com Wrecking Ball Deconstructed Skip to: Audio/Video Overview Song Structure Momentum/Tension/Intensity (MTI) Music/Instrumentation/Vocal Delivery Vocal Melody Lyrics Benchmarking A&R Hit Factors Recap, Takwaways & Final Thought Audio/Video Back to Top At a Glance Back to Top Artist: Miley Cyrus Song/Album: Wrecking Ball / Bangerz Songwriters: Gottwald, McDonald, Moccio, Skarbek, Walter Genre: Pop Sub Genres: Power Ballad Length: 3:40 Structure (Form): A-B-A-B-C-B Tempo: 60 bpm First Chorus: 0:42 / 19% into the song Intro Length: 0:08 Outro Length: n/a 1 / 102 Hit Songs Deconstructed Deconstructing Today's Hits for Songwriting Success http://reports.hitsongsdeconstructed.com Electric vs. Acoustic: Combo Primary Instrumentation: Synth, Electric Guitar, Piano, Strings, Drums Lyrical Theme: Love/Relationships Title Occurrences: “Wrecking Ball” occurs 5 times within the song Primary Lyrical P.O.V: 1st & 2nd Overview Back to Top To say that Miley Cyrus is at the forefront of Pop culture right now would be an understatement. Her recent outlandish, controversial behavior which includes twerking at the VMA’s, stating publically to Rolling Stone that “weed is the best drug on earth,” and swinging nude from a wrecking ball all have taken her exposure (no pun intended) to astronomical heights. But behind all the hype and controversy lies a talented artist who was able to take a song that was provided to her by some of today’s hottest hitmakers, make it her own, and deliver it in an infectious, engaging, memorable manner that was able to connect and resonate with the masses on a global scale.