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A Framework for the Static and Dynamic Analysis of Interaction Graphs
A Framework for the Static and Dynamic Analysis of Interaction Graphs DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Sitaram Asur, B.E., M.Sc. * * * * * The Ohio State University 2009 Dissertation Committee: Approved by Prof. Srinivasan Parthasarathy, Adviser Prof. Gagan Agrawal Adviser Prof. P. Sadayappan Graduate Program in Computer Science and Engineering c Copyright by Sitaram Asur 2009 ABSTRACT Data originating from many different real-world domains can be represented mean- ingfully as interaction networks. Examples abound, ranging from gene expression networks to social networks, and from the World Wide Web to protein-protein inter- action networks. The study of these complex networks can result in the discovery of meaningful patterns and can potentially afford insight into the structure, properties and behavior of these networks. Hence, there is a need to design suitable algorithms to extract or infer meaningful information from these networks. However, the challenges involved are daunting. First, most of these real-world networks have specific topological constraints that make the task of extracting useful patterns using traditional data mining techniques difficult. Additionally, these networks can be noisy (containing unreliable interac- tions), which makes the process of knowledge discovery difficult. Second, these net- works are usually dynamic in nature. Identifying the portions of the network that are changing, characterizing and modeling the evolution, and inferring or predict- ing future trends are critical challenges that need to be addressed in the context of understanding the evolutionary behavior of such networks. To address these challenges, we propose a framework of algorithms designed to detect, analyze and reason about the structure, behavior and evolution of real-world interaction networks. -
From Real Time to Reel Time: the Films of John Schlesinger
From Real Time to Reel Time: The Films of John Schlesinger A study of the change from objective realism to subjective reality in British cinema in the 1960s By Desmond Michael Fleming Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy November 2011 School of Culture and Communication Faculty of Arts The University of Melbourne Produced on Archival Quality Paper Declaration This is to certify that: (i) the thesis comprises only my original work towards the PhD, (ii) due acknowledgement has been made in the text to all other material used, (iii) the thesis is fewer than 100,000 words in length, exclusive of tables, maps, bibliographies and appendices. Abstract The 1960s was a period of change for the British cinema, as it was for so much else. The six feature films directed by John Schlesinger in that decade stand as an exemplar of what those changes were. They also demonstrate a fundamental change in the narrative form used by mainstream cinema. Through a close analysis of these films, A Kind of Loving, Billy Liar, Darling, Far From the Madding Crowd, Midnight Cowboy and Sunday Bloody Sunday, this thesis examines the changes as they took hold in mainstream cinema. In effect, the thesis establishes that the principal mode of narrative moved from one based on objective realism in the tradition of the documentary movement to one which took a subjective mode of narrative wherein the image on the screen, and the sounds attached, were not necessarily a record of the external world. The world of memory, the subjective world of the mind, became an integral part of the narrative. -
HTC AIC Program
Season 2012 AN INSPECTOR CALLS HTC Artspace Exhibition This year the Artspace celebrates the 60th Anniversary of the Heidelberg Theatre Company, featuring archival posters, programmes, photos and newspaper articles, mapping the history of the theatre and highlighting the wonderful plays presented over the years - as well as a display of interesting and beautiful costumes on the Mezzanine. The display, including costumes, for our first play this year has attracted great interest and comment The display for our second play of 2012 covers the third decade of the Company, the 1970s. These documents have been collected by various members of the theatre over many years and we thank them for being aware of the importance of preserving our history. We hope you enjoy the journey with us through the sixty memorable years of Heidelberg Theatre Company HEIDELBERG THEATRE COMPANY (HTC) BOOKINGS 03 9457 4117 ENQUIRIES 03 9455 3039 EMAIL [email protected] WEB www.htc.org.au HTC is a member of the Victorian Drama League. HTC acknowledges financial assistance from the City of Banyule. 2 HEIDELBERG THEATRE COMPANY 3 May - 193 May 2012 About the author J.B. Priestley was born in Bradford, in England’s industrial midlands. He left school at age sixteen to work for a local wool merchant, and in 1914 enlisted in the army. In his subsequent writing, Priestley often drew on his wartime experiences and memories of pre-war England. In 1919, Priestley spent three years at Cambridge, taking honours in English literature, modern history, and political science. As a fiction writer, he became a household name with ‘The Good Companions’ (1929), a comic novel about an itinerant group of music-hall entertainers that sold almost a million copies in hardcover. -
An Inspector Calls Is Recommended for the Artistic Team Students in Grade 8 Director……………………….JIM MEZON and Higher
An Inspector by J.B. Priestley Calls ONNECTIONS Shaw Festival CStudy Guide The Shaw Story 2 The Players 3 The Story 4 Who’s Who 5 The Playwright 6-7 Director’s Notes 8 Designer’s Notes 9 Production History 10 World of the Play 11-15 Did You Know? 16 Say What? 17 Sources 18 Activities 18-29 Response Sheet 30 THE SHAW STORY MANDATE The Shaw Festival is the only theatre in the world which exclusively focuses on plays by Bernard Shaw and his contemporaries, including plays written or about the period of Shaw’s lifetime (1856 – 1950). The Shaw Festival’s mandate also includes: • Uncovered Gems – digging up undiscovered theatrical treasures, or plays which were considered major works when they were written but which have since been unjustly neglected • American Classics – we continue to celebrate the best of American theatre • Musicals – rarely-performed musical treats from the period of our mandate are re- discovered and returned to the stage WHAT MAKES • Canadian Work – to allow us to hear and promote our own stories, our own points SHAW SPECIAL of view about the mandate period. MEET THE COMPANY — OUR ENSEMBLE • Our Actors: All Shaw performers contribute to the sense of ensemble, much like the players in an orchestra. Often, smaller parts are played by actors who are leading performers in their own right, but in our “orchestra,” they support the central action helping to create a density of experiences that are both subtle and informative. • Our Designers: Every production that graces the Shaw Festival stages is built “from scratch,” from an original design. -
Read Ebook {PDF EPUB} Victoria's Heyday by J.B. Priestley Victoria's Heyday by J.B
Read Ebook {PDF EPUB} Victoria's Heyday by J.B. Priestley Victoria's Heyday by J.B. Priestley. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 660d1f96a8de2bdd • Your IP : 116.202.236.252 • Performance & security by Cloudflare. Bibliography. 1931 The Good Companions (adaption with Edward Knoblock) 1932 Dangerous Corner 1933 The Roundabout 1934 Laburnum Grove 1934 Eden End 1935 Duet in Floodlight 1936 Cornelius 1936 Spring Tide (with George Billam) 1936 Bees on the Boatdeck 1937 Time and the Conways 1937 Mystery at Greenfingers 1937 I Have Been Here Before 1937 People at Sea 1938 Music at Night (published 1947) 1938 When We Are Married 1939 Johnson Over Jordan 1940 The Long Mirror (published 1947) 1942 Good Night Children 1944 They Came to a City 1944 Desert Highway 1945 How Are They at Home? 1946 Ever Since Paradise 1947 An Inspector Calls 1947 The Rose and Crown 1948 The Linden Tree 1948 The Golden Fleece 1948 The High Toby (for Toy Theatre) 1949 The Olympians (opera, music by Arthur Bliss) 1949 Home is Tomorrow 1950 Summer Day’s Dream 1950 Bright Shadow 1952 Dragon’s Mouth (with Jacquetta Hawkes) 1953 Treasure on Pelican 1953 Try It Again 1953 Private Rooms 1953 Mother’s Day 1954 A Glass of Bitter 1955 Mr Kettle and Mrs Moon 1956 Take the Fool Away 1958 The Glass Cage 1963 The Pavilion of Masks 1964 A Severed Head (with Iris Murdoch) 1974 The White Countess (with Jacquetta Hawkes) FICTION. -
Harnessing the Power of Apprenticeships
unionlearn.org.uk | Spring 2017 Harnessing the power of Apprenticeships • Training the next generation • Minding the skills gap at TfL • Liz Rees says farewell • You’re never too old to learn • Thumbs-up for online education GETTING ON THE RIGHT TRACK Dive into learning with WELCOME TO THE FIRST LEARNING REP PEARL from the OU of 2017, and my first as Director of unionlearn. As someone who continued learning both through the union route and in my day job, later going on to university as a mature student, I fully appreciate how learning can have a transformative influence on people’s lives. Jess Hurd/reportdigital.co.uk “I have always After starting my known the working life as an apprentice structural enormous value draughtsman at the of high-quality, VSEL shipyard in decently paid Barrow-in-Furness (now part of BAE Systems), Apprenticeships I have always known Adults returning to learning, specific areas of activity, to the individuals the enormous value of whether at college, at home including: introducing concerned.” high-quality, decently or at work, now have a practical healthcare; paid Apprenticeships great way to find their route supporting children’s to the individuals into study, thanks to the development; caring for concerned, to their employers and unions and to PEARL website developed adults; planning a better the economy as a whole, which is why I’m glad by the Open University future; taking part in the to be the TUC representative on the Strategic (OU) in collaboration with voluntary sector; and Transport Apprenticeship Taskforce (STAT). partners, including UNISON starting your small business. -
Guide to the William K
Guide to the William K. Everson Collection George Amberg Memorial Film Study Center Department of Cinema Studies Tisch School of the Arts New York University Descriptive Summary Creator: Everson, William Keith Title: William K. Everson Collection Dates: 1894-1997 Historical/Biographical Note William K. Everson: Selected Bibliography I. Books by Everson Shakespeare in Hollywood. New York: US Information Service, 1957. The Western, From Silents to Cinerama. New York: Orion Press, 1962 (co-authored with George N. Fenin). The American Movie. New York: Atheneum, 1963. The Bad Guys: A Pictorial History of the Movie Villain. New York: Citadel Press, 1964. The Films of Laurel and Hardy. New York: Citadel Press, 1967. The Art of W.C. Fields. Indianapolis: Bobbs-Merrill, 1967. A Pictorial History of the Western Film. Secaucus, N.J.: Citadel Press, 1969. The Films of Hal Roach. New York: Museum of Modern Art, 1971. The Detective in Film. Secaucus, N.J.: Citadel Press, 1972. The Western, from Silents to the Seventies. Rev. ed. New York: Grossman, 1973. (Co-authored with George N. Fenin). Classics of the Horror Film. Secaucus, N.J.: Citadel Press, 1974. Claudette Colbert. New York: Pyramid Publications, 1976. American Silent Film. New York: Oxford University Press, 1978, Love in the Film. Secaucus, N.J.: Citadel Press, 1979. More Classics of the Horror Film. Secaucus, N.J.: Citadel Press, 1986. The Hollywood Western: 90 Years of Cowboys and Indians, Train Robbers, Sheriffs and Gunslingers, and Assorted Heroes and Desperados. Secaucus, N.J.: Carol Pub. Group, 1992. Hollywood Bedlam: Classic Screwball Comedies. Secaucus, N.J.: Carol Pub. Group, 1994. -
EN 382.01 ENGLAND SWINGS: LITERATURE, FILM, and CULTURE in 1960S ENGLAND
SYLLABUS: EN 382.01 ENGLAND SWINGS: LITERATURE, FILM, AND CULTURE IN 1960s ENGLAND Dr. Mark Osteen HU 242B; x2363; [email protected] Office Hours: TTH 11-1:30 or by appointment COURSE LEARNING AIMS: < To provide a discussion-oriented format that encourages everyone to participate and exchange ideas, and enjoy the fruits of challenging intellectual discourse. < To enable you to create your own research paper topics and to write substantial, sophisticated critical essays. < To help you master the tools necessary to film analysis and interpretation, including the essential technical terms related to Film Studies. < To view and study a significant number of the feature films directed by important British and American directors. < To introduce you to some of the most influential popular music of the twentieth-century and to enable you to assess its cultural importance. < To watch some really cool movies, and read several excellent books. < To rock out! REQUIRED TEXTS: John Osborne, Look Back In Anger (Penguin). 1956. Alan Sillitoe, Saturday Night and Sunday Morning (NAL). 1958. Alan Sillitoe, The Loneliness of the Long Distance Runner. 1959. PDF. John Fowles, The French Lieutenant's Woman (Little, Brown). 1968. Harold Pinter, The Caretaker & The Dumbwaiter (Grove). 1960. Harold Pinter, The Homecoming (Grove). 1965. Anthony Burgess, A Clockwork Orange (Norton Critical Edition). 1962. Philip Larkin, Selected Poems (Handouts, posted on Moodle). B. S. Johnson, Albert Angelo (New Directions). 1964. Selections from James Miller, Flowers in the Dustbin: The Rise of Rock and Roll, 1947-77. New York: Simon and Schuster, 1999. Pdfs. Selections from Paul Friedlander, A Social History of Rock and Roll and the Rolling Stone History of Rock ‘n’ Roll (handouts). -
Talking out of Tune
Talking Out of Tune Remembering British Theatre 1944-56 Kate Lucy Harris Ph.D. School of English Literature, Language and Linguistics University of Sheffield December 2008 1 Summary of Thesis This thesis explores how British Theatre represented and reacted to cultural and social changes between 1944 and 1956. It is closely linked to the oral history strand of the AHRC University of Sheffield British Library Theatre Archive Project <http://www.bl.ukltheatrearchive>. The five chapters focus on distinct subject areas in order to explore the vibrant diversity of the period. However, they are united by an overarching narrative which seeks to consider the relationship between memory and history. The first chapter is based on the oral history strand. It explores the different ways in which the Project's methodology has shaped both the interviewee testimony and my own research. Chapter 2 focuses on the changing historical perceptions of the popular West End plays of the day. Case studies of plays are used to compare the responses of audiences and critics in the 1940s and 50s, with the critical commentaries that surround the plays and playwrights today. The third chapter explores the relationship between BBC television drama and theatre. It assesses the impact that cross fertilisation had on both media by examining plays, productions and policies. Chapters 4 and 5 focus on two of the theatre companies of the period - Theatre Workshop and the Old Vic Theatre Company. Chapter 4 explores the impact that Theatre Workshop's early years as a touring group had on the development of the company. It draws on new oral history testimonies from former company members who joined the group in the 1940s and early 50s. -
English S24. British New Wave Film Steve Dillon Office Hours: Tuesday
English s24. British New Wave Film Steve Dillon Office hours: Tuesday 9-10 and by appointment Pettigrew 307 Course Description: This course studies significant achievements in British cinema from the late 1950s to the early 1970s. Many national cinemas underwent a liberating change in the 1960s, usually called by the name, “New Wave.” British cinema in the 60s is not as influential as the French New Wave (nouvelle vague) exemplified by Godard, Truffaut, Rivette, Chabrol, and others. Yet there are many important and interesting British films from this period, by directors such as Joseph Losey, Lindsay Anderson, and John Schlesinger. In this course we will look at films by auteurs such as Michael Powell, “kitchen sink” films by Jack Clayton and Karel Reisz, “swinging London” films by Richard Lester and Nicolas Roeg, in addition to masterpieces by foreign artists such as Stanley Kubrick and Michelangelo Antonioni. Schedule M April 26 Robert Hamer, Kind Hearts and Coronets (1949) T 27 Mike Hodges, Get Carter (1971) W 28 Michael Powell, Peeping Tom (1960) Th 29 Joseph Losey, The Servant (1963) M May 3 Richard Lester, A Hard Day’s Night (1964) T 4 Richard Lester, The Knack. And How to Get It (1965) W 5 Nicolas Roeg, Performance (1970) Th 6 Michelangelo Antonioni, Blow-Up (1966) M May 10 Jack Clayton, Room at the Top (1958) T 11 Karel Reisz, Saturday Night and Sunday Morning (1960) W 12 John Schlesinger, Billy Liar (1963) Th 13 Desmond Davis, Girl With Green Eyes (1964) F 14 (Final Project Proposals Due) M May 17 Stanley Kubrick, Dr. -
Production Notes
PRODUCTION NOTES Director | Nick Gillespie Producer | Finn Bruce Cast | Tom Meeten, Kris Marshall, Johnny Vegas, Katherine Parkinson, Kevin Bishop, Steve Oram, Alice Lowe, Jarred Christmas, Mandeep Dhillon, Pippy Haywood, Craig Parkinson, Steve BroDy, Neil EDmonD, Lloyd Griffith Executive Producers| Finn Bruce, Pandora Edmiston, Matthew ShreDer, James Appleton Writers | Brook Driver, Matt White & Nick Gillespie Editor | Tom Longmore Cinematographer | Billy J Jackson Run Time | 1h 35m 05s Rating | TBC Company | Belstone Pictures Publicity Contact The DDA Group [email protected] LOGLINE: When Paul’s chances of winning a national talent competition are ruined and his dreams of fame slashed, he plans a deathly revenge mission. One lunch break, five spectacular murders! Will the sparkly suited Paul pull it off, stay one step ahead of the cops and find the fame he’s always longed for? SYNOPSIS: Paul, a weedy charity-shop worker has his heart set on winning a national talent competition. With a sparkly suit, killer routine, and his dear old mother in tow… this is his big chance. But when the actions of five intransigent, selfish people get in his way and cause him to miss the audition, Paul plans a deathly revenge mission. One lunch break, five spectacular murders! Each wrongdoer seemingly dispatched in a fitting manner by a sparkly-suited Paul on a revenge rampage around his small hometown. But will he pull it off, stay one step ahead of the cops and find the fame he’s always longed for? DIRECTOR’S STATEMENT | NICK GILLESPIE “This story for me has always been an uplifting one but at the heart of which it’s essentially about grief and loss and how people deal with that. -
Billy Liar by John Schlesinger, Keith Waterhouse and Willis Hall Review By: Leonard Quart Source: Cinéaste, Vol
Cineaste Publishers, Inc. Review Reviewed Work(s): Billy Liar by John Schlesinger, Keith Waterhouse and Willis Hall Review by: Leonard Quart Source: Cinéaste, Vol. 27, No. 3 (SUMMER 2002), pp. 47-48 Published by: Cineaste Publishers, Inc. Stable URL: http://www.jstor.org/stable/41690168 Accessed: 09-04-2018 13:41 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Cineaste Publishers, Inc. is collaborating with JSTOR to digitize, preserve and extend access to Cinéaste This content downloaded from 95.183.180.42 on Mon, 09 Apr 2018 13:41:40 UTC All use subject to http://about.jstor.org/terms "Sometimes he calls me, and laughing, he asks me to chirp." (She laughs.) "As if I were a bird, and could go on the trees, too!" Another long pause. Another false ending. "But I cannot tell you more. There is a part, a little secret and mysterious, I believe is for me alone." She blows us a kiss goodbye. It is a strangely moving moment. 'Fellini- esque.' I'd like to have seen Sandra Milo play Tosca. You can almost hear her singing the great aria " Vissi d'arte, vissi d'amore ." ("I lived for art, I lived for love.") With its self-referential quantum psy- chology, 8 */2 remains a key postmodern work.