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Collision Course
FINAL-1 Sat, Jul 7, 2018 6:10:55 PM Your Weekly Guide to TV Entertainment for the week of July 14 - 20, 2018 HARTNETT’S ALL SOFT CLOTH CAR WASH Collision $ 00 OFF 3ANY course CAR WASH! EXPIRES 7/31/18 BUMPER SPECIALISTSHartnett's Car Wash H1artnett x 5` Auto Body, Inc. COLLISION REPAIR SPECIALISTS & APPRAISERS MA R.S. #2313 R. ALAN HARTNETT LIC. #2037 DANA F. HARTNETT LIC. #9482 Ian Anthony Dale stars in 15 WATER STREET “Salvation” DANVERS (Exit 23, Rte. 128) TEL. (978) 774-2474 FAX (978) 750-4663 Open 7 Days Mon.-Fri. 8-7, Sat. 8-6, Sun. 8-4 ** Gift Certificates Available ** Choosing the right OLD FASHIONED SERVICE Attorney is no accident FREE REGISTRY SERVICE Free Consultation PERSONAL INJURYCLAIMS • Automobile Accident Victims • Work Accidents • Slip &Fall • Motorcycle &Pedestrian Accidents John Doyle Forlizzi• Wrongfu Lawl Death Office INSURANCEDoyle Insurance AGENCY • Dog Attacks • Injuries2 x to 3 Children Voted #1 1 x 3 With 35 years experience on the North Insurance Shore we have aproven record of recovery Agency No Fee Unless Successful While Grace (Jennifer Finnigan, “Tyrant”) and Harris (Ian Anthony Dale, “Hawaii Five- The LawOffice of 0”) work to maintain civility in the hangar, Liam (Charlie Row, “Red Band Society”) and STEPHEN M. FORLIZZI Darius (Santiago Cabrera, “Big Little Lies”) continue to fight both RE/SYST and the im- Auto • Homeowners pending galactic threat. Loyalties will be challenged as humanity sits on the brink of Business • Life Insurance 978.739.4898 Earth’s potential extinction. Learn if order can continue to suppress chaos when a new Harthorne Office Park •Suite 106 www.ForlizziLaw.com 978-777-6344 491 Maple Street, Danvers, MA 01923 [email protected] episode of “Salvation” airs Monday, July 16, on CBS. -
ANNUAL REPORT 2015 16 A70 TV Acad Ad.Qxp Layout 1 7/8/16 11:43 AM Page 1
ANNUAL REPORT 2015 16_A70_TV_Acad_Ad.qxp_Layout 1 7/8/16 11:43 AM Page 1 PROUD MEMBER OF »CBS THE TELEVISION ACADEMY 2 ©2016 CBS Broadcasting Inc. MESSAGE FROM THE CHAIRMAN AND CHIEF EXECUTIVE OFFICER AS THE QUANTITY AND QUALITY OF CONTENT HAVE INCREASED in what is widely regarded as television’s second Golden Age, so have employment opportunities for the talented men and women who create that programming. And as our industry, and the content we produce, have become more relevant, so has the relevance of the Television Academy increased as an essential resource for television professionals. In 2015, this was reflected in the steady rise in our membership — surpassing 20,000 for the first time in our history — as well as the expanding slate of Academy-sponsored activities and the heightened attention paid to such high-profile events as the Television Academy Honors and, of course, the Creative Arts Awards and the Emmy Awards. Navigating an industry in the midst of such profound change is both exciting and, at times, a bit daunting. Reimagined models of production and distribution — along with technological innovations and the emergence of new over-the-top platforms — have led to a seemingly endless surge of creativity, and an array of viewing options. As the leading membership organization for television professionals and home to the industry’s most prestigious award, the Academy is committed to remaining at the vanguard of all aspects of television. Toward that end, we are always evaluating our own practices in order to stay ahead of industry changes, and we are proud to guide the conversation for television’s future generations. -
I Huvudet På Bender Futurama, Parodi, Satir Och Konsten Att Se På Tv
Lunds universitet Oscar Jansson Avd. för litteraturvetenskap, SOL-centrum LIVR07 Handledare: Paul Tenngart 2012-05-30 I huvudet på Bender Futurama, parodi, satir och konsten att se på tv Innehållsförteckning Förord ......................................................................................................................................... 3 Inledning ..................................................................................................................................... 4 Tidigare forskning och utmärkelser ................................................................................... 7 Bender’s Head, urval och disposition ................................................................................ 9 Teoretiska ramverk och utgångspunkter .................................................................................. 11 Förförståelser, genre och tolkning .................................................................................... 12 Parodi, intertextualitet och implicita agenter ................................................................... 18 Parodi och satir i Futurama ...................................................................................................... 23 Ett inoriginellt medium? ................................................................................................... 26 Animerad sitcom vs. parodi ............................................................................................. 31 ”Try this, kids at home!”: parodins sammanblandade världar ........................................ -
Jazz and Radio in the United States: Mediation, Genre, and Patronage
Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Aaron Joseph Johnson All rights reserved ABSTRACT Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson This dissertation is a study of jazz on American radio. The dissertation's meta-subjects are mediation, classification, and patronage in the presentation of music via distribution channels capable of reaching widespread audiences. The dissertation also addresses questions of race in the representation of jazz on radio. A central claim of the dissertation is that a given direction in jazz radio programming reflects the ideological, aesthetic, and political imperatives of a given broadcasting entity. I further argue that this ideological deployment of jazz can appear as conservative or progressive programming philosophies, and that these tendencies reflect discursive struggles over the identity of jazz. The first chapter, "Jazz on Noncommercial Radio," describes in some detail the current (circa 2013) taxonomy of American jazz radio. The remaining chapters are case studies of different aspects of jazz radio in the United States. Chapter 2, "Jazz is on the Left End of the Dial," presents considerable detail to the way the music is positioned on specific noncommercial stations. Chapter 3, "Duke Ellington and Radio," uses Ellington's multifaceted radio career (1925-1953) as radio bandleader, radio celebrity, and celebrity DJ to examine the medium's shifting relationship with jazz and black American creative ambition. -
'Perfect Fit': Industrial Strategies, Textual Negotiations and Celebrity
‘Perfect Fit’: Industrial Strategies, Textual Negotiations and Celebrity Culture in Fashion Television Helen Warner Submitted for the degree of Doctor of Philosophy (PhD) University of East Anglia School of Film and Television Studies Submitted July 2010 ©This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that no quotation from the thesis, nor any information derived therefrom, may be published without the author's prior, written consent. Helen Warner P a g e | 2 ABSTRACT According to the head of the American Costume Designers‟ Guild, Deborah Nadoolman Landis, fashion is emphatically „not costume‟. However, if this is the case, how do we approach costume in a television show like Sex and the City (1998-2004), which we know (via press articles and various other extra-textual materials) to be comprised of designer clothes? Once onscreen, are the clothes in Sex and the City to be interpreted as „costume‟, rather than „fashion‟? To be sure, it is important to tease out precise definitions of key terms, but to position fashion as the antithesis of costume is reductive. Landis‟ claim is based on the assumption that the purpose of costume is to tell a story. She thereby neglects to acknowledge that the audience may read certain costumes as fashion - which exists in a framework of discourses that can be located beyond the text. This is particularly relevant with regard to contemporary US television which, according to press reports, has witnessed an emergence of „fashion programming‟ - fictional programming with a narrative focus on fashion. -
ABSTRACT GENERALIZING the FUTURAMA THEOREM the 2010
ABSTRACT GENERALIZING THE FUTURAMA THEOREM The 2010 episode of Futurama titled The Prisoner of Benda centers around a machine that swaps the brains of any two people who use it. The problem is, once two people use the machine to swap brains with each other, they cannot swap back. The author of the episode, mathematician Ken Keeler, uses Abstract Algebra to take the problem containing a set of swapped brains, and translate it into permutations in the group Sn. Keeler's method of solving the problem involves writing the inverse of the permutation as a product of transpositions that were not already used. The theorem and proof contained in this episode is known as The Futurama Theorem, or Keeler's Theorem. In 2014, it was proven that Keeler's method was the optimal solution to the problem. In this work, we will present a new proof of Keeler's Theorem. We will also generalize the theorem to products of larger cycles, starting with 3-cycles, and building up to our main goal: a solution for p-cycles where p is a prime. After this solution, we will use the same general ideas to create a solution using products of 2j-cycles. Jennifer E. Elder May 2016 GENERALIZING THE FUTURAMA THEOREM by Jennifer E. Elder A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Mathematics in the College of Science and Mathematics California State University, Fresno May 2016 APPROVED For the Department of Mathematics: We, the undersigned, certify that the thesis of the following student meets the required standards of scholarship, format, and style of the university and the student's graduate degree program for the awarding of the master's degree. -
Dead Zone Back to the Beach I Scored! the 250 Greatest
Volume 10, Number 4 Original Music Soundtracks for Movies and Television FAN MADE MONSTER! Elfman Goes Wonky Exclusive interview on Charlie and Corpse Bride, too! Dead Zone Klimek and Heil meet Romero Back to the Beach John Williams’ Jaws at 30 I Scored! Confessions of a fi rst-time fi lm composer The 250 Greatest AFI’s Film Score Nominees New Feature: Composer’s Corner PLUS: Dozens of CD & DVD Reviews $7.95 U.S. • $8.95 Canada �������������������������������������������� ����������������������� ���������������������� contents ���������������������� �������� ����� ��������� �������� ������ ���� ���������������������������� ������������������������� ��������������� �������������������������������������������������� ����� ��� ��������� ����������� ���� ������������ ������������������������������������������������� ����������������������������������������������� ��������������������� �������������������� ���������������������������������������������� ����������� ����������� ���������� �������� ������������������������������� ���������������������������������� ������������������������������������������ ������������������������������������� ����� ������������������������������������������ ��������������������������������������� ������������������������������� �������������������������� ���������� ���������������������������� ��������������������������������� �������������� ��������������������������������������������� ������������������������� �������������������������������������������� ������������������������������ �������������������������� -
The Futurama Theorem1 Adapted for the Philadelphia Math Teacher’S Circle by Cheryl Grood
The Futurama Theorem1 adapted for the Philadelphia Math Teacher’s Circle by Cheryl Grood Appetizer: Background: This problem (and its solution) appeared in “The Prisoner of Benda,” which is episode 7.10 of the television show Futurama. The episode’s writer, Ken Keeler, has a Ph.D. in applied mathematics from Harvard. (In fact, several of the writers on Futurama hold advanced degrees in mathematics, physics, and computer science!) Keeler discovered/proved this theorem entirely as a means to get the characters out of the complicated situation he had written them into. Ken Keeler won the Writers Guild of America Best Television Writing in Animation award in 2010 for this episode. The setup: Two characters (Professor Farnsworth and Amy) decide to try out their newly- finished “Mind-Switcher” invention on themselves. (“We’re just the people this Mind-Switcher was made for by us!”) A brief montage of hilarity ensues. When they try to switch back, they discover a key flaw in the machine’s design: it will not allow the same pair of bodies to be used in the machine more than once. [clip from show, time stamp 3:33 ! 3:55] The fundamental problem: Is there a way (given the limitations of the machine; ie, no cheating by inventing a better machine!) to restore their minds back to their original bodies? The Amy/Professor pair can never re-enter the machine together, but what if they were able to get one or more unsuspecting stooges to enter the machine? Question: Can all correct mind-body pairings be restored with the help of just one other character? Solution: No. -
Die Beiden Hinterhältigen Brüder (Brother from Another Series )
Die beiden hinterhältigen Brüder (Brother From Another Series ) Handlungs- und Dialogabschrift | Januar 2015 by [email protected] | www.simpsons-capsules.net ________________________________________________________________________________ Produktionsnotizen Produktionscode: 4F14 TV-Einteilung: Staffel 8 / Episode 16 Episodennummer: 169 Erstausstrahlung Deutschland: 12.11.1997 Erstaustrahlung USA: 23.02.1997 Autor: Ken Keeler Regie: Pete Michels Musik: Alf Clausen Tafelspruch - keiner Couchgag Die Simpsons kommen in die Wohnstube gerannt, die völlig verkehrt herum, also auf den Kopf gestellt wurde. Als sie dann auf der Couch Platz nehmen wollen, fallen sie ver-ständlicherweise herunter. Ist euch aufgefallen ... ... das Lionel Hutz im Besucherraum des Gefängnisses sitzt? ... das Bart im Restaurant die Kinder-Speisekarte liest? ... das der Eiskübel im Restaurant eine Packung Milch enthält? ... das Bob und Cecile die gleiche Schuhgröße haben? Referenzen / Anspielungen / Seitenhiebe - Der Originaltitel „Brother from Another Series” ist eine Anspielung auf den Actionfilm „Brother from Another Planet“ aus dem Jahr 1984. - Lisa ist der Meinung, das in jedem Zehnjährigen das Herz eines Verbrechers schlägt. Dies ist eine filigrane Anspielung auf ihren zehnjährigen Bruder, der bekanntlich hin und wieder Gemeinheiten ausheckt. - Einige Szenen aus der Folge spielen auf die US-Sitcom „Frasier” an. - Mit Kappadokien meint Bob eine von Erosion und zahlreichen Höhlen und Tälern geprägte Landschaft in Zentralanatolien. Gaststars - keine Bezüge -
Forty Shades of Blue
Sundance Film Festival – 2005 Grand Jury Prize Berlin Film Festival/Panorama 2005 FORTY SHADES OF BLUE By Ira Sachs “Atmospheric and haunting… Forty Shades of Blue is a movie that seeps under your skin” David Ansen, Newsweek SALES CONTACT FORTY SHADES OF BLUE Cast Alan ............................................................................................Rip Torn Laura .................................................................................... Dina Korzun Michael ........................................................................... Darren Burrows Lonni.................................................................................. Paprika Steen Duigan ...................................................................................... Red West Celia ...................................................................................Jenny O’Hara Shel .................................................................................. Jerry Chipman Sam ........................................................................... Andrew Henderson April...........................................................................Emily McKenna Cox Cindy .......................................................................................Liz Morton Betty................................................................................Joanne Pankow Filmmakers Director .................................................................................... Ira Sachs Screenwriters ................................................ Michael -
Style Over Substance? Fashion, Spectacle and Narrative in Contemporary US Television
Style over substance? Fashion, spectacle and narrative in contemporary US television Helen Warner University of East Anglia Previous scholarship on fashion and film has debated the aesthetic role played by onscreen costume. Yet there has been little exploration of fashion and its use in television. Existing work on fashion in onscreen media has approached the debate from a textual perspective, and such work has been informed by the longstanding assumption that fashion acts primarily as ‘spectacle’, disrupting the economy of narrative flow. This article seeks to challenge this assumption by arguing that previous work is limited by the wider conceptual and methodological problems of purely textual approaches. Using CW’s Gossip Girl as a case study, the author suggests that a mixed- method approach to the study of costume (using both textual analysis and reception studies) provides a more productive foundation upon which to begin to examine the function of onscreen fashion in contemporary US television. Such an approach may have particular importance in understanding how costume in ‘fashion-forward’ television can be best understood if one steps beyond the text to explore the sense-making of viewers, the intentions of costume designers and the relationship between viewers, the shows and the wider fashion market. An article about the US network CW’s Gossip Girl (2007–) recently appeared in the fashion and style section of The New York Times. The article claimed that the show ‘has always been more than a television series about its overt sub- ject, the social machinations of Manhattan private-school students. It has also presented a cavalcade of fashion’ (La Ferla, 2008). -
P R O G R a M
DIANE PERNET & LE CENTRE POMPIDOU PRÉSENTENT A SHADED VIEW ON FASHION FILM FESTIVAL INTERNATIONAL DU FILM DE MODE - 8E ÉDITION - DU 2 AU 6 DÉCEMBRE 2015 PROGRAMME EN COLLABORATION AVEC A SHADED VIEW JURY & PRIX ON FASHION FILM Comme chaque année, FESTIVAL INTERNATIONAL DU FILM DE MODE 8 E EDITIOn – DU 2 au 6 DÉCEMBRE 2015 un jury de prescripteurs internationaux des arts et des médias remet des Prix aux meilleurs films. A Shaded View On Fashion Film – le Festival International LISTE DES PRIX LE JURY D’ASVOFF8 du Film de Mode - fondé par la journaliste et icône Diane Pernet – avait déjà marqué les esprits en 2014 en recevant GRAND PRIX PRÉSIDENT DU JURY l'une des figures de la mode belge, le créateur Dries Van Noten. ASVOFF Jean Paul Gaultier - Couturier e Pour sa 8 Edition du 2 au 6 décembre au Centre Pompidou, PARTICIPANTS MEILLEURE DIRECTION ARTISTIQUE la manifestation franchit un cap symbolique supplémentaire Emmanuel Asmar - Avocat d'affaires MEILLEUR ACTEUR/ACTRICE avec l’un des couturiers français les plus emblématiques Dimitri Chamblas - Directeur artistique 3e Scène Opéra de Paris MEILLEUR STYLISME de l'Histoire de la Mode : Jean Paul Gaultier. Lyne Cohen Solal - Journaliste et femme politique Ce dernier présidera le jury de la compétition de courts-métrages MEILLEURE BANDE SONORE Eric Daman - Costume Designer de mode. Il lui sera également dédié une séance Carte Blanche MEILLEUR FILM PUBLICITAIRE Andrew Davis - Creative Director Wonderland + Rollacoaster animée par la journaliste et critique Elisabeth Quin. MEILLEUR TALENT EMERGENT Marc Happel - Costume Director NYC Ballet Dominique Jakob - Jakob+MacFarlane architectes PRIX SPÉCIAUX Stephen Jones - Modiste ASVOFF proposera par ailleurs 80 courts métrages en compétition PRIX BEAUTÉ doté par Shu Uemura Butheina Kazim - CINÉMA Akil incarnant le meilleur des productions de l’année.