The Civil Rights Movement on Long Island
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LIONS GATE ENTERTAINMENT CORP. (Exact Name of Registrant As Specified in Its Charter)
Table of Contents UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 Form 10-K (Mark One) ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the fiscal year ended March 31, 2012 or TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the transition period from to Commission File No.: 1-14880 LIONS GATE ENTERTAINMENT CORP. (Exact name of registrant as specified in its charter) British Columbia, Canada N/A (State or Other Jurisdiction of (I.R.S. Employer Incorporation or Organization) Identification No.) 1055 West Hastings Street, Suite 2200 2700 Colorado Avenue, Suite 200 Vancouver, British Columbia V6E 2E9 Santa Monica, California 90404 (877) 848-3866 (310) 449-9200 (Address of Principal Executive Offices, Zip Code) Registrant’s telephone number, including area code: (877) 848-3866 Securities registered pursuant to Section 12(b) of the Act: Title of Each Class Name of Each Exchange on Which Registered Common Shares, without par value New York Stock Exchange Securities registered pursuant to Section 12(g) of the Act: None ___________________________________________________________ Indicate by check mark if the registrant is a well-known seasoned issuer, as defined in Rule 405 of the Securities Act. Yes No Indicate by check mark if the registrant is not required to file reports pursuant to Section 13 or Section 15(d) of the Securities Exchange Act of 1934. Yes No Indicate by check mark whether the registrant (1) has filed all reports required to be filed by Section 13 or Section 15(d) of the Securities Exchange Act of 1934 during the preceding 12 months (or for such shorter period that the registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days. -
NEWS and STORIES from SOUTHWESTERN COLLEGE CONTENTS 3 | TOP of the NEWS Welcome New Vps, Reflections of Interim Provost
SUMMER 2017 NEWS AND STORIES FROM SOUTHWESTERN COLLEGE CONTENTS 3 | TOP OF THE NEWS Welcome new VPs, reflections of interim provost 4 | NEWS Acclaim for Nichols’ book, Enactus honors (photo below) n the afternoon of May 7th, it was my great honor and privilege to stand on stage, shake the hands of graduates crossing the stage, and hand them their diplomas. During the commencement ceremony, I saw in their faces many emotions – excitement, pride, relief, and gratitude. I also recognized in them a posture of confidence and poise. They leave 5 | BUILDERS Southwestern prepared to fulfill their purpose, to serve and engage the new communities Smith bikes Tour Divide, they will call home. I am so proud of our students and their many accomplishments, to date deployed Builders meet and to come. 6-7 | COMMENCEMENT Our faculty deserve much of the credit for the growth and transformation that students experience at Southwestern, faculty like Dr. Tammy McEwen, associate professor of biology 8 -10 | ALUMNI NOTES (pictured on the cover). At commencement Dr. McEwen was recognized as the recipient of Halls of Fame, national the 2017 Charles H. and Verda R. Kopke Award for Distinguished Teaching. In her speech, champion, state president she shared that she had not taken the traditional path through college. She pursued her postgraduate education later in life because she had always had a dream of teaching at a small 11 | INSTITUTIONAL liberal arts college. During her speech Dr. McEwen said, “I decided this dream was worth ADVANCEMENT the time, the effort, and the risk because I did not want to wake up one day, when it was too Letter from VP, save the date late, and regret never having tried. -
ENG 1131: Writing About American Prestige TV (Sec 4841)
ENG 1131: Writing About American Prestige TV (sec 4841) Milt Moise MWF/R: Period 4: 10:40-11:30; E1-E3: 7:20-10:10 Classroom: WEIL 408E Office Hours: W, R Per. 7-8, or by appointment, TUR 4342 Course Website: CANVAS Instructor Email: [email protected] Twitter account: @milt_moise Course Description, Objectives, and Outcomes: This course examines the emergence of what is now called “prestige TV,” and the discourse surrounding it. Former FCC chairman Newton N. Minow, in a 1961 speech, once called TV “a vast wasteland” of violence, formulaic entertainment, and commercials. Television has come a long way since then, and critics such as Andy Greenwald now call our current moment of television production “the golden age of TV.” While television shows containing the elements Minow decried decades ago still exist, alongside them we now find television characterized by complex plots, moral ambiguity, excellent production value, and outstanding writing and acting performances. In this class, our discussions will center around, but not be limited to the aesthetics of prestige TV, and how AMC’s Mad Men and TBS’s Search Party conform to or subvert this framework. Students will learn to visually analyze a television show, and develop their critical reading and writing skills. By the end of the semester, students will be able to make substantiated arguments about the television show they have seen, and place it into greater social and historical context. They will also learn how to conduct formal research through the use of secondary sources and other relevant material to support their theses, analyses and arguments. -
“A Beautiful Friendship” Commissioner Julie Brill Keynote Address Before the Association of National Advertisers March 20, 2013
“A Beautiful Friendship” Commissioner Julie Brill Keynote Address before the Association of National Advertisers March 20, 2013 Last time we were together, we began our discussion on advertising, ICANN, and privacy to the strains of Zou Bisou Bisou and the image of Don Draper’s sultry young wife slinking around in the premier of the fifth season of Mad Men. This year, we will again talk about advertising, ICANN, and privacy. But I will let the Mad Men zoom off into the sunset in their Pontiac GTOs and Jaguars, and turn to our latest cultural fantasy to inspire my talk today. That’s right, we’re trading our fedoras, grey flannel suits and mini-dresses for white ties, morning coats and empire-waist gowns – and following the rest of America from uptown Manhattan to Downton Abbey. I know some of you feel you relate better to Madison Avenue’s Don Draper than to Maggie Smith’s Dowager Countess of Grantham, but trust me, Violet Crawley has a lot to say about the issues facing both advertisers and the FTC. For example, in one scene, an offended underling asked the countess: “You want me to lie?” Her answer: “Lie is so unmusical a word." I often think about Violet Crowley’s quip as I look back over the FTC challenge to POM Wonderful’s advertisements for its pomegranate juice, supplements, and liquid extract.1 Those ads were anything but unmusical; indeed, they sang with cleverness. For those who haven’t seen the POM ads, some of them featured an hourglass-shaped juice bottle – the spitting image of Violet Crawley’s buxom silhouette by the way – flying off dressed as a superhero out to curb prostate cancer or serving up the precious liquid in an IV drip.2 Very creative, very catchy, and – most of all – very musical. -
Outsider Outfits: Fashion and Difference in Mad Men
Chiara Settineri Mad Men: Gender, Work, and American Culture VMS 290 Prof. Lamm December 18, 2017 Outsider Outfits: Fashion and Difference in Mad Men AMC’s hit show Mad Men (2007-2015), created by Matthew Weiner, has been widely, critically praised for its stylistic aesthetic and meticulous attention to detail and accuracy. Developing costumes on a show centered around facades, Mad Men’s costume designer Janie Bryant intentionally and artfully crafts the exteriors of the characters and uses clothing pieces that are both true to the era and to the personalities of the characters on the show. Every ensemble reflects the feelings, aspirations, and identities of the individuals who bear them. In this paper, I argue that Mad Men specifically utilizes fashion to emphasize its theme of “the other,” using Helen Bishop, Peggy Olson, and Michael Ginsberg as sites of exploration. As a divorced, economically independent mother, a single working woman, and a Jewish copywriter, respectively, each of these characters represents a departure from the status quo of New York in the 60s. Their separation from the cultural norm is highlighted through their personal style, as each of them refuses to abide by the standards of dress in their own particular ways. Their different tastes not only indicate their distance from the other characters, but also express what exactly differentiates them; their clothing choices expose the ways in which the characters defy expectations placed on them, contributing to their characterization within the show. Helen, Peggy, and Michael participate in a society which champions homogeneity, but each of them subtly rebel against the norms through their clothing—causing enough disruption to create real change in the spheres they inhabit. -
Representations of Traumatic Parent-Child Relationships in Mad Men
Rhode Island College Digital Commons @ RIC Honors Projects Overview Honors Projects 4-12-2021 Mad Men, Troubled Mothers, and Scarred Children: Representations of Traumatic Parent-Child Relationships in Mad Men Katarina Dulude Follow this and additional works at: https://digitalcommons.ric.edu/honors_projects Part of the Film and Media Studies Commons Recommended Citation Dulude, Katarina, "Mad Men, Troubled Mothers, and Scarred Children: Representations of Traumatic Parent-Child Relationships in Mad Men" (2021). Honors Projects Overview. 187. https://digitalcommons.ric.edu/honors_projects/187 This Honors is brought to you for free and open access by the Honors Projects at Digital Commons @ RIC. It has been accepted for inclusion in Honors Projects Overview by an authorized administrator of Digital Commons @ RIC. For more information, please contact [email protected]. MAD MEN, TROUBLED MOTHERS, AND SCARRED CHILDREN: REPRESENTATIONS OF TRAUMATIC PARENT-CHILD RELATIONSHIPS IN MAD MEN By Katarina Dulude An Honors Project Submitted in Partial Fulfillment Of the Requirements for Honors In The Department of English Dulude 2 Introduction In the fourth episode of the last season of the critically acclaimed series Mad Men, one of the protagonists, Roger, is forced to track down his daughter Margaret after she abandons her husband and her young child. He finds her in a commune, and he puts on a good show to appear more accepting than her mother, but the following day he insists she return home. She refuses. He tells her, “I know everyone your age is running away and screwing around, but you can’t, you’re a mother,” and when she still refuses, he picks her up and tries to carry her towards a truck as she struggles in his arms and demands he let her go. -
Keynote Address ANA Advertising Law and Public Policy Conference
ANA Advertising Law and Public Policy Conference Keynote Address by FTC Commissioner Julie Brill March 29, 2012 Good afternoon and thank you. We all know what everyone was talking about on Monday morning. We’ve waited over 15 months for the latest installment. We can’t get enough of that inside look at the world of advertising. And when we finally got to see it, it didn’t disappoint: drama, new revelations, and sex. Of course, you know I am talking about the release of the FTC’s final report on privacy – and before you go diving through your copy, I made up the part about “sex”. Oh that the FTC’s privacy report could have drawn the same attention that Mad Men and Don Draper’s return to Sunday nights did! Conversations at the water cooler about privacy by design along with the hums of “Zou Bisou Bisou”. Yet I imagine that a few of you were paying as close attention to the release of our privacy report as you were to the return of Don Draper. The report was a culmination of a multi-year effort aimed at ensuring that we will continue to live in a world where we have a vibrant and innovative Internet, with loads of interesting and free content, and also a world where consumers trust the online and mobile market to protect their information. Our agency has long safeguarded consumers’ right to privacy, what the intellectual father of the FTC, Louis Brandeis, called “the right to be let alone --the most comprehensive of rights and the right most valued by civilized men.” And we are also committed to the thriving Internet marketplace that is one of the keystones to our recovering economy. -
Pontifícia Universidade Católica Mariana Ayres Tavares Mad
Pontifícia Universidade Católica do Rio de Janeiro Mariana Ayres Tavares Mad Men: Uma história cultural da Publicidade Dissertação de Mestrado Dissertação apresentada como requisito parcial para obtenção do grau de Mestre pelo Programa de Pós- graduação em Comunicação Social do Departamento de Comunicação da PUC-Rio. Orientador: Prof. Everardo Pereira Guimarães Rocha Rio de Janeiro, Setembro de 2016 Pontifícia Universidade Católica do Rio de Janeiro Mariana Ayres Tavares Mad Men: Uma história cultural da Publicidade Dissertação de Mestrado Dissertação apresentada como requisito parcial para a obtenção do grau de Mestre pelo Programa de Pós- Graduação em Comunicação Social do Departamento de Comunicação Social do Centro de Ciências Sociais da PUC-Rio. Aprovada pela Comissão Examinadora abaixo assinada. Prof. Everardo Pereira Guimarães Rocha Orientador Departamento de Comunicação Social - PUC-Rio Profa. Lígia Campos de Cerqueira Lana Departamento de Comunicação Social - PUC-Rio Prof. Guilherme Nery Atem Departamento de Ciências Sociais - PUC-Rio Prof.ª Mônica Herz Vice-Decana de Pós-Graduação do CCS Rio de Janeiro, 23 de setembro de 2016 Todos os direitos reservados. É proibida a reprodução total ou parcial do trabalho sem autorização da universidade, da autora e do orientador. Mariana Ayres Tavares Graduou-se em Comunicação Social, com habilitação em Publicidade, na Universidade Federal Fluminense em 2012. Cursou especialização em Pesquisa de Mercado e Opinião Pública na Universidade do Estado do Rio de Janeiro, em 2014. Ficha Catalográfica Tavares, Mariana Ayres Mad Men : uma história cultural da publicida- de / Mariana Ayres Tavares Vasconcelos ; orien- tadora: Everardo Pereira Guimarães Rocha. – 2016. 118 f. : il. color. ; 30 cm Dissertação (mestrado)–Pontifícia Universi- dade Católica do Rio de Janeiro, Departamento de Comunicação Social, 2016. -
Université De Montréal La Série Mad Men: Une Élégie De La Révolution
Université de Montréal La série Mad Men: une élégie de la révolution créative dans les années soixante. Par Felicia Traistaru Département d’histoire Faculté des arts et des sciences Mémoire présenté à la Faculté des études supérieures En vue de l’obtention du grade de Maitre ès art (M.A) en histoire Août 2017 © Felicia Mihali, 2017 Université de Montréal Faculté des études supérieures Ce mémoire intitulé : La série Mad Men et la publicité dans les années soixante : une élégie de la révolution créative. Présenté par Felicia Traistaru A été évalué par un jury composé par les personnes suivantes : Yakov Rabkin Président-rapporteur Bruno Ramirez Directeur de recherche Marta Boni Membre du jury iii RÉSUMÉ Ce mémoire est consacré à l’analyse de la télésérie américaine Mad Men en tant que reflet de la révolution créative aux États-Unis. À travers la fictive agence de publicité Sterling Cooper & Partners et de son charismatique directeur artistique, Don Draper, la série personnifie la culture corporatiste des cols blancs et les nouveaux défis encourus par l’homme de l’organisation dans les années soixante. Basée sur la méthode de l’historicisme, cette analyse historique met en évidence la manière dont Mad Men incarne cette décennie à partir des sources populaires telles que les romans, les films ou les magazines. Ce type de documents sont pris par les créateurs de la série comme l’expression des certaines valeurs et attitudes des années soixante mais aussi bien comme outil pour la critique des idées consacrées. Mad Men nous permet de comprendre la manière dont la révolution des techniques publicitaires se déroule dans le décor d’une société où les grands enjeux restent encore non résolus. -
10-Year Review of Gender and EMMY Nominations
INVESTIGATION: 10-YEAR REVIEW OF GENDER & EMMY NOMINATIONS womensmediacenter.com WOMEN’S MEDIA CENTER ABOUT THE WOMEN’S MEDIA CENTER In 2005, Jane Fonda, Robin Morgan and Gloria Steinem founded the Women’s Media Center (WMC), a progressive, nonpartisan, nonpro!t organization endeavoring to raise the visibility, viability and decision-mak- ing power of women and girls in media and, thereby, ensuring that their stories get told and their voices are heard. To reach those necessary goals, we strategically use an array of intercon- nected channels and platforms to transform not only the media landscape but also a culture in which women’s and girls’ voices, stories, experiences and images are neither suf!ciently ampli!ed nor placed on par with the voices, stories, experiences and images of men and boys. Our strategic tools include monitoring the media; commissioning and conducting research; and undertaking other special initiatives to spot- light gender and racial bias in news coverage, entertainment !lm and television, social media and other key sectors. Our publications include the book “Unspinning the Spin: The Women’s Media Center Guide to Fair and Accurate Language”; The Women’s Media Center’s Media Guide to Gender Neutral Coverage of Women Candidates + Politicians”; “The Women’s Media Center Guide to Covering Reproductive Issues”; and the Women’s Media Center’s annual “The Status of Women in the U.S. Media” report. Our WMC Women Under Siege project investigates sexualized violence. Our original content channels — WMC Features, WMC FBomb, WMC Speech Project and the “Women’s Media Center Live with Robin Morgan” radio program — provide women’s perspectives on both headline stories and timely events that are ignored, not wholly captured or misrepresented in the mainstream media. -
Official 64 T H Primetime Emmys ® Ballot
64TH PRIMETIME EMMY®AWARDS LIVE! SUNDAY SEPT 23 7e|4p EMMYS.COM ATAS/NATAS ® © OFFICIAL 64 TH PRIMETIME EMMYS® BALLOT COMEDY OUTSTANDING SUPPORTING ACTRESS OUTSTANDING SUPPORTING ACTOR q Mayim Bialik as Amy Farrah Fowler The Big Bang Theory q Ed O’Neill as Jay Pritchett Modern Family q Kathryn Joosten as Karen McCluskey Desperate Housewives q Jesse Tyler Ferguson as Mitchell Pritchett Modern Family q Julie Bowen as Claire Dunphy Modern Family q Ty Burrell as Phil Dunphy Modern Family q Sofia Vergara as Gloria Delgado-Pritchett Modern Family q Eric Stonestreet as Cameron Tucker Modern Family q Merritt Wever as Zoey Barkow Nurse Jackie q Max Greenfield as Schmidt New Girl q Kristen Wiig as various characters Saturday Night Live q Bill Hader as various characters Saturday Night Live OUTSTANDING DIRECTING OUTSTANDING WRITING q Robert B. Weide Curb Your Enthusiasm (Palestinian Chicken) q Chris McKenna Community (Remedial Chaos Theory) q Lena Dunham Girls (She Did) q Lena Dunham Girls (Pilot) q Louis C.K. Louie (Duckling) q Louis C.K. Louie (Pregnant) q Jason Winer Modern Family (Virgin Territory) q Amy Poehler Parks And Recreation (The Debate) q Steven Levitan Modern Family (Baby On Board) q Michael Schur Parks And Recreation (Win, Lose, Or Draw) q Jake Kasdan New Girl (Pilot) 1 OFFICIAL 64 TH PRIMETIME EMMYS® BALLOT OUTSTANDING LEAD ACTOR q Top Chef • Bravo q Jim Parsons as Sheldon Cooper The Big Bang Theory q The Voice • NBC q Larry David as Himself Curb Your Enthusiasm OUTSTANDING HOST FOR A REALITY OR REALITY-COMPETITION PROGRAM q Don Cheadle as Marty Kaan House of Lies q Phil Keoghan The Amazing Race q Louis C.K. -
Convert Finding Aid To
An Inventory of the Collection at the Harry Ransom Center Descriptive Summary Creator: Weiner, Matthew, 1965- Title: Mad Men Collection Dates: 1912-2016 (bulk 1957-2014) Extent: 189 document boxes, 4 serial boxes, 31 oversize boxes (osb) (79.38 linear feet), 9 oversize folders (osf), 1 bound volume (bv), 99 computer disks Abstract: The Mad Men Collection documents the work of Mad Men creator Matthew Weiner and his writing and production team behind the scenes of the acclaimed television drama. Scripts, production materials, and publicity materials date from 2001 to 2016, while clippings, magazines, and other materials collected for research primarily date from the late 1950s to the early 1970s. Also present in the collection are four boxes of scripts and production materials from Weiner’s 2013 feature film Are You Here. Call Number: Film Collection FI-05249 Language: English, with publicity materials in French, German, Italian, Japanese, Spanish, and Swedish Access: Open for research. Researchers must create an online Research Account and agree to the Materials Use Policy before using archival materials. To request access to electronic files, please email Reference. Documents containing personal information are restricted due to privacy concerns during the lifetime of individuals mentioned in the documents; in many instances, these documents have been replaced with redacted photocopies. Use Policies: Ransom Center collections may contain material with sensitive or confidential information that is protected under federal or state right