Leading Minds Gather in Erie
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Political Entertainment Media and the Elaboration Likelihood Model
Political Entertainment Media and the Elaboration Likelihood Model: A Focus on the Roles of Motivation and Ability Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Heather Lyn LaMarre, MPA, MA Graduate Program in Communication The Ohio State University 2009 Dissertation Committee: R. Lance Holbert, Advisor David Ewoldsen Silvia Knobloch-Westerwick Michael McCluskey Copyright by Heather Lyn LaMarre 2009 Abstract This dissertation extends the Elaboration Likelihood Model (ELM) to the study of political communication. In particular, the project focuses on the role of ability and motivation, relative to contact with a variety of political entertainment media messages, on cognitive elaborations. Two studies were conducted to examine these political entertainment processes and effects. The first study was a 2 (ability: low, high) x 2 (media stimuli: The Daily Show, Anderson Cooper 360o) between-subjects design that examined individual-level cognitive elaboration and attitudes about the AIG executive bonus scandal involving government bailout funds. The second study was a 2 (motivation: high, low) x 2 (media stimuli: Sicko, Sicko and An American Carol) between-subjects design that examined individual-level cognitive elaboration and attitudes concerning nationalized healthcare. Results replicated traditional ELM findings. Ability and motivation had direct effects on individual-level elaboration. The main effects of ability and motivation were also found for issue-relevant and positively valenced thoughts. Message directly influenced individual-level elaborations, including total and issue-relevant thoughts. Additionally, interactions between message and ability were found for source credibility, counter-arguments, and media engagement. -
Written and Directed by Madeleine Olnek
Written and Directed by Madeleine Olnek Starring Molly Shannon, Amy Seimetz, Susan Ziegler, Brett Gelman, Jackie Monahan, Kevin Seal, Dana Melanie, Sasha Frolova, Lisa Haas, Al Sutton World Premiere 2018 SXSW Film Festival (Narrative Spotlight) Acquisition Title / Cinetic 84 minutes / Color / English / USA PUBLICITY CONTACT SALES CONTACT Mary Ann Curto John Sloss / Cinetic Media [email protected] [email protected] [email protected] FOR MORE INFORMATION ABOUT THE FILM PRESS MATERIALS CONTACT and FILM CONTACT: Email: [email protected] DOWNLOAD FILM STILLS ON DROPBOX/GOOGLE DRIVE: For hi-res press stills, contact [email protected] and you will be added to the Dropbox/Google folder. Put “Wild Nights with Emily Still Request” in the subject line. The OFFICIAL WEBSITE: http://wildnightswithemily.com/ For news and updates, click 'LIKE' on our FACEBOOK page: https://www.facebook.com/wildnightswithemily/ "Hilarious...an undeniably compelling romance. " —INDIEWIRE "As entertaining and thought-provoking as Dickinson’s poetry.” —THE AUSTIN CHRONICLE SYNOPSIS THE STORY SHORT SUMMARY Molly Shannon plays Emily Dickinson in " Wild Nights With Emily," a dramatic comedy. The film explores her vivacious, irreverent side that was covered up for years — most notably Emily’s lifelong romantic relationship with another woman. LONG SUMMARY Molly Shannon plays Emily Dickinson in the dramatic comedy " Wild Nights with Emily." The poet’s persona, popularized since her death, became that of a reclusive spinster – a delicate wallflower, too sensitive for this world. This film explores her vivacious, irreverent side that was covered up for years — most notably Emily’s lifelong romantic relationship with another woman (Susan Ziegler). After Emily died, a rivalry emerged when her brother's mistress (Amy Seimetz) along with editor T.W. -
Cast Biographies RILEY KEOUGH (Christine Reade) PAUL SPARKS
Cast Biographies RILEY KEOUGH (Christine Reade) Riley Keough, 26, is one of Hollywood’s rising stars. At the age of 12, she appeared in her first campaign for Tommy Hilfiger and at the age of 15 she ignited a media firestorm when she walked the runway for Christian Dior. From a young age, Riley wanted to explore her talents within the film industry, and by the age of 19 she dedicated herself to developing her acting craft for the camera. In 2010, she made her big-screen debut as Marie Currie in The Runaways starring opposite Kristen Stewart and Dakota Fanning. People took notice; shortly thereafter, she starred alongside Orlando Bloom in The Good Doctor, directed by Lance Daly. Riley’s memorable work in the film, which premiered at the Tribeca film festival in 2010, earned her a nomination for Best Supporting Actress at the Milan International Film Festival in 2012. Riley’s talents landed her a title-lead as Jack in Bradley Rust Gray’s werewolf flick Jack and Diane. She also appeared alongside Channing Tatum and Matthew McConaughey in Magic Mike, directed by Steven Soderbergh, which grossed nearly $167 million worldwide. Further in 2011, she completed work on director Nick Cassavetes’ film Yellow, starring alongside Sienna Miller, Melanie Griffith and Ray Liota, as well as the Xan Cassavetes film Kiss of the Damned. As her camera talent evolves alongside her creative growth, so do the roles she is meant to play. Recently, she was the lead in the highly-anticipated fourth installment of director George Miller’s cult- classic Mad Max - Mad Max: Fury Road alongside a distinguished cast comprising of Tom Hardy, Charlize Theron, Zoe Kravitz and Nick Hoult. -
Executive Producer)
PRODUCTION BIOGRAPHIES STEVEN SODERBERGH (Executive Producer) Steven Soderbergh has produced or executive-produced a wide range of projects, most recently Gregory Jacobs' Magic Mike XXL, as well as his own series "The Knick" on Cinemax, and the current Amazon Studios series "Red Oaks." Previously, he produced or executive-produced Jacobs' films Wind Chill and Criminal; Laura Poitras' Citizenfour; Marina Zenovich's Roman Polanski: Odd Man Out, Roman Polanski: Wanted and Desired, and Who Is Bernard Tapie?; Lynne Ramsay's We Need to Talk About Kevin; the HBO documentary His Way, directed by Douglas McGrath; Lodge Kerrigan's Rebecca H. (Return to the Dogs) and Keane; Brian Koppelman and David Levien's Solitary Man; Todd Haynes' I'm Not There and Far From Heaven; Tony Gilroy's Michael Clayton; George Clooney's Good Night and Good Luck and Confessions of a Dangerous Mind; Scott Z. Burns' Pu-239; Richard Linklater's A Scanner Darkly; Rob Reiner's Rumor Has It...; Stephen Gaghan'sSyriana; John Maybury's The Jacket; Christopher Nolan's Insomnia; Godfrey Reggio's Naqoyqatsi; Anthony and Joseph Russo's Welcome to Collinwood; Gary Ross' Pleasantville; and Greg Mottola's The Daytrippers. LODGE KERRIGAN (Co-Creator, Executive Producer, Writer, Director) Co-Creators and Executive Producers Lodge Kerrigan and Amy Seimetz wrote and directed all 13 episodes of “The Girlfriend Experience.” Prior to “The Girlfriend Experience,” Kerrigan wrote and directed the features Rebecca H. (Return to the Dogs), Keane, Claire Dolan and Clean, Shaven. His directorial credits also include episodes of “The Killing” (AMC / Netflix), “The Americans” (FX), “Bates Motel” (A&E) and “Homeland” (Showtime). -
President Richard Nixon's Daily Diary, May 16-31, 1973
RICHARD NIXON PRESIDENTIAL LIBRARY DOCUMENT WITHDRAWAL RECORD DOCUMENT DOCUMENT SUBJECT/TITLE OR CORRESPONDENTS DATE RESTRICTION NUMBER TYPE 1 Manifest Air Force One – Appendix “B” 5/19/1973 A 2 Manifest Air Force One – Appendix “D” 5/25/1973 A 3 Log Key Biscayne, Florida – 6:40 p.m. – p 2 5/26/1973 A of 2 Sanitized 6/2000 OPENED 06/2013 4 Manifest Air Force One – Appendix “B” 5/28/1973 A 5 Manifest Air Force One – Appendix “B” 5/30/1973 A 6 Manifest Helicopter Passenger Manifest – 5/19/1973 A Appendix “A” 7 Manifest Helicopter Passenger Manifest – 5/20/1973 A Appendix “A” COLLECTION TITLE BOX NUMBER WHCF: SMOF: Office of Presidential Papers and Archives RC-12 FOLDER TITLE President Richard Nixon’s Daily Diary May 16, 1973 – May 31, 1973 PRMPA RESTRICTION CODES: A. Release would violate a Federal statute or Agency Policy. E. Release would disclose trade secrets or confidential commercial or B. National security classified information. financial information. C. Pending or approved claim that release would violate an individual’s F. Release would disclose investigatory information compiled for law rights. enforcement purposes. D. Release would constitute a clearly unwarranted invasion of privacy G. Withdrawn and return private and personal material. or a libel of a living person. H. Withdrawn and returned non-historical material. DEED OF GIFT RESTRICTION CODES: D-DOG Personal privacy under deed of gift -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- -
Somebody up There Likes Me
TRIBECA FILM in partnership with AMERICAN EXPRESS presents a FALIRO HOUSE and M-13 PICTURES presentation a BOB BYINGTON film SOMEBODY UP THERE LIKES ME Run Time: 75 Minutes Rating: Not Rated Available On Demand: March 12, 2013 Select Theatrical release March 8 Chicago Music Box March 15 Los Angeles Cinefamily March 22 San Francisco Roxie Theater March 29 Denver Denver Film March 29 Brooklyn BAM April 5 Austin Violet Crown Distributor: Tribeca Film 375 Greenwich Street New York, NY 10011 Jennifer Holiner ID-PR 212-941-2038 [email protected] [email protected] [email protected] Starring Keith Poulson as Max Nick Offerman as Sal Jess Weixler as Lyla Stephanie Hunt as Clarissa Marshall Bell as Lyla's Dad Jonathan Togo as Adult Lyle Kate Lyn Sheil as Ex-Wife Ted Beck as Steakhouse Patron and Homeless Man Anna Margaret Hollyman as Paula Chris Doubek as Businessman Bob Schneider as Wedding Singer Alex Ross Perry as First Customer Gabriel Keller as Lyle Age 5 Ian Graffunder as Lyle Age 10 Jake Lewis as Lyle Age 15 with Kevin Corrigan as Memorial Man and Megan Mullally as Therapist SYNOPSIS Bob Byington’s smart, subversive comedy skips through 35 years in the life of Max Youngman (Keith Poulson), his best (and only) friend Sal (Nick Offerman, “Parks and Recreation”), and the woman they both adore (Jess Weixler, Teeth). As they stumble in and out of hilariously misguided relationships — strung together with animated vignettes by Bob Sabiston (A Scanner Darkly) and an original score by Vampire Weekend’s Chris Baio — Max never ages, holding on to a mysterious briefcase that may or may not contain the secret to life. -
PDF) ISBN 978-0-9931996-4-6 (Epub)
POST-CINEMA: THEORIZING 21ST-CENTURY FILM, edited by Shane Denson and Julia Leyda, is published online and in e-book formats by REFRAME Books (a REFRAME imprint): http://reframe.sussex.ac.uk/post- cinema. ISBN 978-0-9931996-2-2 (online) ISBN 978-0-9931996-3-9 (PDF) ISBN 978-0-9931996-4-6 (ePUB) Copyright chapters © 2016 Individual Authors and/or Original Publishers. Copyright collection © 2016 The Editors. Copyright e-formats, layouts & graphic design © 2016 REFRAME Books. The book is shared under a Creative Commons license: Attribution / Noncommercial / No Derivatives, International 4.0 (http://creativecommons.org/licenses/by-nc-nd/4.0/). Suggested citation: Shane Denson & Julia Leyda (eds), Post-Cinema: Theorizing 21st-Century Film (Falmer: REFRAME Books, 2016). REFRAME Books Credits: Managing Editor, editorial work and online book design/production: Catherine Grant Book cover, book design, website header and publicity banner design: Tanya Kant (based on original artwork by Karin and Shane Denson) CONTACT: [email protected] REFRAME is an open access academic digital platform for the online practice, publication and curation of internationally produced research and scholarship. It is supported by the School of Media, Film and Music, University of Sussex, UK. Table of Contents Acknowledgements.......................................................................................vi Notes On Contributors.................................................................................xi Artwork…....................................................................................................xxii -
The 2020 Election 2 Contents
Covering the Coverage The 2020 Election 2 Contents 4 Foreword 29 Us versus him Kyle Pope Betsy Morais and Alexandria Neason 5 Why did Matt Drudge turn on August 10, 2020 Donald Trump? Bob Norman 37 The campaign begins (again) January 29, 2020 Kyle Pope August 12, 2020 8 One America News was desperate for Trump’s approval. 39 When the pundits paused Here’s how it got it. Simon van Zuylen–Wood Andrew McCormick Summer 2020 May 27, 2020 47 Tuned out 13 The story has gotten away from Adam Piore us Summer 2020 Betsy Morais and Alexandria Neason 57 ‘This is a moment for June 3, 2020 imagination’ Mychal Denzel Smith, Josie Duffy 22 For Facebook, a boycott and a Rice, and Alex Vitale long, drawn-out reckoning Summer 2020 Emily Bell July 9, 2020 61 How to deal with friends who have become obsessed with 24 As election looms, a network conspiracy theories of mysterious ‘pink slime’ local Mathew Ingram news outlets nearly triples in size August 25, 2020 Priyanjana Bengani August 4, 2020 64 The only question in news is ‘Will it rate?’ Ariana Pekary September 2, 2020 3 66 Last night was the logical end 92 The Doociness of America point of debates in America Mark Oppenheimer Jon Allsop October 29, 2020 September 30, 2020 98 How careful local reporting 68 How the media has abetted the undermined Trump’s claims of Republican assault on mail-in voter fraud voting Ian W. Karbal Yochai Benkler November 3, 2020 October 2, 2020 101 Retire the election needles 75 Catching on to Q Gabriel Snyder Sam Thielman November 4, 2020 October 9, 2020 102 What the polls show, and the 78 We won’t know what will happen press missed, again on November 3 until November 3 Kyle Pope Kyle Paoletta November 4, 2020 October 15, 2020 104 How conservative media 80 E. -
February 2014 Sunday Morning Talk Show Data
February 2014 Sunday Morning Talk Show Data February 2, 2014 29 men and 6 women NBC's Meet the Press with David Gregory: 8 men and 2 women Denis McDonough (M) Sen. Tim Scott (M) Julian Assange (M) Rich Lowry (M) Robert Gibbs (M) Gwen Ifill (F) Doris Kearns Goodwin (F) Chuck Todd (M) Alan Schwartz (M) Tony Dungy (M) CBS's Face the Nation with Bob Schieffer: 6 men and 1 woman Rep. Eric Cantor (M) Denis McDonough (M) Fmr. Mayor Rudy Giuliani (M) David Gergen (M) Michael Gerson (M) Bob Shrum (M) Kimberly Strassell (F) ABC's This Week with George Stephanopoulos: 4 men and 2 women Rep. Paul Ryan (M) Donna Brazile (F) Matthew Dowd (M) Bill Kristol (M) Paul Krugman (M) Ana Navarro (F) CNN's State of the Union with Candy Crowley: 3 men and 1 woman Gov. Bobby Jindal (M) Anita Dunn (F) Ron Brownstein (M) Fmr. Rep. Artur Davis (M) Fox News' Fox News Sunday with Chris Wallace: 8 men and 0 women Roger Goodell (M) John Elway (M) Archie Manning (M) Terry Bradshaw (M) Howie Long (M) Jimmy Johnson (M) Michael Strahan (M) Troy Aikman (M) February 9, 2014 27 men and 13 women NBC's Meet the Press with David Gregory: 7 men and 3 women U.S. Ambassador to Russia Michael McFaul (M) Sen. Chuck Schumer (M) Sen. Rob Portman (M) Jonathan Allen (M) Amie Parnes (F) Andrea Mitchell (F) David Brooks (M) E.J. Dionne (M) Mona Sutphen (F) Mike Needham (M) CBS's Face the Nation with Bob Schieffer: 5 men and 3 women Rep. -
Between Film and Television. an Interview with Lodge Kerrigan
INTERVIEW · Cinema Comparat/ive Cinema · Vol. III · no. 7 · 2015 · 28-34 Between film and television. An interview with Lodge Kerrigan Gerard Casau and Manuel Garin After directing key films of contemporary independent cinema, episode). But usually it’s the director who changes; they bring like Clean, Shaven (1993), Claire Dolan (1998) and Keane in a guest director. There are a number of theories regarding (2004), Lodge Kerrigan has directed a number of television why that’s the case, but usually what happens in the traditional episodes for shows such as The Killing (Veena Sud, AMC- financing model is that the network will approve or order a Netflix, 2011-2014), Homeland (Howard Gordon and Alex pilot, and then a pilot is made, they bring in the director to do Gansa, Showtime, 2011-) or The Americans (Joe Weisberg, FX, the pilot. Later the network will approve it or not, and then they 2013-). A month before the release of his latest project, The have to go and write scripts, generate scripts, and in this time Girlfriend Experience (Lodge Kerrigan and Amy Seimetz, Starz, the directors has already left, moved on, they have no continuity 2016), an eleven-episode television series produced by Steven of vision from the director. And I think now what’s beginning Soderbergh, we talked with him about the differences between to change, and what Soderbergh did on The Knick(Jack Amiel working for film and working for television, both in terms of and Michael Begler, Cinemax, 2014-), and the first season of narrative and mise-en-scène. -
By Barrie Dunsmor E PRESS POLITICS PUBLIC POLICY
THE NEXT WAR: LIVE? by Barrie Dunsmor e The Joan Shorenstein Center PRESS POLITICS Discussion Paper D-22 March 1996 PUBLIC POLICY Harvard University John F. Kennedy School of Government Barrie Dunsmore 35 INTRODUCTION “Live” coverage is no longer a technological recognition that their effort, while sincere and marvel, though networks still rush to superim- determined, may fail. And so they “negotiate.” pose the word “live” over their coverage of a They say they respect each other’s needs. They Presidential news conference, a Congressional are sensitive to the awesome power of public hearing or the latest installment of the O.J. opinion in the age of television, faxes, cellular Simpson saga. Indeed, “live” coverage has been phones and other such miracles of communica- an option, though at the beginning an awkward tion. They are aware that any agreement and costly one, since the political conventions of reached in an atmosphere of peace may quickly 1948 and 1952. Over the years, as cameras have collapse in the pressures of war. become smaller, satellites more sophisticated, Neither side has to be reminded that the and the world more “digitalized,” costs have precedent for “live” coverage of war has been set. dropped dramatically, and many news events are Twice already, during the Persian Gulf War of now covered “live” routinely—except for the 1990-91, network correspondents reported “live” coverage of war. Yet, even here, too, it seems to from the Kuwaiti front—Forrest Sawyer for ABC be only a matter of time before anchors intro- News and Bob McKeowan for CBS News. -
Directed by Gary Mairs Written by James Benning Starring Amy Seimetz
All That She Surveys Directed by Gary Mairs Written by James Benning Starring Amy Seimetz OFFICIAL SELECTION, COURTISANE FESTIVAL (GHENT, BELGIUM) 2012 OFFICIAL SELECTION, LUME INTERNATIONAL FILM FESTIVAL (SÃO LUÍS DO MARANHÃO, BRAZIL) 2012 OFFICIAL SELECTION, DOWNTOWN FILM FESTIVAL LOS ANGELES 2012 OFFICIAL SELECTION, ZINEBI 54 - INTERNATIONAL FESTIVAL OF DOCUMENTARY AND SHORT FILM BILBAO NOVEMBER 2012 Screened in LIGHT AND SOUND MACHINE series, THIRD MAN RECORDS, NASHVILLE, TENNESSEE MAY 2013 SYNOPSIS All That She Surveys is about a woman who likes to watch. It is the third film in a series of five interconnected shorts, all directed by Gary Mairs and starring Amy Seimetz or David Nordstrom and written by different screenwriters. Each film is stylistically unique and when screened together, they form a feature length narrative. The first is Say It (2008), written by Theron Patterson (Dark Cloud, 2010 Toronto International Film Festival) and the second is The Hemingway Night (2009), written by Tom Block. Production begins on the fourth film in June 2012. The Hemingway Night premiered at the 2009 Palm Springs International Shortsfest. All That She Surveys premiered at the 2012 International Film Festival Rotterdam. DIRECTOR’S STATEMENT When I say that I’m not at all sure what All That She Surveys means, I’m not being disingenuous: the film remains fundamentally mysterious to me. When James Benning approached me with the idea for the film, he related it as a series of five short episodes in a young woman’s day. There was less a sense of a story being told than of fragments of time, some events with no overarching psychological significance, an attempt to show the experience of looking and listening.