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MUSIC NOTES: Exploring Music Listening Data As a Visual Representation of Self
MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall A thesis submitted in partial fulfillment of the requirements for the degree of: Master of Design University of Washington 2016 Committee: Kristine Matthews Karen Cheng Linda Norlen Program Authorized to Offer Degree: Art ©Copyright 2016 Chad Philip Hall University of Washington Abstract MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall Co-Chairs of the Supervisory Committee: Kristine Matthews, Associate Professor + Chair Division of Design, Visual Communication Design School of Art + Art History + Design Karen Cheng, Professor Division of Design, Visual Communication Design School of Art + Art History + Design Shelves of vinyl records and cassette tapes spark thoughts and mem ories at a quick glance. In the shift to digital formats, we lost physical artifacts but gained data as a rich, but often hidden artifact of our music listening. This project tracked and visualized the music listening habits of eight people over 30 days to explore how this data can serve as a visual representation of self and present new opportunities for reflection. 1 exploring music listening data as MUSIC NOTES a visual representation of self CHAD PHILIP HALL 2 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF: master of design university of washington 2016 COMMITTEE: kristine matthews karen cheng linda norlen PROGRAM AUTHORIZED TO OFFER DEGREE: school of art + art history + design, division -
GIORGIO MORODER Album Announcement Press Release April
GIORGIO MORODER TO RELEASE BRAND NEW STUDIO ALBUM DÉJÀ VU JUNE 16TH ON RCA RECORDS ! TITLE TRACK “DÉJÀ VU FEAT. SIA” AVAILABLE TODAY, APRIL 17 CLICK HERE TO LISTEN TO “DÉJÀ VU FEATURING SIA” DÉJÀ VU ALBUM PRE-ORDER NOW LIVE (New York- April 17, 2015) Giorgio Moroder, the founder of disco and electronic music trailblazer, will be releasing his first solo album in over 30 years entitled DÉJÀ VU on June 16th on RCA Records. The title track “Déjà vu featuring Sia” is available everywhere today. Click here to listen now! Fans who pre-order the album will receive “Déjà vu feat. Sia” instantly, as well as previously released singles “74 is the New 24” and “Right Here, Right Now featuring Kylie Minogue” instantly. (Click hyperlinks to listen/ watch videos). Album preorder available now at iTunes and Amazon. Giorgio’s long-awaited album DÉJÀ VU features a superstar line up of collaborators including Britney Spears, Sia, Charli XCX, Kylie Minogue, Mikky Ekko, Foxes, Kelis, Marlene, and Matthew Koma. Find below a complete album track listing. Comments Giorgio Moroder: "So excited to release my first album in 30 years; it took quite some time. Who would have known adding the ‘click’ to the 24 track would spawn a musical revolution and inspire generations. As I sit back readily approaching my 75th birthday, I wouldn’t change it for the world. I'm incredibly happy that I got to work with so many great and talented artists on this new record. This is dance music, it’s disco, it’s electronic, it’s here for you. -
INTRODUCTION Fatal Attraction and Scarface
1 introduction Fatal Attraction and Scarface How We Think about Movies People respond to movies in different ways, and there are many reasons for this. We have all stood in the lobby of a theater and heard conflicting opin- ions from people who have just seen the same film. Some loved it, some were annoyed by it, some found it just OK. Perhaps we’ve thought, “Well, what do they know? Maybe they just didn’t get it.” So we go to the reviewers whose business it is to “get it.” But often they do not agree. One reviewer will love it, the next will tell us to save our money. What thrills one person may bore or even offend another. Disagreements and controversies, however, can reveal a great deal about the assumptions underlying these varying responses. If we explore these assumptions, we can ask questions about how sound they are. Questioning our assumptions and those of others is a good way to start think- ing about movies. We will soon see that there are many productive ways of thinking about movies and many approaches that we can use to analyze them. In Dragon: The Bruce Lee Story (1992), the actor playing Bruce Lee sits in an American movie theater (figure 1.1) and watches a scene from Breakfast at Tiffany’s (1961) in which Audrey Hepburn’s glamorous character awakens her upstairs neighbor, Mr Yunioshi. Half awake, he jumps up, bangs his head on a low-hanging, “Oriental”-style lamp, and stumbles around his apart- ment crashing into things. -
Getting Off and Getting Intimate
Articles Men and Masculinities Volume 12 Number 5 August 2010 523-546 # 2010 SAGE Publications 10.1177/1097184X09331750 Getting Off and Getting http://jmm.sagepub.com hosted at Intimate http://online.sagepub.com How Normative Institutional Arrangements Structure Black and White Fraternity Men’s Approaches Toward Women Rashawn Ray Jason A. Rosow Indiana University Social scientists implicate high-status men as sexually objectifying women. Yet, few have investigated these men’s perceptions and accounts of their own experiences. Racial variation in gender relations in college has also received little scholarly atten- tion. Analyzing 30 in-depth, individual interviews and surveys and two focus group interviews from Black and White men at a large university, we find racial differences in approaches toward women. More specifically, Black men exhibit more romantic approaches, whereas White men exhibit more sexual approaches. However, these dif- ferences are not solely related to race. Instead, ‘‘normative institutional arrangements’’ (e.g., community size and living arrangements) structure these approaches. We discuss the broader theoretical mechanisms regarding masculine performances, gender atti- tudes and behaviors, and race. In doing so, this study highlights the importance of ‘‘normative institutional arrangements’’ for understanding how the performances of masculinities are legitimized across racial- and status-group categories of men. Keywords: hegemonic masculinity; sexuality; gender inequality; race; status; normative institutional arrangements; -
Die “Liebenswerte” Hauptfigur Im Amerikanischen Animationsfilm Das Copyright Liegt Beim Autor Und Der Hochschule Für Film Und Fernsehen
Die “liebenswerte” Hauptfigur im amerikanischen Animationsfilm Das Copyright liegt beim Autor und der Hochschule für Film und Fernsehen. Der Leser ist berechtigt, persönliche Kopien für wissenschaftliche oder nichtkommerzielle Zwecke zu erstellen. Jede weiterge- hende Nutzung bedarf der ausdrücklichen vorherigen schriftlichen Genehmigung des Autors und der HFF. Betreuerin: Prof. Kerstin Stutterheim weiterer Gutachter: Prof. Gil Alkabetz Stephan Sacher Hochschule für Film und Studiengang Animation Fernsehen „Konrad Wolf“ Matrikel Nummer 4148 2009 Annotation Diese Arbeit befasst sich mit der Hauptfigur im amerikanischen Animationsfilm. Dabei wird ihre Entwicklung durch nun knapp einhundert Jahre Animationsgeschichte beleuchtet. Ich versuche aufzuzeigen, welche konservativen und restaurativen Strömungen in der Filmgeschichte dazu geführt haben, dass wir heute im amerikanischen Animationsfilm einen, in seiner Morphologie, uniformen Typ Figur sehen. Als Filmbeispiele dienen ‘Pinocchio’, ‘Heavy Traffic’ und ‘Herkules’. Diese Filme werden unter anderem mit dem Modell der ‘Heldenreise’ von Joseph Campbell untersucht. Inhalt Vorwort 4 Einleitung 4 Erwartungen des Zuschauers im Amerikanischen Verständnis 5 I Vom Heros in tausend Gestalten zur Odyssee des Drehbuchschreibers 6 Der Heros in Tausend Gestalten 6 Die Odyssee des Drehbuchschreibers 9 Die Archetypen nach Vogler 11 Der Held nach Vogler 11 II Klassisches Hollywood-Kino 13 Die Hauptfigur im klassischen Hollywood-Kino 14 Beschreibung des Charakters 15 Innerer und äußerer Konflikt 15 Charakterbogen -
Giorgio Moroder Legendary Godfather of Electronica Announces Australian and New Zealand Headline Shows
GIORGIO MORODER LEGENDARY GODFATHER OF ELECTRONICA ANNOUNCES AUSTRALIAN AND NEW ZEALAND HEADLINE SHOWS Frontier Touring is delighted to confirm that iconic production pioneer Giorgio Moroder has announced three headline shows this month in Melbourne, Sydney and Auckland alongside his appearances as special guest for Kylie’s upcoming Kiss Me Once Australian tour. An Academy Awardwinning composer, superstar DJ, worldrecognized songwriter and prolific producer, Giorgio Moroder is one of the most influential and innovative artists of the 20th and 21st centuries. Having engineered the disco landscape of the seventies, Moroder brought electronic music to the mainstream with frequent collaborator Donna Summer and their anthemic hits ‘Love To Love You Baby’, ‘Hot Stuff’ and ‘I Feel Love’. As well as his title as godfather of dance, Moroder has composed some of the most recognizable film scores in cinema history, including The Never Ending Story, American Gigolo, Cat People, Superman III, Scarface, Rambo III, and Beverly Hills Cop II as well as hit soundtrack singles ‘Take My Breath Away’ by Berlin (Top Gun), ‘Flashdance’ by Irene Cara and ‘Call Me’ by Blondie (American Gigolo). His work for film has seen him win no less than three Academy Awards that sit proudly alongside his four Golden Globes, four Grammys and in 2004 was an inductee into the Dance Music Hall of Fame for his outstanding contribution to the music industry. As well as his own esteemed work as a solo artist Moroder has worked with a veritable who’s who of icons including Elton John, Cher, Janet Jackson, Freddy Mercury, David Bowie, Chaka Khan, Cheap Trick, and Pat Benatar. -
Download Ebook \ Articles on Songs Written by Pete Bellotte, Including: I
[PDF] Articles On Songs Written By Pete Bellotte, including: I Feel Love, Scarface (push It To... Articles On Songs Written By Pete Bellotte, including: I Feel Love, Scarface (push It To The Limit), Hot Stuff (donna Summer Song), Push It (rick Ross Song), Son Of My Father, Naughty Girl Book Review Completely essential go through pdf. It really is simplistic but excitement within the fifty percent in the ebook. Your lifestyle period will be change when you full reading this pdf. (Shaun Bernier II) A RTICLES ON SONGS W RITTEN BY PETE BELLOTTE, INCLUDING: I FEEL LOV E, SCA RFA CE (PUSH IT TO THE LIMIT), HOT STUFF (DONNA SUMMER SONG), PUSH IT (RICK ROSS SONG), SON OF MY FA THER, NA UGHTY GIRL - To download A rticles On Song s W ritten By Pete Bellotte, including : I Feel Love, Scarface (push It To The Limit), Hot Stuff (donna Summer Song ), Push It (rick Ross Song ), Son Of My Father, Naug hty Girl PDF, please follow the web link listed below and save the file or gain access to additional information which might be highly relevant to Articles On Songs Written By Pete Bellotte, including: I Feel Love, Scarface (push It To The Limit), Hot Stuff (donna Summer Song), Push It (rick Ross Song), Son Of My Father, Naughty Girl ebook. » Download A rticles On Song s W ritten By Pete Bellotte, including : I Feel Love, Scarface (push It To The Limit), Hot Stuff (donna Summer Song ), Push It (rick Ross Song ), Son Of My Father, Naug hty Girl PDF « Our online web service was introduced with a hope to work as a full on-line digital library that provides usage of many PDF file publication collection. -
The Modoc Indian War
THE MODOC INDIAN WAR by Kenneth L. Torgerson A Thesis Presented to the Department of History and the Graduate Division of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Science JUNE 1954 APPROVED: ~esis (For the CollDDittee) ~ c~.J~\ ' "' bo ~ ~ '--...:.., "'\Q ~'- ~~ \ ') ! ! l: Table of Contents Prologue Chapter I. The Causes . ............................................. 1 II. Prelude to Disaster • •••••••••••••••••• 0 ••••••••••••••••• 24 III. The Fighting ............................................ 31 IV. The Assassination • •••• 0 ••••••••••••••••••••••••••••••••• 39 V. Capture ..••••.•.•••..........•.••••..•.•.....••••...•••. 55 VI. The Trial • •••••••••••••••••• 0 ••••••••••••••••••••••••••• 67 VII. Aftermath and Conclusions ............................... 80 Epilogue Bibliography List of Illustrations: I. Map of the Lava Beds Region ••••••••••••••••••••••••••••• 1 II. Reconaissance of the Lava Beds • ••••••••••••••••••••• 0 ••• 32 III. " ft ft " " .......................... 33 IV. Photo of the Lava Beds • ••••••••••••••• 0 • ' ••••••••••••••• 34 ft II II V. " " • •••••••••••••••••••••••• 0 •••••••• 35 VI. " II II If II .................................. 38 II II ft ft It VII. •••••••••••••o•••••••••••••••••••• 46 II ft VIII. " " " • ••••••••••••••••••••••••••••••• 0 • 55 ft IX. " " " " ................................ ., . 56 ti x. " " " " .. .. • • • • • 0 •••••••• •• 0 •••• 63 l -- PROLOGUE Mark Twain's "Gilded Age" was a fabulous era. The "Gospel of Wealth" oreated economic -
American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE -
Composer, Performer, and Producer
THE UNT COLLEGE OF MUSIC DIVISION OF COMPOSITION STUDIES Presents: ArthurComposer, performer, Barrow and producer North Texas alumnus and bassist for Frank Zappa Born in San Antonio, Texas in 1952, Arthur Barrow played electric guitar throughout junior and senior high school and later studied classical organ. Beginning in 1971, he studied composition and organ at North Texas, where he worked with Merrill Ellis and spent many hours learning about analog synthesis on the Moog synthesizer at the Electronic Music Center. While at North Texas, he began to play electric bass, which would later prove to have a profound impact on his professional career. Upon graduation in 1975, Barrow moved to Los Angeles to become a freelance musician, working with such artists as The Doors (The album American Prayer), Don Preston, and Bruce Fowler (their band Loose Connection), before auditioning for Frank Zappa in the summer of 1978. He was a member of Zappa's band from 1978 through 1980, playing bass, guitar, and keyboards and running band rehearsals (the "clonemiester chair) on about a dozen albums and four tours. Upon leaving the band, Barrow collaborated and toured with Robby Krieger (of the Doors) and began working with Giorgio Moroder on a series of albums and film sound tracks, including "Scarface" and "Topgun." He has worked as keyboardist, programmer, bassist, and arranger for a wide range of artists including Joe Cocker, Diana Ross, Billy Idol, Berlin, The Motels, and many others. In 1985, Barrow opened his own studio in the Mar Vista district of Los Angeles, where he continues to produce albums and compose soundtracks for film and television. -
SHSU Video Archive Basic Inventory List Department of Library Science
SHSU Video Archive Basic Inventory List Department of Library Science A & E: The Songmakers Collection, Volume One – Hitmakers: The Teens Who Stole Pop Music. c2001. A & E: The Songmakers Collection, Volume One – Dionne Warwick: Don’t Make Me Over. c2001. A & E: The Songmakers Collection, Volume Two – Bobby Darin. c2001. A & E: The Songmakers Collection, Volume Two – [1] Leiber & Stoller; [2] Burt Bacharach. c2001. A & E Top 10. Show #109 – Fads, with commercial blacks. Broadcast 11/18/99. (Weller Grossman Productions) A & E, USA, Channel 13-Houston Segments. Sally Cruikshank cartoon, Jukeboxes, Popular Culture Collection – Jesse Jones Library Abbott & Costello In Hollywood. c1945. ABC News Nightline: John Lennon Murdered; Tuesday, December 9, 1980. (MPI Home Video) ABC News Nightline: Porn Rock; September 14, 1985. Interview with Frank Zappa and Donny Osmond. Abe Lincoln In Illinois. 1939. Raymond Massey, Gene Lockhart, Ruth Gordon. John Ford, director. (Nostalgia Merchant) The Abominable Dr. Phibes. 1971. Vincent Price, Joseph Cotton. Above The Rim. 1994. Duane Martin, Tupac Shakur, Leon. (New Line) Abraham Lincoln. 1930. Walter Huston, Una Merkel. D.W. Griffith, director. (KVC Entertaiment) Absolute Power. 1996. Clint Eastwood, Gene Hackman, Laura Linney. (Castle Rock Entertainment) The Abyss, Part 1 [Wide Screen Edition]. 1989. Ed Harris. (20th Century Fox) The Abyss, Part 2 [Wide Screen Edition]. 1989. Ed Harris. (20th Century Fox) The Abyss. 1989. (20th Century Fox) Includes: [1] documentary; [2] scripts. The Abyss. 1989. (20th Century Fox) Includes: scripts; special materials. The Abyss. 1989. (20th Century Fox) Includes: special features – I. The Abyss. 1989. (20th Century Fox) Includes: special features – II. Academy Award Winners: Animated Short Films. -
Hans J. Wulff: Die Erzählung Der Gewalt. Untersuchungen Zu Den Konventionen Der Darstellung Gewalttätiger Interaktion. Münste
Hans J. Wulff: Die Erzählung der Gewalt. Untersuchungen zu den Konventionen der Darstellung gewalttätiger Interaktion. Münster: MAkS Publikationen 1985, 147 S., 4 Taf. (= Studien zur Populärkultur. 1.). 2. Aufl. 1990. Eine erste Online-Fassung erschien vierteilig unter den URLs http://www.derwulff.de/1-3-1 bis 1-3-4. 1. Die Erzählung der Gewalt (...1-3-1, = S. 9-47 der Buchausgabe) 2. Das Dilemma der Gewalt (...1-3-2, = S. 49-89 der Buchausgabe) 3. Weiterungen (...13-3, = S. 91-121 der Buchausgabe) URL dieser Ausgabe: http://www.derwulff.de/1-3. Inhalt: 4. DIE LUST AM WIEDERERKENNEN Stereotype und Anspielungen 1. DER GEGENSTAND Der Schein der Authentizität Alltagserzählungen Doppelrealitäten Gewaltwissen Krebs Die Verstehbarkeit des Punk 2. DIE ERZÄHLUNG DER GRUPPE Das Gewalt-Dilemma Die Gefahr unter der Menschenwelt Doppeldeutiger Schluß Orte und Bilder und ihre Geschichten Unpersonen Filmtode 5. HORIZONTE DER GEWALT Die Erzählung der Gruppe Die Begründung der Gewalt Konvertiten Idole Der Krieg der Welten Relative Entgrenzungen Kollektive Angstvisionen 3. ZEIT Gewaltzeit 6. DIFFERENZEN Schock-Bilder Der Psychopath Die Erwartung der Gewalt Fußball Für Ilse, Wulff // Die Erzählung der Gewalt /// 76 die einige Monate mit einem ihr zunächst unangenehmen Thema verbringen mußte 1. DER GEGENSTAND Die Anwendung von Gewalt ist eines der ursprünglichsten und universalsten Mittel, die bei der Aushandlung sozialer Beziehungen und bei der Durchsetzung individueller oder kollektiver Interessen benutzt werden können. Zugleich ist sie ein kommunikatives Medium, das Beziehungen besonderer Art konstituiert und so- wohl in konstitutivem wie in kommentativem Sinn in Interaktionen angewendet werden kann. Was nimmt es also wunder, dass in allen Kulturen das Eindämmen von Gewalt durch Konvention und Regel, durch Recht und Tabu ein Grundthema allen Erzählens ist - einer der fundamentalsten Strategien der Kon- struktion und Aufrechterhaltung des Bewußtseins von „Alltag“.