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The Theme Park As "De Sprookjessprokkelaar," the Gatherer and Teller of Stories
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2018 Exploring a Three-Dimensional Narrative Medium: The Theme Park as "De Sprookjessprokkelaar," The Gatherer and Teller of Stories Carissa Baker University of Central Florida, [email protected] Part of the Rhetoric Commons, and the Tourism and Travel Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Doctoral Dissertation (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Baker, Carissa, "Exploring a Three-Dimensional Narrative Medium: The Theme Park as "De Sprookjessprokkelaar," The Gatherer and Teller of Stories" (2018). Electronic Theses and Dissertations, 2004-2019. 5795. https://stars.library.ucf.edu/etd/5795 EXPLORING A THREE-DIMENSIONAL NARRATIVE MEDIUM: THE THEME PARK AS “DE SPROOKJESSPROKKELAAR,” THE GATHERER AND TELLER OF STORIES by CARISSA ANN BAKER B.A. Chapman University, 2006 M.A. University of Central Florida, 2008 A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the College of Arts and Humanities at the University of Central Florida Orlando, FL Spring Term 2018 Major Professor: Rudy McDaniel © 2018 Carissa Ann Baker ii ABSTRACT This dissertation examines the pervasiveness of storytelling in theme parks and establishes the theme park as a distinct narrative medium. It traces the characteristics of theme park storytelling, how it has changed over time, and what makes the medium unique. -
Dan Mintner Badass for Hire V 2.Fdr Script
DAN MINTER: BADASS FOR HIRE Screenplay by Chad Kultgen NOTE: DO NOT TURN THE PAGE UNLESS YOU HAVE NO RESPECT FOR YOUR OWN ASS BECAUSE IT’S ABOUT TO BE KICKED. 2. FADE IN: INT. WAREHOUSE/FACTORY, SOUTH AMERICA - DAY Candy Cane, Wacky Dust, Weasel Dust, Angie, Bernice, Aunt Nora, Barbs, Bazooka, Nose Candy, Bubble Gum, Carnie, Carie Nation, Foo-Foo Dust, Gift of the Sun, Cecil, Bernie, Billy Hoke, Henry VIII, Ice, Jelly, Lady, Girl, Merk, Pearl, Pimp, Schmeck, Scottie, Scorpion, Teeth, Snort, Blow, Snow, Con- Con... CO-MOTHERFUCKING-CAINE. Mountains of the shit as far as the eye can see loom over dozens of scurrying SOUTH AMERICAN COCAINE FACTORY WORKERS in a giant warehouse/cocaine factory. They weigh it, cut it, package it, etc. as they navigate the narrow walkways between the massive mounds. P.S. They’re all carrying machine guns. From a perch high above the workers, in a plush office with big screen TV’s, a fat South American COCAINE KINGPIN keeps a proud but watchful gaze over his empire. With him is a SLEEZY AMERICAN DRUG BUYER. COCAINE KINGPIN As you can see, my operation is large enough to meet any demand. SLEEZY AMERICAN DRUG BUYER But large isn’t always good. Too many people under you... How do you know they’re all loyal? The Cocaine Kingpin’s scowl might as well turn into a boot that kicks the Sleezy American Drug Buyer right in the nuts, but instead, he reigns it in and it turns into a knowing smile. COCAINE KINGPIN Loyalty, my friend, is something you Americans know little about and that’s why you always question it. -
Seinfeld, the Movie an Original Screenplay by Mark Gavagan Contact
Seinfeld, The Movie an original screenplay by Mark Gavagan based on the "Seinfeld" television series by Larry David and Jerry Seinfeld contact: Cole House Productions (201) 320-3208 BLACK SCREEN: TEXT: "One year later ..." TEXT FADES: DEPUTY (O.S.) Well folks. You've paid your debt to society. Good luck and say out of trouble. FADE IN: EXT. LOWELL MASSACHUSETTS JAIL -- MORNING ROLL CREDITS. JERRY, GEORGE and ELAINE look impatient as they stand empty- handed, waiting for something. The DEPUTY walks back towards the jail building behind them. CUT TO: INT. LOWELL MASSACHUSETTS JAIL KRAMER is surrounded by teary-eyed guards and inmates. They love him. He's carrying a metal cafeteria tray covered with signatures, as well as scores of cards, notes and letters. Several in the crowd hug KRAMER. CUT TO: EXT. LOWELL MASSACHUSETTS JAIL KRAMER stumbles as he walks up to GEORGE, ELAINE and JERRY. CUT TO: EXT. SOMEWHERE IN RURAL MASSACHUSETTS -- DAY We see an ugly old school bus at a dead stop with the flashers on. "LARRY'S NYC BUS SERVICE" is painted sloppily on the side. An extremely old man herds dozens of stubborn sheep across the road. He's moving at an impossibly slow pace. CUT TO: INT. OLD SCHOOL BUS JERRY, GEORGE and ELAINE are sitting in bus's original kid- sized bench seats. They look bored and uncomfortable. 2. Cheerful KRAMER is in the front row chatting with the DRIVER and pointing at the animals outside. CUT TO: INT. HALLWAY IN FRONT OF JERRY'S APARTMENT -- LATER KRAMER & JERRY walk wearily towards their doors. -
C Smurfs III 12.Fdx Script
SMURFS 3 by Karey Kirkpatrick & Chris Poché current revisions by Jay Scherick & David Ronn Weinstock Marc Aug. 16 2013 c smurf III 12 EXT. SMURF VILLAGE - DAY (SHORTLY AFTER SMURFS 2 ENDS) A big banner reads “Welcome Vexy and Hackus!” Like an Amish barn raising, the entire village of Smurfs is busy building TWO NEW MUSHROOMS for the new arrivals. NARRATOR (O.S.) For years and years it was just Papa and his 99 Smurfs. Then came Smurfette to make it an even 100. And now, two new Smurfs, rescued from the evil clutches of Gargamel, have joined the fold. The CAMERA finds NARRATOR SMURF walking through the village. NARRATOR The whole village has gathered to build them homes of their own - except me of course - because I’m the “vocal talent”. He passes by the construction site of Vexy’s new mushroom. VEXY is there with BRAINY - who stands underneath the overhang holding BLUEPRINTS. VEXY I get that it’s supposed to look like a mushroom, Brainy - but isn’t that too much overhang? BRAINYWeinstock Nonsense. According to my calculations, there’s more than enough structural buttressing here to support... WHAM! - the overhang drops, CRASHING on Brainy - covering him in a pile Marcof rubble. VEXY (calling into rubble) I’m sorry. I can’t hear you from under all that “buttressing”. OVER BY HACKUS’ MUSHROOM - HANDY is discussing design with Hackus. HANDY So what’re you thinkin’, Hackus? Shitake style? Or more of a traditional Portobello? scherick & ronn 2. Hackus has no idea. Just then JOKEY comes up and offers his hand to shake. -
CATALOGUE 18 the of a WORLDWIDE PHENOMENON the Smurfs Began Life in 1958 As Comic Book Characters Created by Pierre OH, THERE! Culliford (Peyo)
CATALOGUE 18 THE OF A WORLDWIDE PHENOMENON The Smurfs began life in 1958 as comic book characters created by Pierre OH, THERE! Culliford (Peyo). A film version of this first comic book was made in 1975, entitled “The Smurfs and the Magic Flute”. In 1981 the Smurf stories were adapted for the silver screen by Hanna-Barbera, a run that lasted for 9 seasons. After the THE SMURFS first showing on NBC, a worldwide roll-out of the classic cartoon series made NEW TV SERIES the Smurfs famous all over the globe. In 2011 the Smurfs went on to conquer 2 · 3 the big screen, with a first3D movie produced by Sony Pictures. This success story has been documented in a film, From“ the world of Peyo to Planet Smurf” (2011), and led to the release of a second blockbuster movie in 2013. 2017 set the THE SMURFS scene for a new era in the history of Smurfs with the fully animated CGI movie CLASSIC TV SERIES 4 5 “Smurfs: The Lost Village”, a brand new take on the universe of Peyo. And there’s · more smurfiness to come with anew TV series currently in production! IMPS, the company founded by Peyo’s daughter, Véronique Culliford, handles THE SMURFS AND THE MAGIC FLUTE the worldwide licensing of the Smurf character, and distributes the classic FEATURE FILM series, the first feature film and the documentary. 6 The continuing success of the Smurfs is due to its broad appeal across cultural, age and gender demographics. The timeless stories with universal values continue to enchant children every day all over the world. -
Riley Thorn and the Dead Guy Next Door
RILEY THORN AND THE DEAD GUY NEXT DOOR LUCY SCORE Copyright © 2020 Lucy Score All rights reserved No Part of this book may be reproduced in any form or by any electric or mechanical means, including information storage and retrieval systems, without prior written permission from the publisher. The book is a work of fiction. The characters and events in this book are fictitious. Any similarity to real persons, living or dead, is purely coincidental and not intended by the author. ISBN: 978-1-945631-67-2 (ebook) ISBN: 978-1-945631-68-9 (paperback) lucyscore.com 082320 CONTENTS Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Chapter 6 Chapter 7 Chapter 8 Chapter 9 Chapter 10 Chapter 11 Chapter 12 Chapter 13 Chapter 14 Chapter 15 Chapter 16 Chapter 17 Chapter 18 Chapter 19 Chapter 20 Chapter 21 Chapter 22 Chapter 23 Chapter 24 Chapter 25 Chapter 26 Chapter 27 Chapter 28 Chapter 29 Chapter 30 Chapter 31 Chapter 32 Chapter 33 Chapter 34 Chapter 35 Chapter 36 Chapter 37 Chapter 38 Chapter 39 Chapter 40 Chapter 41 Chapter 42 Chapter 43 Chapter 44 Chapter 45 Chapter 46 Chapter 47 Chapter 48 Chapter 49 Chapter 50 Chapter 51 Chapter 52 Chapter 53 Chapter 54 Chapter 55 Chapter 56 Chapter 57 Chapter 58 Chapter 59 Chapter 60 Epilogue Author’s Note to the Reader WONDERING WHAT TO READ NEXT?: About the Author Acknowledgments Lucy’s Titles To Josie, a real life badass. 1 10:02 p.m., Saturday, July 4 he dead talked to Riley Thorn in her dreams. -
The Influence of Media on Views of Gender
Article 7 Gendered Media: The Influence of Media on Views of Gender Julia T. Wood Department of Communication, University of North times more often than ones about women (“Study Re- Carolina at Chapel Hill ports Sex Bias,” 1989), media misrepresent actual pro- portions of men and women in the population. This constant distortion tempts us to believe that there really THEMES IN MEDIA are more men than women and, further, that men are the cultural standard. Of the many influences on how we view men and women, media are the most pervasive and one of the most powerful. Woven throughout our daily lives, media insinuate their messages into our consciousness at every MEDIA’S MISREPRESENTATION OF turn. All forms of media communicate images of the sexes, many of which perpetuate unrealistic, stereotypi- AMERICAN LIFE cal, and limiting perceptions. Three themes describe how media represent gender. First, women are underrepre- The media present a distorted version of cultural life sented, which falsely implies that men are the cultural in our country. According to media portrayals: standard and women are unimportant or invisible. Sec- ond, men and women are portrayed in stereotypical White males make up two-thirds of the popula- ways that reflect and sustain socially endorsed views of tion. The women are less in number, perhaps be- cause fewer than 10% live beyond 35. Those who gender. Third, depictions of relationships between men do, like their younger and male counterparts, are and women emphasize traditional roles and normalize nearly all white and heterosexual. In addition to violence against women. We will consider each of these being young, the majority of women are beauti- themes in this section. -
The Pacifier
The Pacifier by Thomas Lennon & Robert Ben Garant Previous Revisions by Jason Fulardi & Scott Alexander & Larry Karaszewki Current Revisions by Thomas Lennon & Robert Ben Garant Marked Revisions * March 3rd, 2004 FADE IN: EXT. PACIFIC OCEAN - DAY A fishing boat pushes over choppy water. FOUR GUN TOTING MEN on Jet Skis wearing black wet suits and goggles escort the boat. Flying above it is a HELICOPTER. INT. FISHING BOAT/CONTROL DECK - CONTINUOUS A SERBIAN MAN captains the wheel. SERB 2 scans the horizon with binoculars. He checks the GPS system, then his watch, then speaks into his throat mic. All italics are Serbian w/ subtitles: SERB 2 Fifteen minutes to delivery. EXT. PACIFIC OCEAN - CONTINUOUS The JET SKIER in the lead weighs in on a radio. INT. SEA HAWK 1 - CONTINUOUS The HELICOPTER PILOT weighs in. PILOT All clear from above. EXT. SKY - CONTINUOUS The camera descends as the boat passes, and dives beneath the surface. EXT. PACIFIC OCEAN - CONTINUOUS The droning of engines becomes less pronounced. Foam from the boat and skis bubbles. Calm. Then from out of nowhere five NAVY SEALs wearing RE- BREATHERS appear, in neat formation like the Blue Angels. JET PROPELLED BACKPACKS push the SEALs through the water. The LEAD SEAL: SHANE WOLFE, points upwards. All eyes follow his finger to the underbelly of the boat above. From his belt, Shane takes a steel wand with an adhesive disc attached, aims it at the fleeing boat and FIRES. A cable shoots up -- THUD... The disc sticks to the boat’s hull. Shane pushes a button on the wand retracting the cable and drawing himself closer. -
Song & Music in the Movement
Transcript: Song & Music in the Movement A Conversation with Candie Carawan, Charles Cobb, Bettie Mae Fikes, Worth Long, Charles Neblett, and Hollis Watkins, September 19 – 20, 2017. Tuesday, September 19, 2017 Song_2017.09.19_01TASCAM Charlie Cobb: [00:41] So the recorders are on and the levels are okay. Okay. This is a fairly simple process here and informal. What I want to get, as you all know, is conversation about music and the Movement. And what I'm going to do—I'm not giving elaborate introductions. I'm going to go around the table and name who's here for the record, for the recorded record. Beyond that, I will depend on each one of you in your first, in this first round of comments to introduce yourselves however you wish. To the extent that I feel it necessary, I will prod you if I feel you've left something out that I think is important, which is one of the prerogatives of the moderator. [Laughs] Other than that, it's pretty loose going around the table—and this will be the order in which we'll also speak—Chuck Neblett, Hollis Watkins, Worth Long, Candie Carawan, Bettie Mae Fikes. I could say things like, from Carbondale, Illinois and Mississippi and Worth Long: Atlanta. Cobb: Durham, North Carolina. Tennessee and Alabama, I'm not gonna do all of that. You all can give whatever geographical description of yourself within the context of discussing the music. What I do want in this first round is, since all of you are important voices in terms of music and culture in the Movement—to talk about how you made your way to the Freedom Singers and freedom singing. -
The Apology | the B-Side | Night School | Madonna: Rebel Heart Tour | Betting on Zero Scene & Heard
November-December 2017 VOL. 32 THE VIDEO REVIEW MAGAZINE FOR LIBRARIES N O . 6 IN THIS ISSUE One Week and a Day | Poverty, Inc. | The Apology | The B-Side | Night School | Madonna: Rebel Heart Tour | Betting on Zero scene & heard BAKER & TAYLOR’S SPECIALIZED A/V TEAM OFFERS ALL THE PRODUCTS, SERVICES AND EXPERTISE TO FULFILL YOUR LIBRARY PATRONS’ NEEDS. Learn more about Baker & Taylor’s Scene & Heard team: ELITE Helpful personnel focused exclusively on A/V products and customized services to meet continued patron demand PROFICIENT Qualified entertainment content buyers ensure frontlist and backlist titles are available and delivered on time SKILLED Supportive Sales Representatives with an average of 15 years industry experience DEVOTED Nationwide team of A/V processing staff ready to prepare your movie and music products to your shelf-ready specifications Experience KNOWLEDGEABLE Baker & Taylor is the Full-time staff of A/V catalogers, most experienced in the backed by their MLS degree and more than 43 years of media cataloging business; selling A/V expertise products to libraries since 1986. 800-775-2600 x2050 [email protected] www.baker-taylor.com Spotlight Review One Week and a Day and target houses that are likely to be empty while mourners are out. Eyal also goes to the HHH1/2 hospice where Ronnie died (and retrieves his Oscilloscope, 98 min., in Hebrew w/English son’s medical marijuana, prompting a later subtitles, not rated, DVD: scene in which he struggles to roll a joint for Publisher/Editor: Randy Pitman $34.99, Blu-ray: $39.99 the first time in his life), gets into a conflict Associate Editor: Jazza Williams-Wood Wr i t e r- d i r e c t o r with a taxi driver, and tries (unsuccessfully) to hide in the bushes when his neighbors show Editorial Assistant: Christopher Pitman Asaph Polonsky’s One Week and a Day is a up with a salad. -
The Smurfs Were Communists! by Dave Morgan Okay, I Know It
The Smurfs Were Communists! By Dave Morgan Okay, I know it sounds crazy. I didn't believe it myself at first. Then I started thinking about it, and it starts getting scary. First of all, you must put aside all the media-programmed, propaganda-driven thoughts or irrational fears you might already have about communists. Forget all that big bad Russian stuff that the 80's taught us, that doesn't exist anymore. Think of communism as just a way of life, a social order, an economic standpoint, a lifestyle choice. Take all the visions of sickles and hammers and tanks out of your head for awhile, and then you will be able to see it clearly. First of all, the Smurfs shared everything. The food in the Smurf village was stored away in those mushrooms the minute it was harvested and then equally distributed to all the Smurfs throughout the year. No one "farmer Smurf" sold his crop to a "consumer Smurf," or saw his labor exploited by another. It was understood that the crop was for the entire Smurf population, not for the sale or profit of one Smurf alone. Then there were those jobs each Smurf held. There was Handy Smurf, and Painter Smurf, and Brainy Smurf, etc... Each Smurf had his own specific job and was not allowed to try his hand at any other Smurf's assigned task. There actually was an episode where each Smurf tried to do another one's job, and failed. The moral of the story was apparently "Stick to what you do Best" or to put it another way, stick to what the society has chosen for you, or maybe just "You'll get what you get and like it!" Handy Smurf was always building. -
Faculty Accomplishments 2019
FACULTY ACCOMPLISHMENTS 2018-2019 July 1, 2018 through June 30, 2019 Clayton State University 2018-2019 Faculty Accomplishments TABLE OF CONTENTS College of Arts & Sciences .................................................................................................................................. 3 College of Health ............................................................................................................................................... 23 College of Information and Mathematical Sciences ............................................................................................ 29 Library Services ................................................................................................................................................ 33 Page 2 Clayton State University 2018-2019 Faculty Accomplishments College of Arts & Sciences BOOKS Allen, J. (May 2019). The East End. Park Row Books/ HarperCollins. Favors, J. M. (2019). Shelter in a Time of Storm: How Black Colleges Fostered Generations of Leadership and Activism. University of North Carolina Press. Lal, S. (2019). Gandhi's Thought and Liberal Democracy. Lexington Books. Lamb, M. R. and Parrott, J., Eds. (2019). Digital Reading and Writing in Composition Studies. Routledge. Tate, A. L. (2018). Catholics' Lost Cause: South Carolina Catholics and the American South, 1820-1861. University of Notre Dame Press. SCHOLARLY ARTICLES Allen, A., & Jacques, S. (December 2018). “He did that because I was Black”: Black college students perceive municipal police,