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1 Sociology 342-001: Criminology Summer II
Sociology 342-001: Criminology Summer II: July 8 – Aug. 7 2013 Online - 3 credits Instructor Office Hours Kate Gunby via email and gchat [email protected] or by appointment in Social Sciences 426 Course Description This course begins with a quick introduction to the multidisciplinary study of criminology, and how crime and criminal behavior are measured. Then the class will explore different theories of crime and criminality, starting with early schools of criminology and then covering structural, social process, critical, psychosocial, biosocial, and developmental theories. Then the class will focus on different types of crime, including violent crime, sex crimes, multiple murder and terrorism, property crime, public order crime, and white collar and organized crime. Finally, we will broaden our scope to explore victim experiences, mental health and incarceration, concepts of justice and incarceration trends, and the consequences of crime and incarceration. This course uses the acclaimed television series The Wire to explore the fundamentals of criminology. Students will develop their ability analyze, synthesize, apply, and evaluate the course material through written memos linking each reading to the content in a specific episode of The Wire. Students will further engage with the material and each other through online forum discussions. This class is guided by student goals, which are established from the beginning and reviewed throughout the term. Readings All of the course readings are on D2L. You do not need to buy any books. Almost all of the readings are excerpts from books or articles, so please download the readings from D2L so that you only read the portions that are required for the class. -
'Nothing but the Truth': Genre, Gender and Knowledge in the US
‘Nothing but the Truth’: Genre, Gender and Knowledge in the US Television Crime Drama 2005-2010 Hannah Ellison Submitted for the degree of Doctor of Philosophy (PhD) University of East Anglia School of Film, Television and Media Studies Submitted January 2014 ©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. 2 | Page Hannah Ellison Abstract Over the five year period 2005-2010 the crime drama became one of the most produced genres on American prime-time television and also one of the most routinely ignored academically. This particular cyclical genre influx was notable for the resurgence and reformulating of the amateur sleuth; this time remerging as the gifted police consultant, a figure capable of insights that the police could not manage. I term these new shows ‘consultant procedurals’. Consequently, the genre moved away from dealing with the ills of society and instead focused on the mystery of crime. Refocusing the genre gave rise to new issues. Questions are raised about how knowledge is gained and who has the right to it. With the individual consultant spearheading criminal investigation, without official standing, the genre is re-inflected with issues around legitimacy and power. The genre also reengages with age-old questions about the role gender plays in the performance of investigation. With the aim of answering these questions one of the jobs of this thesis is to find a way of analysing genre that accounts for both its larger cyclical, shifting nature and its simultaneously rigid construction of particular conventions. -
Literariness.Org-Mareike-Jenner-Auth
Crime Files Series General Editor: Clive Bloom Since its invention in the nineteenth century, detective fiction has never been more pop- ular. In novels, short stories, films, radio, television and now in computer games, private detectives and psychopaths, prim poisoners and overworked cops, tommy gun gangsters and cocaine criminals are the very stuff of modern imagination, and their creators one mainstay of popular consciousness. Crime Files is a ground-breaking series offering scholars, students and discerning readers a comprehensive set of guides to the world of crime and detective fiction. Every aspect of crime writing, detective fiction, gangster movie, true-crime exposé, police procedural and post-colonial investigation is explored through clear and informative texts offering comprehensive coverage and theoretical sophistication. Titles include: Maurizio Ascari A COUNTER-HISTORY OF CRIME FICTION Supernatural, Gothic, Sensational Pamela Bedore DIME NOVELS AND THE ROOTS OF AMERICAN DETECTIVE FICTION Hans Bertens and Theo D’haen CONTEMPORARY AMERICAN CRIME FICTION Anita Biressi CRIME, FEAR AND THE LAW IN TRUE CRIME STORIES Clare Clarke LATE VICTORIAN CRIME FICTION IN THE SHADOWS OF SHERLOCK Paul Cobley THE AMERICAN THRILLER Generic Innovation and Social Change in the 1970s Michael Cook NARRATIVES OF ENCLOSURE IN DETECTIVE FICTION The Locked Room Mystery Michael Cook DETECTIVE FICTION AND THE GHOST STORY The Haunted Text Barry Forshaw DEATH IN A COLD CLIMATE A Guide to Scandinavian Crime Fiction Barry Forshaw BRITISH CRIME FILM Subverting -
CATCHING CAREER CRIMINALS:· a STUDY of the REPEAT OFFENDER PROJECT TECHNICAL REPORT Patrick V. Murphy President
If you have issues viewing or accessing this file contact us at NCJRS.gov. CATCHING CAREER CRIMINALS:· A STUDY OF THE REPEAT OFFENDER PROJECT TECHNICAL REPORT .' by Susan E. Martin Report to the National Institute of Justice The Honora~le James K. Ste~art~ Director • P~arch 29 ~ 1985 Police Foundation PatricK V. Murphy President • 98821 U.S. Department of JUstice National Institute of JUstice This document has been reprOduced exactly as received from the person or organization originating it. Paints of view or opinions stated in this document are those of the authors and do not necessarily Justice.represent the official position or POlicies of the National Institute of Permission to reproduce this coPyffgMted- material has been granted by Eub J j ~-DOmai.ni-NLI ____ ~_~ __ _ U-rS-r--Depa-r-tment-_-OLJusti.ce_ to the National Criminal Justice Reference SerVice (NGJRS). • Further reproduction outside of ttle NCJRS system reqUIres permis sion of the~ri§l;l~ owner. This study was conducted under Grant Number 82-IJ~-0063 from the National Institute of Justice. Points of view in this document are those of the author and do not necessarily represent the position or policies of the U.S. Department of Justice, the Metropolitan Police Department of Washington, D.C., or the Police Foundation • • •• Acknowledgements • Many persons worked on various phases of the ROP study. The contributions of the following consultants and Police Foundation staff members is gratefully acknowledged: Sampson Annan Phyll is Boston Kim Boyd Carol Bridgeforth Jenifer Cheeseman Gail Giovannucci Ear 1 Hami lton Richard Oldlakowski Antony Pat~ Doug Smith Faye Taxman Paul Zipper Sally Page, William Parker, and Mildred Banks performed the arduous task of producing the Final Report. -
Science-Based Target Setting Manual Version 4.1 | April 2020
Science-Based Target Setting Manual Version 4.1 | April 2020 Table of contents Table of contents 2 Executive summary 3 Key findings 3 Context 3 About this report 4 Key issues in setting SBTs 5 Conclusions and recommendations 5 1. Introduction 7 2. Understand the business case for science-based targets 12 3. Science-based target setting methods 18 3.1 Available methods and their applicability to different sectors 18 3.2 Recommendations on choosing an SBT method 25 3.3 Pros and cons of different types of targets 25 4. Set a science-based target: key considerations for all emissions scopes 29 4.1 Cross-cutting considerations 29 5. Set a science-based target: scope 1 and 2 sources 33 5.1 General considerations 33 6. Set a science-based target: scope 3 sources 36 6.1 Conduct a scope 3 Inventory 37 6.2 Identify which scope 3 categories should be included in the target boundary 40 6.3 Determine whether to set a single target or multiple targets 42 6.4 Identify an appropriate type of target 44 7. Building internal support for science-based targets 47 7.1 Get all levels of the company on board 47 7.2 Address challenges and push-back 49 8. Communicating and tracking progress 51 8.1 Publicly communicating SBTs and performance progress 51 8.2 Recalculating targets 56 Key terms 57 List of abbreviations 59 References 60 Acknowledgments 63 About the partner organizations in the Science Based Targets initiative 64 Science-Based Target Setting Manual Version 4.1 -2- Executive summary Key findings ● Companies can play their part in combating climate change by setting greenhouse gas (GHG) emissions reduction targets that are aligned with reduction pathways for limiting global temperature rise to 1.5°C or well-below 2°C compared to pre-industrial temperatures. -
1 Sociology/Public Administration 342-001: Criminology Summer 1
Sociology/Public Administration 342-001: Criminology Summer 1: June 9 2014 to July 10, 2014 Online - 3 credits Instructor Office Hours Kate Gunby via email and gchat [email protected] Course Description This course begins with a quick introduction to the multidisciplinary study of criminology and how crime and criminal behavior are measured. This class explores different theories of crime and criminality, including: structural, conflict, cultural, economic, social process, psychosocial, biosocial, developmental, and broken window theories, as well as Victimology and the consequences of crime and incarceration. Throughout the class we also focus on different types of crime, including: violent crime, drug crimes, public order crime, and organized crime. This course uses the acclaimed HBO television series The Wire to explore the fundamentals of criminology. Students will develop their ability analyze, synthesize, apply, and evaluate the course material through written memos linking each reading to the content in a specific episode or film. Students will further engage with the material and each other through online forum discussions. This class is guided by student goals, which are established from the beginning and reviewed throughout the term. Readings All of the course readings are on D2L. You do not need to buy any books. Almost all of the readings are excerpts from books or articles, so please download the readings from D2L so that you only read the portions that are required for the class. Episodes and Films All of the required media for this class is available for you to stream for free on D2L. Grade Evaluation Grade Scale Introduction and Syllabus Quiz 5% A 90-100% Goals Assessments 5% B 80-89.9% Discussion Posts 30% C 70-79.9% Daily Memos 60% D 60-69.9% E 0-59.9% I do not accept late work. -
“Paint It Red” Written by Eoghan Mahony Directed by Dave Barrett
“Paint It Red” Written by Eoghan Mahony Directed by Dave Barrett Episode 112 #3T7812 Warner Bros. Entertainment PRODUCTION DRAFT 4000 Warner Blvd. November 17, 2008 Burbank, CA 91522 FULL BLUE 11/18/08 PINK REVS. 11/21/08 YELLOW REVS. 11/23/08 GREEN REVS. 11/24/08 © 2008 Warner Bros. Entertainment Inc. This script is the property of Warner Bros. Entertainment Inc. No portion of this script may be performed, reproduced or used by any means, or disclosed to, quoted or published in any medium without the prior written consent of Warner Bros. Entertainment Inc. THE MENTALIST “Paint It Red” Episode #112 November 24, 2008 – Green Revisions REVISED PAGES PINK REVISIONS – 11/21/08 14, 20, 21, 30, 37, 37A YELLOW REVISIONS – 11/23/08 *(ADDENDUM – SCENE 47 DIALOGUE – INSERT AT END OF SCRIPT) GREEN REVISIONS – 11/24/08 46, 47, 49, 50, 52 TEASER FADE IN: 1 EXT. A.P. CAID OIL HQ DOWNTOWN SACRAMENTO - NIGHT (N/1) 1 The SIGN outside an imposing edifice of glass and steel proclaims it to be the headquarters of A.P. CAID PETROLEUM. 2 INT. FOYER. EXECUTIVE FLOOR. A.P. CAID OIL HQ - NIGHT 2 FRANK and KEELY are locked in a fervent kiss. He’s late 30s, turned corporate suit. She’s late 20’s, in prim but sexy receptionist kit. They make their way across the luxe foyer with a slightly furtive air, stopping at a set of heavy wooden doors. KEELY Are you sure about this? What if someone sees us? FRANK Relax, baby. I’ve got it all under control. -
Representations of Education in HBO's the Wire, Season 4
Teacher EducationJames Quarterly, Trier Spring 2010 Representations of Education in HBO’s The Wire, Season 4 By James Trier The Wire is a crime drama that aired for five seasons on the Home Box Of- fice (HBO) cable channel from 2002-2008. The entire series is set in Baltimore, Maryland, and as Kinder (2008) points out, “Each season The Wire shifts focus to a different segment of society: the drug wars, the docks, city politics, education, and the media” (p. 52). The series explores, in Lanahan’s (2008) words, an increasingly brutal and coarse society through the prism of Baltimore, whose postindustrial capitalism has decimated the working-class wage and sharply divided the haves and have-nots. The city’s bloated bureaucracies sustain the inequality. The absence of a decent public-school education or meaningful political reform leaves an unskilled underclass trapped between a rampant illegal drug economy and a vicious “war on drugs.” (p. 24) My main purpose in this article is to introduce season four of The Wire—the “education” season—to readers who have either never seen any of the series, or who have seen some of it but James Trier is an not season four. Specifically, I will attempt to show associate professor in the that season four holds great pedagogical potential for School of Education at academics in education.1 First, though, I will present the University of North examples of the critical acclaim that The Wire received Carolina at Chapel throughout its run, and I will introduce the backgrounds Hill, Chapel Hill, North of the creators and main writers of the series, David Carolina. -
The One Who Knocks: the Hero As Villain in Contemporary Televised Narra�Ves
The One Who Knocks: The Hero as Villain in Contemporary Televised Narra�ves Maria João Brasão Marques The One Who Knocks: The Hero as Villain in Contemporary Televised Narratives Maria João Brasão Marques 3 Editora online em acesso aberto ESTC edições, criada em dezembro de 2016, é a editora académica da Escola Superior de Teatro e Cinema, destinada a publicar, a convite, textos e outros trabalhos produzidos, em primeiro lugar, pelos seus professores, investigadores e alunos, mas também por autores próximos da Escola. A editora promove a edição online de ensaio e ficção. Editor responsável: João Maria Mendes Conselho Editorial: Álvaro Correia, David Antunes, Eugénia Vasques, José Bogalheiro, Luca Aprea, Manuela Viegas, Marta Mendes e Vítor Gonçalves Articulação com as edições da Biblioteca da ESTC: Luísa Marques, bibliotecária. Editor executivo: Roger Madureira, Gabinete de Comunicação e Imagem da ESTC. Secretariado executivo: Rute Fialho. Avenida Marquês de Pombal, 22-B 2700-571 Amadora PORTUGAL Tel.: (+351) 214 989 400 Telm.: (+351) 965 912 370 · (+351) 910 510 304 Fax: (+351) 214 989 401 Endereço eletrónico: [email protected] Título: The One Who Knocks: The Hero as Villain in Contemporary Televised Narratives Autor: Maria João Brasão Marques Série: Ensaio ISBN: 978-972-9370-27-4 Citações do texto: MARQUES, Maria João Brasão (2016), The one who knocks: the hero as villain in contemporary televised narratives, Amadora, ESTC Edições, disponível em <www.estc.ipl.pt>. This work is licensed under a Creative Commons Attribution-NonCommercial-No Derivatives 4.0 International License. https://wiki.creativecommons.org/wiki/CC_Affiliate_Network O conteúdo desta obra está protegido por Lei. -
Why Every Show Needs to Be More Like the Wire (“Not Just the Facts, Ma’Am”)
DIALOGUE WHY EVERY SHOW NEEDS TO BE MORE LIKE THE WIRE (“NOT JUST THE FACTS, MA’AM”) NEIL LANDAU University of California, Los Angeles (UCLA) The Wire (HBO, 2002-2008) upends the traditional po- ed the cop-drama universe. It was a pioneering season-long lice procedural by moving past basic plot points and “twists” procedural. Here are my top 10 reasons why Every Show in the case, diving deep into the lives of both the cops and Needs to Be More Like The Wire. the criminals they pursue. It comments on today’s America, employing characters who defy stereotype. In the words of — creator David Simon: 1. “THIS AMERICA, MAN” The grand theme here is nothing less than a nation- al existentialism: It is a police story set amid the As David Simon explains: dysfunction and indifference of an urban depart- ment—one that has failed to come to terms with In the first story arc, the episodes begin what the permanent nature of urban drug culture, one would seem to be the straightforward, albeit pro- in which thinking cops, and thinking street players, tracted, pursuit of a violent drug crew that controls must make their way independent of simple expla- a high-rise housing project. But within a brief span nations (Simon 2000: 2). of time, the officers who undertake the pursuit are forced to acknowledge truths about their de- Given the current political climate in the US and interna- partment, their role, the drug war and the city as tionally, it is timely to revisit the The Wire and how it expand- a whole. -
(Deb) – Katie Leclerc Currently Stars As Daphne Vasquez on The
‘CLOUDY WITH A CHANCE OF LOVE’ CAST BIOS KATIE LECLERC (Deb) – Katie Leclerc currently stars as Daphne Vasquez on the hit ABC family series “Switched At Birth.” In its third season, “Switched At Birth,” and Leclerc specifically, continue to drive a strong fan following and are respected and are applauded worldwide for their positive portrayal of deaf characters on television. Leclerc has been nominated for two Teen Choice Awards for her outstanding performance on the show. The first was in 2011 in the category of “Choice TV Break Out Star” and then again in 2013 in the category of “Summer TV Star.” Originally from Lakewood, Colorado and the youngest of three siblings, Leclerc got the acting bug when she starred in a local production of “Annie.” When the family moved to San Diego, she continued to pursue her desire to perform and began appearing in national commercials for such brands as Pepsi, Cingular, Comcast and GE. Leclerc got her big break at the age of 19 in 2004 when she was asked to guest star on “Veronica Mars,” starring Kristen Bell. She went on to have guest and recurring roles on such series as MTV’s “The Hard Times of RJ Berger,” CBS’s “CSI” and “The X List.” However, it is for portraying Raj Koothrappali’s gold-digging girlfriend Emily on the hit CBS series “The Big Bang Theory,” that brings her the most additional recognition. In film, she has starred in the Hallmark Channel Original Movie “The Confession,” as well as the independent features “The Inner Circle” and “Flying By” with Billy Ray Cyrus. -
Criminal Procedure, the Police, and the Wire As Dissent
Brooklyn Law School BrooklynWorks Faculty Scholarship 2018 Criminal Procedure, the Police, and The irW e as Dissent I. Bennett aC pers Brooklyn Law School, [email protected] Follow this and additional works at: https://brooklynworks.brooklaw.edu/faculty Part of the Criminal Law Commons, and the Criminal Procedure Commons Recommended Citation 2018 U. Chi. Legal F. 65 (2018) This Article is brought to you for free and open access by BrooklynWorks. It has been accepted for inclusion in Faculty Scholarship by an authorized administrator of BrooklynWorks. Criminal Procedure, the Police, and The Wire as Dissent Bennett Caperst The Wire is rich with metaphors. There is the physical wire in the opening credits, a metaphor for surveillance more generally. There is the metaphor of the wire in the sense of a modern tightrope-another filmic work, Man on a Wire,1 comes to mind-where any minute one can lose one's balance. There is even the metaphor of the wire in the 2 sense that the criminal justice system is all connected or networked. Indeed, thinking about our criminal justice system as a complex net- work allows us to see that many of the perceived flaws in the criminal justice system-racial disparities in charging3 and sentencing,4 and t Visiting Professor of Law, Boston University School of Law (Fall 2017); Stanley A. August Professor of Law, Brooklyn Law School. B.A. Princeton University; J.D. Columbia Law School. Assistant U.S. Attorney, Southern District of New York 1995-2004. E-mail: bennett.capers @brooklaw.edu. ' See generally MAN ON A WIRE (Magnolia Pictures 2008) (documentary about Phillipe Pet- it's successful attempt, on August 7, 1974, to walk on a wire suspended between the towers of the World Trade Center; his act would later be described as the "artistic crime of the century").