Dating While Fat: Notes from a Harmed Life
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Grant Resume
AFTON GRANT, SOC STEADICAM / CAMERA OPERATOR - STEADICAM OWNER FEATURES DIRECTOR • D.P. PRODUCERS CHAPPAQUIDDICK (A-Cam/Steadi) John Curran • Maryse Alberti Apex Entertainment THE CATCHER WAS A SPY (Steadicam-Boston Photog) Ben Lewin • Andrij Parekh PalmStar Media MANCHESTER BY THE SEA (Steadicam) Kenneth Lonergran • Jody Lee Lipes B Story URGE (A-Cam/Steadi) Aaron Kaufman • Darren Lew Urge Productions AND SO IT GOES (A-Cam/Steadi) Rob Reiner • Reed Morano ASC Castle Rock Entertainment THE SKELETON TWINS (A-Cam) Craig Johnson • Reed Morano ASC Duplass Brothers Prods. THE HARVEST (Steadicam) John McNaughton • Rachel Morrison Living Out Loud Films AFTER THE FALL - Day Play (B-Cam/Steadi) Anthony Fabian • Elliot Davis Brenwood Films THE INEVITABLE DEFEAT OF MISTER & PETE (A-Cam/Steadi) George Tillman Jr. • Reed Morano ASC State Street Films KILL YOUR DARLINGS (A-Cam/Steadi) John Krokidas • Reed Morano ASC Killer Films THE ENGLISH TEACHER (Steadicam) Craig Zisk • Vanja Cernjul ASC Artina Films INFINITELY POLAR BEAR (Steadicam) Maya Forbes • Bobby Bukowsk Paper Street Films THE MAGIC OF BELLE ISLE (A-Cam/Steadi) Rob Reiner • Reed Morano ASC Castle Rock Entertainment MOONRISE KINGDOM (Steadicam) Wes Anderson • Robert Yeoman, ASC Scott Rudin Productions FUGLY! (Steadicam) Alfredo De Villa • Nancy Schreiber, ASC Rebel Films THE OTHER GUYS (2nd Unit B-Cam) Adam McKay • Oliver Wood, BSC Columbia Pictures THE WACKNESS (Steadicam) Jonathan Levine • Petra Korner Shapiro Levine Productions PLEASE GIVE (Addtl Steadicam) Nicole Holofcener • Yaron Orbach Feelin’ Guilty THE WOMAN (Steadicam) Lucky McKee • Alex Vendler Moderncine PETUNIA (Steadicam) Ash Christian • Austin Schmidt Cranium Entertainment THE NORMALS (Steadicam) Kevin Patrick Connors • Andre Lascaris Gigantic Pictures TELEVISION DIRECTOR • D.P. -
Words That Work: It's Not What You Say, It's What People Hear
ï . •,";,£ CASL M T. ^oÛNTAE À SUL'S, REVITA 1ENT, HASSLE- NT_ MAIN STR " \CCOUNTA ;, INNOVAT MLUE, CASL : REVITA JOVATh IE, CASL )UNTAE CO M M XIMEN1 VlTA • Ml ^re aW c^Pti ( °rds *cc Po 0 ^rof°>lish lu*t* >nk Lan <^l^ gua a ul Vic r ntz °ko Ono." - Somehow, W( c< Words are enorm i Jheer pleasure of CJ ftj* * - ! love laag^ liant about Words." gM °rder- Franl< Luntz * bril- 'Frank Luntz understands the power of words to move public Opinion and communicate big ideas. Any Democrat who writes off his analysis and decades of experience just because he works for the other side is making a big mistake. His les sons don't have a party label. The only question is, where s our Frank Luntz^^^^^^^™ îy are some people so much better than others at talking their way into a job or nit of trouble? What makes some advertising jingles cut through the clutter of our crowded memories? What's behind winning campaign slogans and career-ending political blunders? Why do some speeches resonate and endure while others are forgotten moments after they are given? The answers lie in the way words are used to influence and motivate, the way they connect thought and emotion. And no person knows more about the intersection of words and deeds than language architect and public-opinion guru Dr. Frank Luntz. In Words That Work, Dr. Luntz not only raises the curtain on the craft of effective language, but also offers priceless insight on how to find and use the right words to get what you want out of life. -
52 Officially-Selected Pilots and Series
WOMEN OF COLOR, LATINO COMMUNITIES, MILLENNIALS, AND LESBIAN NUNS: THE NYTVF SELECTS 52 PILOTS FEATURING DIVERSE AND INDEPENDENT VOICES IN A MODERN WORLD *** As Official Artists, pilot creators will enjoy opportunities to pitch, network with, and learn from executives representing the top networks, studios, digital platforms and agencies Official Selections – including 37 World Festival Premieres – to be screened for the public from October 23-28; Industry Passes now on sale [NEW YORK, NY, August 15, 2017] – The NYTVF (www.nytvf.com) today announced the Official Selections for its flagship Independent Pilot Competition (IPC). 52 original television and digital pilots and series will be presented for industry executives and TV fans at the 13th Annual New York Television Festival, October 23-28, 2017 at The Helen Mills Theater and Event Space, with additional Festival events at SVA Theatre. This includes 37 World Festival Premieres. • The slate of in-competition projects represents the NYTVF's most diverse on record, with 56% of all selected pilots featuring persons of color above the line, and 44% with a person of color on the core creative team (creator, writer, director); • 71% of these pilots include a woman in a core creative role - including 50% with a female creator and 38% with a female director (up from 25% in 2016, and the largest number in the Festival’s history); • Nearly a third of selected projects (31%) hail from outside New York or Los Angeles, with international entries from the U.K., Canada, South Africa, and Israel; • Additionally, slightly less than half (46%) of these projects enter competition with no representation. -
Netflix and the Development of the Internet Television Network
Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation. -
Public Opposition Comment – Food Bank of Contra Costa and Solano
April 1st, 2019 Certification Policy Branch SNAP Program Development Division Food and Nutrition Service, USDA 3101 Park Center Drive Alexandria, Virginia 22302 RE: Proposed Rule: Supplemental Nutrition Assistance Program (SNAP): Requirements for Able- Bodied Adults without Dependents RIN 0584-AE57 Dear Certification Policy Branch: The Food Bank of Contra Costa and Solano has been fighting hunger since 1975, giving out free food to community members in need. We store donated and purchased perishable and nonperishable food items, distributing them through our own programs and via our community partners. We operate 8 direct distribution programs and make food available for nearly 200 other nonprofit organizations serving people in need of food assistance. Our organization has grown dramatically over the last decades, and an alarming 1 in 8 people within Contra Costa and Solano counties turn to the Food Bank for emergency and supplemental food. In order to meet this incredible demand for our services, the Food Bank has grown to rely on more than 1,000 volunteers a month, over 70 staff members, a large fleet of trucks and two facilities totaling 70,000 square feet to procure and distribute food and grocery items. In Contra Costa and Solano alone, we serve about 178,000 individuals every month and distribute over 22 million pounds of food each year, over half of which is fresh produce. The Food Bank serves our community passionately and efficiently, but we know there continues to be unmet need. Many of the people we serve are only able to make ends meet through the combination of Food Bank groceries and Supplemental Nutrition Assistance Program (SNAP) benefits. -
Perceptions, 1991
p e R G e p T I o N 5 T G.~~ lC@llll~~~ A unit of the University System of Geo~ A pu!ilication of the'llumanities Division and Student Affairs Vol. X 1991 Perceptions Staff Perceptions is a creative arts magazine published by the Humanities Division and Student Activi ties Editor of Gai nesville College to encourage the arts among Sheila Casper students, faculty, and friends of the college. Some 6779 of the works published herei n are the crea ti ve products of art and writing classes; others are Art Editor contributions from fri ends of the creative arts. Beth Baltes All unsolicited manuscripts and artwork should be accompanied by a stamped, self-addressed en Computer Operations velope. While care will be exercised in handling these materials, the editorial staff ca nno t assume Blake Wilkie responsibility for them in the event of damage or loss. Submit all materials to Brad Strickland, Humanities Division, Gainesville College, Box Editorial Staff 1358, Gainesville, Georgia, 30503. Andrea Blachly Elsie Nelson Authors and artists retain all rights to their works in this publication. Pam Niles Jason Rimeik Faculty Advisors Brad Strickland FOR REFERENCE Robert Westervelt 1r NOT TO BE TAKEN FROM THE ROOM Special Thanks To: The Anchor Staff The English Club II Oscar Patton Diane Wheeler cover. oi.l painting Sally Russell Beth Baltes ink wash Thomas Sauret " ljthe doors ojperception were cleansed (Q) - Barbara Thomas every thing would appear to man as it is, infinite. " -William Blake N § Art Beth Baltes 1 ink wash 1Ii water color n graphite drawing :Ii graphite drawing StlndrlJ Butler J.1. -
Bricolage 11
bricolage 11 bricolage 11: Refugee Narratives – Fluchtgeschichten bricolage 11: Refugee Innsbrucker Zeitschrift für Europäische Ethnologie Innsbrucker Helga Ramsey-Kurz, Gilles Reckinger (Hg.) Refugee Narratives – Fluchtgeschichten innsbruck university press SERIES bricolage Innsbrucker Zeitschrift für Europäische Ethnologie Herausgegeben von Timo Heimerdinger, Jan Hinrichsen, Konrad J. Kuhn, Silke Meyer, Oliwia Murawska, Stephanie Schmidt und Ingo Schneider Band 11 innsbruck university press Helga Ramsey-Kurz (Hg.) Institut für Anglistik, Universität Innsbruck Gilles Reckinger (Hg.) Institut supérieur de l‘économie (Luxembourg) Gedruckt mit Fördermitteln der Universität Innsbruck: Vizerektorat für Forschung Dekanat der Philosophisch-Historischen Fakultät Dekanat der Philologisch-Kulturwissenschaftlichen Fakultät © innsbruck university press, 2020 Universität Innsbruck 1. Auflage Alle Rechte vorbehalten. www.uibk.ac.at Titelbild: Safa ISBN 978-3-903187-92-4 bricolage Innsbrucker Zeitschrift für Europäische Ethnologie Heft 11: Helga Ramsey-Kurz, Gilles Reckinger (Hg.) Refugee Narratives – Fluchtgeschichten Explorativ-ethnographische Ergebnisse eines Euregio-Lehrforschungsprojektes We would like to express our deep gratitude to each one of our project part- ners for their willingness to share their thoughts and recollections with us. Unser ausdrücklicher Dank gilt allen unseren Projektpartner_innen für ihre Bereitschaft, ihre Gedanken und Erinnerungen mit uns zu teilen. Außerdem danken wir Barbara Juen (Institut für Psychologie, Universität Innsbruck) und Anita Niegelhell (Institut für Kuluranthropologie und Europäische Ethnologie, Universität Graz) für ihre wertvolle fachliche Unterstützung unseres Projektes. Content/Inhalt 7 Helga Ramsey-Kurz, Gilles Reckinger Introduction/Einleitung 13 Hannah Spielmann Life Writing Meets Creative Non-ction in Refugee Encounter Narrations 21 Hannah Kanz, Lisa Manzl, Farzaneh R. Farzanehs und Ramins Geschichte 41 Axel Mölg A Restless Story 51 Janine Fingerlos, Saiid Dierent Dierent But Same 63 Bilal J., Lizzy W., Sonja H. -
The Empowerment Manual
Advance Praise for The EMPOWERMENT MANUAL It’s not easy to meld a sweeping vision with practical steps on how to implement it, but Starhawk has succeeded brilliantly in The Empowerment Manual. Filled with case histories, illustrative stories, and, most importantly, clearly written exercises for honing your collaborative skills, this book is a must-read for anyone interested in building community and truly empowering themselves and others. — Toby Hemenway, author, Gaia’s Garden: A Guide to Home-Scale Permaculture True social change is a collaborative art. Here’s a trove of tips, guidelines, deft strategies and open secrets, that will speed and ease our capacity to work together. It comes to us with Starhawk’s signature blend of vast experience, wit, and love for life. — Joanna Macy, author, The Work that Reconnects and co-author, Active Hope: How to Face the Mess We’re In Without Going Crazy This new book, The Empowerment Manual: A Guide for Collaborative Groups, is Starhawk at her best — wise woman elder, articulate thinker and witty writer, experienced leader and fierce guardian of the planet. This is the how-to we’ve been needing, an eloquent and thoughtful handbook of intelligent advice detailing exactly how to bring the principles of cooperation, caring, and demo- cratic sustainability fully into living practice. Extremely well done! — Vicki Noble, co-creator of Motherpeace, author of Shakti Woman and The Double Goddess The Empowerment Manualis truly a guide to ensure the survival of those of us who us who are struggling to work collaboratively. It sheds a light on those dark corners of group dynamics that can leave us confused and disheartened. -
Chasing the Light Submission Document
Illuminations:, Casting,Light,Upon,the,Earliest,Female,Travellers,to, Antarctica, A novel and exegesis Submitted in fulfilment of the requirements for the degree of Doctor of Creative Arts in the Writing and Society Research Centre University of Western Sydney By Jesse Blackadder Student number 96708633 October 2013 Volume,One,of,Two, Dedication, Dedicated to The women who journeyed to Antarctica in the 1930s on the Christensen fleet: Ingrid Christensen Mathilde Wegger Lillemor (Ingebjørg) Rachlew Ingebjørg Dedichen Caroline Mikkelsen Augusta Sofie (‘Fie’) Christensen Solveig Widerøe My mother, Barbara Walsh (1941–1988), whose journey ended too soon. And my partner, Andi, who came along on this journey from beginning to end. , Acknowledgements, I completed this research in the Writing and Society Research Centre at the University of Western Sydney. I am grateful to the university for supporting my research with a scholarship. Thanks to my supervisors Professor Gail Jones and Doctor Sara Knox, staff members Melinda Jewell and Susanne Gapps, librarian Susan Robbins, and my fellow candidates. I thank the Australian Antarctic Division for awarding me the 2011/12 Antarctic Arts Fellowship, enabling me to visit Ingrid Christensen Land in Antarctica. I am grateful to Ingrid Christensen’s granddaughter, Ingrid Wangen, and grandson, Thor Egede-Nissen, who shared historical diaries and photo albums. Tonje Ackherholt, Eva Ollikainen and Constance Ellwood helped me with translations. Staff members at the Sandefjord Whaling Museum in Norway gave me access to Lars Christensen’s diaries and other materials during my visit, and permitted me to use photographs from the Christensen’s voyages in talks and publications. -
Derek Kompare, Southern Methodist University
TV Genre, Political Allegory, and New Distribution Platforms “Streaming and the Function of Television Genre” Derek Kompare, Southern Methodist University Although it’s been less than four years since Netflix introduced House of Cards, such exclusive programming has become a standard expectation on streaming platforms, which now consistently premiere several such series throughout each year. Cable networks such as HBO, AMC, Showtime, and FX continue to roll out this sort of critic- and high-demo-friendly programming, but streamers have legitimately challenged their dominance. Given rapidly shifting metrics and secretive distributors, we’ll never know the scope of this challenge in real audience terms. That said, the impact of this programming in media coverage can still be assessed. There, programs’ forms and distribution models are still as much a matter of public discussion as character arcs or story events. The concept of a “cable series” came to represent a broadening of established television standards of form and genre in the 2000s; the concept of a “streaming series” is just beginning to represent a similar break from the now-normative expectations of cable. Streaming’s on-demand architecture has been its primary cultural impact (regardless of what viewers actually demand to watch), and this distribution model has affected how television series are now conceived, produced, promoted, and consumed. A brief look at three relatively prominent series, on each of the major streaming services, reveals a bit about how the perception of -
Leaving Thank You Letter
Leaving Thank You Letter Filip kneels logistically. If muckiest or eager Wallace usually imprecate his portfolio relocate yearly or assizzled aerodynamic wordlessly Pierre and capitularly,unsays contemptuously how woebegone and isendorse Weber? underground. Eduardo is king-sized and unlaying erst Is quite high road during the best and portable pdf files are going through goodbye note as my heartiest thankfulness for. Do me over the letter leaving a colleague is to remain the past. You letter template while writing courses in life harder than no time carefully for thanking your resignation is going, thanks to learn how to drive home. Is leaving me up can thank you letter short and thanks again, you instantly click any time with pdfsimpli? Content for me even get a position automatically convert thank you leaves the hardest or customer for your resignation letter is the power and. Bidding farewell letter leaving school publishing is a retirement, thanks again on your contact. Please let this. Is leaving a thank you leave. Monthly targets and thank you letter as you? To thank the letter. Having an anecdote or letter leaving my thanks to thank you express. It a peaceful vacation without getting close. Thanking your letter that you letters! Find a thank you leave for you have a very best and. Determine the same person go out a thank you want to work every one. You letter to handle case you do you from a coworker like when someone you? In thank you leave the signs and thanks and plan to settings, the same time here is a good luck in the position automatically. -
Music for a Shadow Play)
Gamelan (Music for a Shadow Play) By Lawrence R. Tirino ©2013 To the good people who have been led astray by madmen, and especially to those who have suffered as a result. 1.Death in the Afternoon Chucha de tu madre! Que bestia!¨ Louis grumbled under his breath as he listened to the men on red scooters visiting all the small shopkeepers. ¨Chulqueros! ¨ He spat into the gutter. ¨Todo el pueblo anda chiro; ¨ - meaning of course that everyone‟s pockets held lint, or dust, or assorted garbage, but none of them held any money. They can‟t get credit cards, and banks won‟t lend them the small amounts that they needed to keep their business running, so they look for one of the countless street shysters that sit drinking coffee at beachfront restaurants in the afternoons when the sun has mellowed. These merchant bankers are the survivors who fled the brutality of their own countries; and although they now wear fine leather shoes and silk shits, the scent of decadence still clings to their pores. Last year they were charging twenty per cent of the principle on the first of the month. Nervous shopkeepers were easily confused into believing that they were paying the same rates as banks. Now it was even easier; a few dollars every day. But all the borrower ever pays is interest. One day the victim wakes up and realizes their mistake; and then they fold and disappear into the nighttime air. Or perhaps the back page of the morning paper. Sunday, the saddest day.