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Metamodernism, Or Exploring the Afterlife of Postmodernism
“We’re Lost Without Connection”: Metamodernism, or Exploring the Afterlife of Postmodernism MA Thesis Faculty of Humanities Media Studies MA Comparative Literature and Literary Theory Giada Camerra S2103540 Media Studies: Comparative Literature and Literary Theory Leiden, 14-06-2020 Supervisor: Dr. M.J.A. Kasten Second reader: Dr.Y. Horsman Master thesis submitted in accordance with the regulations of Leiden University 2 Table of Contents Acknowledgments ................................................................................................................................. 3 Introduction ........................................................................................................................................... 4 CHAPTER 1: Discussing postmodernism ........................................................................................ 10 1.1 Postmodernism: theories, receptions and the crisis of representation ......................................... 10 1.2 Postmodernism: introduction to the crisis of representation ....................................................... 12 1.3 Postmodern aesthetics ................................................................................................................. 14 1.3.1 Sociocultural and economical premise ................................................................................. 14 1.3.2 Time, space and meaning ..................................................................................................... 15 1.3.3 Pastiche, parody and nostalgia ............................................................................................ -
Thaw Is Maniac
formation of the sediment does not harm. cyclopaedia explains that some families only necessary to stir it up W‘t_h English nobility as it is of the held their land the marking brush. When necessary wa- DOCTOR DECLARES on a tenure which forbade them to cut ink is ter may be added. Another ob- these being reserved #s the in down trees. by dissolving gum property of the Royal pavy. But any tained some damar ef- down oil of turpentine, which is quickly ~ _— ‘ree \ IS which fell without human as- by the application of a THAW MANIAC WIS, cistance they might keep, so that a hurri- fected ht?e,he:x_t.1s \ e EAGLE RIVER, In this weak varnish a black color ———————ee cane causing a great ‘“windfall” was ; —————eeeeee be very | _——— e | welcome. seems probable, stirred, which must finely fa’m““d- AT heartily It oil of rurpentine 1S vola- SUPERINTENDENT MATTEAWAN WILL APPCINT ONLY however, that the expression was simp- TROOPS ON MARCH HAVE ORDERS After use the - SPEARKER gum to ~ HE 1S DANGEROUS ©O. E. BOWEN, Publisher. ap tilized and the thet(‘“]“r BELIEVES T 0 ler in origin. Even apple that fell to TO REPRESS MERCILESSLY markingsecures ink “REGULARS” MEMBERS OF IM- the ground without the trouble of pick- the wood. This sHould willbe | HAVE AT LARGE. ————— often kept in well closed bottles, and it P PORTANT COMMITTEES. ing it, and which a passerby might ANY RESISTANCE. 1f the color annex without feeling that he was a then remain good for years. ; ee e e it can OF CONG RESS : thief, would be a lucky *“windfall.”— e has become too thick be reduced WORK it of turpentine. -
Uc Merced Intramural Sports
UC MERCED INTRAMURAL SPORTS 4 ON 4 FLAG FOOTBALL RULES ALL RULES NOT COVERED BY THIS SUPPLEMENT SHALL BE GOVERNED BY CURRENT NIRSA FLAG AND TOUCH FOOTBALL RULES. G 5 20 25 20 5 G RULE 1: THE GAME 1.1 The game shall be played between 2 teams of 4 players each. Three players per team are required to avoid a forfeit. 1.2 No contact allowed, this includes any type of bumping on the line 1.3 A coin toss determines first possession 1.4 The offensive team takes possession of the ball at their 5-yard line and has three plays to cross mid-field. 1.5 Once a team crosses mid-field they have three plays to score. If the offense fails to score, the ball changes possession. 1.6 If the offensive team fails to cross mid-field, the ball changes possession. 1.7 All drives start from the 5-yard line except interceptions. 1.8 Each game is 40 minutes long, consisting of two 20-minute halves and a 2- minute halftime. At the end of regulation there will be 6 downs of play. 1.9 The clock will not stop unless a time out has been called or the official feels it is necessary. 1.10 Each time the ball is spotted, the offensive team has 30 seconds to snap the ball. 1.11 Teams may not snap the ball until the officials are set. (No Quick Snaps) 1.12 Each team has one 60 second time out per game. 1.13 Time outs will only stop the game clock for 60 seconds. -
Ciara's Nominations
CIARA’S NOMINATIONS - DRAMA OUTSTANDING DRAMA SERIES Better Call Saul Chilling Adventures of Sabrina Maniac Orange is the New Black Pose Sharp Objects When They See Us OUTSTANDING LEAD ACTOR IN A DRAMA OUTSTANDING LEAD ACTRESS IN A DRAMA • Bob Odenkirk – Better Call Saul • Kiernan Shipka – Chilling Adventures of • Jonah Hill – Maniac Sabrina • Jharrel Jerome – When They See Us • Jodie Comer – Killing Eve • Sandra Oh – Killing Eve • Emma Stone – Maniac • Mj Rodriguez – Pose • Amy Adams – Sharp Objects OUTSTANDING SUPPORTING ACTOR IN A DRAMA OUTSTANDING SUPPORTING ACTRESS IN A DRAMA • Jonathan Banks – Better Call Saul • Rhea Seehorn – Better Call Saul • Evan Peters – Pose • Danielle Brooks – Orange is the New Black • Billy Porter – Pose • Patricia Clarkson – Sharp Objects • Asante Blackk – When They See Us • Eliza Scanlen – Sharp Objects • Freddie Miyares – When They See Us • Felicity Huffman – When They See Us • Michael K. Williams – When They See Us • Niecy Nash – When They See Us OUTSTANDING WRITING IN A DRAMA OUTSTANDING DIRECTING IN A DRAMA • Better Call Saul: “Winner”, written by Peter • Better Call Saul: “Something Stupid”, directed Gould & Thomas Schnauz by Deborah Chow • Chilling Adventures of Sabrina: “Chapter • Maniac: “Furs by Sebastian”, directed by Cary Three: The Trial of Sabrina Spellman”, Joji Fukunaga written by Ross Maxwell • Orange is the New Black: “Who Knows Better • Killing Eve: “Nice and Neat”, written by Than I”, directed by Michael Trim Emerald Fennell • Pose: “Love is the Message”, directed by Janet • Maniac: -
History American Football Evolved from Rugby, Which Was a Spin-Off from Soc- Cer
History American football evolved from rugby, which was a spin-off from soc- cer. Early roots of the modern game can be traced to a college game played in 1869 Answer the questions. between Princeton and Rutgers universities. Each team had 25 men on the field; 1. What do you know the game more resembled soccer then football, as running with the ball, passing and about flag football? tackling were not allowed. Harvard and McGill universities played a game in 1874 that combined elements of rugby and soccer’ this game caught on in eastern U.S. 2. Describe how to grip schools and developed into the beginnings of modern football and throw the football. Early rules included playing with a round ball and needing to make 5 yards in three downs. Rules have continually evolved to make the game fair, exciting, 3. Why was the game of and less violent. From its beginnings in America on college campuses, football has flag football invented? grown into a widely popular sport in the United States, where it is played in youth leagues, in high schools, and professionally. Football games are played all over the 4. What is the primary world, although it is not a great spectator sport outside the United States. There is a objective of flag foot- National Football League (NFL) Europe league, made up mostly of American players, with rules basically the same as in the NFL in the United States. ball? Flag Football is believed to have begun in the U.S. military during World 5. Where should you War II. -
Penalty Enforcements Made Easy: Position by Position Responsibilities — Sixth Edition
High School Football Penalty Enforcements Made Easy: Position By Position Responsibilities — Sixth Edition By Jeffrey Stern, senior editor, Referee magazine The derivative work represented by this book is copyrighted by Referee Enterprises, Inc. (© 2013), which includes the title and graphics, and is used by permission. The illustrations, including the chapter graphics, in this book are protected by copyrights of Referee Enterprises, Inc. (© 2013) and are used by permission. PlayPic® and MechaniGram® and their related graphics are registered trademarks of Referee Enterprises, Inc., and are copyrighted. Copying in whole or in part is prohibited without prior written consent from Referee Enterprises, Inc. Republication of all or any part of this publication, including on the Internet, is expressly prohibited. Published by Referee Enterprises, Inc. (www.referee.com) and the National Association of Sports Officials (www.naso.org) Printed in the United States of America ISBN-13: 978-1-58208-217-2 Table of Contents Introduction Chapter 1 Calling a Foul and Using the flag Chapter 2 Reporting a foul Chapter 3 Enforcing the Penalty Chapter 4 Penalty signaling sequences Chapter 5 Spots and the All-but-one Principle Chapter 6 Fouls on running Plays Chapter 7 Fouls During a Backward Pass, fumble or legal Forward Pass Chapter 8 Fouls on Free-Kick Plays Chapter 9 Fouls on change of Possession plays Chapter 10 Fouls on scrimmage-Kick Plays Chapter 11 Dead-Ball fouls Chapter 12 Live-Ball Followed by Dead-Ball Fouls Chapter 13 Double and Multiple Fouls Chapter 14 Double and Multiple Fouls with change of Possession Chapter 15 Carryover Fouls (“Bridges”) Chapter 16 Trys Appendix A Penalty Summary Appendix B Signal Chart Introduction Calling and enforcing a penalty isn’t as easy as coaches and fans think it is. -
Guide for Statisticians © Copyright 2021, National Football League, All Rights Reserved
Guide for Statisticians © Copyright 2021, National Football League, All Rights Reserved. This document is the property of the NFL. It may not be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or information storage and retrieval systems, or the information therein disseminated to any parties other than the NFL, its member clubs, or their authorized representatives, for any purpose, without the express permission of the NFL. Last Modified: July 9, 2021 Guide for Statisticians Revisions to the Guide for the 2021 Season ................................................................................4 Revisions to the Guide for the 2020 Season ................................................................................4 Revisions to the Guide for the 2019 Season ................................................................................4 Revisions to the Guide for the 2018 Season ................................................................................4 Revisions to the Guide for the 2017 Season ................................................................................4 Revisions to the Guide for the 2016 Season ................................................................................4 Revisions to the Guide for the 2012 Season ................................................................................5 Revisions to the Guide for the 2008 Season ................................................................................5 Revisions to -
Inside Blitz Football Rules
Inside Blitz Football Rules WWW.INSIDESPORTSGAMES.COM © ISG 2007 1 Instructions on how to play What you will need to play: 3 six sided dice (3 different colors [red, white,blue]) from now on referred to as 3d6. Some references will refer to roll 2d6 which is rolling just the red and white dice. 1d6 refers to rolling just the blue die. The dice will mostly be used to read the column (red), the row (white) and the blue die will be used to check ratings. For lookups on the charts and for checking the range on QBs' PR section the dice will need to be read red then white combined. (ie. Red 4, white 2 = 42) 1 Game Chart with the Long Gain, Turnover Return, Penalty and Defensive Adjustments Charts. 100 FAC (Fast Action Cards): To be shuffled after each quarter for more randomness. Each team will have 4 team charts, 2 of these will have player cards for offensive players, 1 special teams players and 1 chart with defensive players. FAST ACTION CARD (FAC) The card number used to determine the (example: not an actual FAC) Key players involved depending on the play, kick and punt return men. Also used to determine 15 Key if two positions are listed use the same roll versus runner or receivers. FAC card number. Sweep Left RDT RIB both positions. Inside Left RDT Running plays Inside Right LDT Secondary Receiver players used when a Sweep Right LDT LIB (PR) pass rush fails to get a different receiver Special FAC events such as out-of-bounds, QB OOB Key Sec Rec depending on pass play. -
Briarpatch” to Film in New Mexico
Michelle Lujan Grisham Governor Alicia J. Keyes Cabinet Secretary Todd Christensen Director FOR IMMEDIATE RELEASE: Bruce Krasnow June 17, 2019 (505) 827-0226, cell: (505) 795-0119 [email protected] The New Mexico Film Office Announces USA Network’s “Briarpatch” to film in New Mexico SANTA FE, N.M. The New Mexico State Film Office today announced that the USA Network television series, “Briarpatch” produced by UCP (Universal Content Productions) and Paramount Television will begin principal photography mid-June through the end of September in Albuquerque. Starring Rosario Dawson, who will also serve as a producer, the production will employ approximately 100 New Mexico crew members and 250-350 New Mexico background talent per episode. “Briarpatch” follows Allegra Dill (Dawson), a dogged investigator returning to her border- town Texas home after her sister is murdered. What begins as a search for a killer turns into an all-consuming fight to bring her corrupt hometown to its knees. The season celebrates the beloved genres represented by Thomas’ book -- a stylish blend of crime and pulp fiction -- while updating his sense of fun, danger and place for a new generation. Based on the Ross Thomas novel of the same name, “Briarpatch” is written for television by Andy Greenwald, who will executive produce along with “Mr. Robot” creator Sam Esmail through his production company Esmail Corp and Anonymous Content’s Chad Hamilton. The series also stars Jay R. Ferguson (“Mad Men,” “The Romanoffs”), Brian Geraghty (“Chicago P.D.,” “Ray Donovan”) and Edi Gathegi (“StartUp”). ### Visit the New Mexico Film Office online at nmfilm.com About Universal Content Productions (UCP) UCP is a premium content studio that operates with a highly curated indie sensibility, while simultaneously leveraging the power and scale of NBCUniversal. -
The Evolution of Commercial Rap Music Maurice L
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 A Historical Analysis: The Evolution of Commercial Rap Music Maurice L. Johnson II Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION A HISTORICAL ANALYSIS: THE EVOLUTION OF COMMERCIAL RAP MUSIC By MAURICE L. JOHNSON II A Thesis submitted to the Department of Communication in partial fulfillment of the requirements for the degree of Master of Science Degree Awarded: Summer Semester 2011 The members of the committee approve the thesis of Maurice L. Johnson II, defended on April 7, 2011. _____________________________ Jonathan Adams Thesis Committee Chair _____________________________ Gary Heald Committee Member _____________________________ Stephen McDowell Committee Member The Graduate School has verified and approved the above-named committee members. ii I dedicated this to the collective loving memory of Marlena Curry-Gatewood, Dr. Milton Howard Johnson and Rashad Kendrick Williams. iii ACKNOWLEDGEMENTS I would like to express my sincere gratitude to the individuals, both in the physical and the spiritual realms, whom have assisted and encouraged me in the completion of my thesis. During the process, I faced numerous challenges from the narrowing of content and focus on the subject at hand, to seemingly unjust legal and administrative circumstances. Dr. Jonathan Adams, whose gracious support, interest, and tutelage, and knowledge in the fields of both music and communications studies, are greatly appreciated. Dr. Gary Heald encouraged me to complete my thesis as the foundation for future doctoral studies, and dissertation research. -
The Dead Don't Die — They Rise from Their Graves and Savagely Attack and Feast on the Living, and the Citizens of the Town Must Battle for Their Survival
THE DEAD DON’T DIE The Greatest Zombie Cast Ever Disassembled Bill Murray ~ Cliff Robertson Adam Driver ~ Ronnie Peterson Tilda Swinton ~ Zelda Wintson Chloë Sevigny ~ Mindy Morrison Steve Buscemi ~ Farmer Miller Danny Glover ~ Hank Thompson Caleb Landry Jones ~ Bobby Wiggins Rosie Perez ~ Posie Juarez Iggy Pop ~ Coffee Zombie Sara Driver ~ Coffee Zombie RZA ~ Dean Carol Kane ~ Mallory O’Brien Austin Butler ~ Jack Luka Sabbat ~ Zach Selena Gomez ~ Zoe and Tom Waits ~ Hermit Bob The Filmmakers Written and Directed by Jim Jarmusch Produced by Joshua Astrachan Carter Logan TABLE OF CONTENTS I. Synopsis . 4 II. “The Dead Don’t Die” Music and Lyrics by Sturgill Simpson 5 III. About the Production . 6 IV. Zombie Apocalypse Now . 8 V. State of the Nation . 11 VI. A Family Affair . 15 VII. Day For Night . 18 VIII. Bringing the Undead to Life . 20 IX. Anatomy of a Scene: Coffee! . 23 X. A Flurry of Zombies . 27 XI. Finding Centerville . 29 XII. Ghosts Inside a Dream . 31 XIII. About the Filmmaker – Jim Jarmusch . 33 XIV. About the Cast . 33 XV. About the Filmmakers . 49 XVI. Credits . 54 2 SYNOPSIS In the sleepy small town of Centerville, something is not quite right. The moon hangs large and low in the sky, the hours of daylight are becoming unpredictable, and animals are beginning to exhibit unusual behaviors. No one quite knows why. News reports are scary and scientists are concerned. But no one foresees the strangest and most dangerous repercussion that will soon start plaguing Centerville: The Dead Don't Die — they rise from their graves and savagely attack and feast on the living, and the citizens of the town must battle for their survival. -
Doherty, Thomas, Cold War, Cool Medium: Television, Mccarthyism
doherty_FM 8/21/03 3:20 PM Page i COLD WAR, COOL MEDIUM TELEVISION, McCARTHYISM, AND AMERICAN CULTURE doherty_FM 8/21/03 3:20 PM Page ii Film and Culture A series of Columbia University Press Edited by John Belton What Made Pistachio Nuts? Early Sound Comedy and the Vaudeville Aesthetic Henry Jenkins Showstoppers: Busby Berkeley and the Tradition of Spectacle Martin Rubin Projections of War: Hollywood, American Culture, and World War II Thomas Doherty Laughing Screaming: Modern Hollywood Horror and Comedy William Paul Laughing Hysterically: American Screen Comedy of the 1950s Ed Sikov Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema Rey Chow The Cinema of Max Ophuls: Magisterial Vision and the Figure of Woman Susan M. White Black Women as Cultural Readers Jacqueline Bobo Picturing Japaneseness: Monumental Style, National Identity, Japanese Film Darrell William Davis Attack of the Leading Ladies: Gender, Sexuality, and Spectatorship in Classic Horror Cinema Rhona J. Berenstein This Mad Masquerade: Stardom and Masculinity in the Jazz Age Gaylyn Studlar Sexual Politics and Narrative Film: Hollywood and Beyond Robin Wood The Sounds of Commerce: Marketing Popular Film Music Jeff Smith Orson Welles, Shakespeare, and Popular Culture Michael Anderegg Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema, ‒ Thomas Doherty Sound Technology and the American Cinema: Perception, Representation, Modernity James Lastra Melodrama and Modernity: Early Sensational Cinema and Its Contexts Ben Singer