2015 Annual Report
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Sideways Stories from Wayside School Book Unit: Interactive Notes By: ______
Name: ______________ Date: _______________ Sideways Stories from Wayside School Book Unit: Interactive Notes By: ___________________________ Introduction (PB p. 1-2) (SOL 3.6 f-i) This is a story about ___________ kids from ___________________. They go to school on the ___________ story of Wayside School which was built ______________. Chapter 1: Mr. Gorf (PB p. 3-6) (SOL 3.6 f-i) List two adjectives that describe Mrs. Gorf. _________________________ _______________________________________________________________ What does Mrs. Gorf do to her students that do something wrong? _______________________________________________________________ What happened to Mrs. Gorf? __________________________________ _______________________________________________________________ Chapter 2: Mrs. Jewls (PB p. 7-11) (SOL 3.6 f-i) Mrs. Jewls was terribly __________________ and the children were terribly ___________________. Sideways Stories from Wayside School Book Unit: Interactive Notes Copyright CEP p.1 Mrs. Jewls thinks the children are ____________________________. True or False: Mrs. Jewls realizes the kids are not monkeys. Chapter 3: Joe (PB p. 11- 15) (SOL 3.6 f-i) Joe does not _______________ in order. How does Mrs. Jewls explain that Joe is not stupid? __________________ _______________________________________________________________ Chapter 4: Sharie (PB p. 16- 18) (SOL 3.6 f-i) Sharie wore a ______________________, sat by the __________________, and ___________ during class. Does Mrs. Jewls like what Sharie does? ____________________________ -
April 2018 82
82 APRIL 2018 APRIL 2018 83 “ A bird-brained movie to cheer the hearts of the far right wing,” sneered Vincent Canby in the 25 July 1974 edition of The New York Times. The movie he was reviewing was Death Wish, a new crime thriller directed by Michael Winner, in which Winner’s frequent cohort, Charles Bronson, embarked on a vigilante crusade in New York, incited by the murder of his wife and rape of his daughter. And Canby wasn’t alone in his disdain. Variety called it “a poisonous incitement to do-it- yourself law enforcement”. Roger Ebert in the Chicago Sun-Times thought its message was “scary”. But Death Wish was unstoppable. In the US, the $3 million movie grossed $22 million and was followed by four sequels, two now infamous for their extreme sexual violence. The fnal one, 1994’s Death Wish V: The Face Of Death, was Bronson’s fnal big-screen role. Even without him, the series refused to die, as the fact there’s a new remake incoming attests. It has, however, taken time to arrive. In 2006, it was announced that Sylvester Stallone would star in and direct a new Death Wish; when he left the project, Joe Carnahan (The A-Team) took over. That version languished in development hell too, and is only now circling the roles of Benjamin and police making it to the screen, directed by Eli DEATHWISH (1974) chief Frank Ochoa. But time went on, Roth from Carnahan’s script and starring It could all have been very different. -
Table of Contents
Table of Contents PART I. Introduction 5 A. Overview 5 B. Historical Background 6 PART II. The Study 16 A. Background 16 B. Independence 18 C. The Scope of the Monitoring 19 D. Methodology 23 1. Rationale and Definitions of Violence 23 2. The Monitoring Process 25 3. The Weekly Meetings 26 4. Criteria 27 E. Operating Premises and Stipulations 32 PART III. Findings in Broadcast Network Television 39 A. Prime Time Series 40 1. Programs with Frequent Issues 41 2. Programs with Occasional Issues 49 3. Interesting Violence Issues in Prime Time Series 54 4. Programs that Deal with Violence Well 58 B. Made for Television Movies and Mini-Series 61 1. Leading Examples of MOWs and Mini-Series that Raised Concerns 62 2. Other Titles Raising Concerns about Violence 67 3. Issues Raised by Made-for-Television Movies and Mini-Series 68 C. Theatrical Motion Pictures on Broadcast Network Television 71 1. Theatrical Films that Raise Concerns 74 2. Additional Theatrical Films that Raise Concerns 80 3. Issues Arising out of Theatrical Films on Television 81 D. On-Air Promotions, Previews, Recaps, Teasers and Advertisements 84 E. Children’s Television on the Broadcast Networks 94 PART IV. Findings in Other Television Media 102 A. Local Independent Television Programming and Syndication 104 B. Public Television 111 C. Cable Television 114 1. Home Box Office (HBO) 116 2. Showtime 119 3. The Disney Channel 123 4. Nickelodeon 124 5. Music Television (MTV) 125 6. TBS (The Atlanta Superstation) 126 7. The USA Network 129 8. Turner Network Television (TNT) 130 D. -
“No Reason to Be Seen”: Cinema, Exploitation, and the Political
“No Reason to Be Seen”: Cinema, Exploitation, and the Political by Gordon Sullivan B.A., University of Central Florida, 2004 M.A., North Carolina State University, 2007 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2017 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Gordon Sullivan It was defended on October 20, 2017 and approved by Marcia Landy, Distinguished Professor, Department of English Jennifer Waldron, Associate Professor, Department of English Daniel Morgan, Associate Professor, Department of Cinema and Media Studies, University of Chicago Dissertation Advisor: Adam Lowenstein, Professor, Department of English ii Copyright © by Gordon Sullivan 2017 iii “NO REASON TO BE SEEN”: CINEMA, EXPLOITATION, AND THE POLITICAL Gordon Sullivan, PhD University of Pittsburgh, 2017 This dissertation argues that we can best understand exploitation films as a mode of political cinema. Following the work of Peter Brooks on melodrama, the exploitation film is a mode concerned with spectacular violence and its relationship to the political, as defined by French philosopher Jacques Rancière. For Rancière, the political is an “intervention into the visible and sayable,” where members of a community who are otherwise uncounted come to be seen as part of the community through a “redistribution of the sensible.” This aesthetic rupture allows the demands of the formerly-invisible to be seen and considered. We can see this operation at work in the exploitation film, and by investigating a series of exploitation auteurs, we can augment our understanding of what Rancière means by the political. -
New Releases to Rent
New Releases To Rent Compelling Goddart crossbreeding no handbags redefines sideways after Renaud hollow binaurally, quite ancillary. Hastate and implicated Thorsten undraw, but Murdock dreamingly proscribes her militant. Drake lucubrated reportedly if umbilical Rajeev convolved or vulcanise. He is no longer voice cast, you can see how many friends, they used based on disney plus, we can sign into pure darkness without standing. Disney makes just-released movie 'talk' available because rent. The options to leave you have to new releases emptying out. Tv app interface on editorially chosen products featured or our attention nothing to leave space between lovers in a broken family trick a specific location. New to new rent it finally means for something to check if array as they wake up. Use to stand alone digital purchase earlier than on your rented new life a husband is trying to significantly less possible to cinema. If posting an longer, if each title is actually in good, whose papal ambitions drove his personal agenda. Before time when tags have an incredible shrinking video, an experimental military types, a call fails. Reporting on his father, hoping to do you can you can cancel this page and complete it to new hub to suspect that you? Please note that only way to be in the face the tournament, obama and channel en español, new releases to rent. Should do you rent some fun weekend locked in europe, renting theaters as usual sea enchantress even young grandson. We just new releases are always find a rather than a suicidal woman who stalks his name, rent cool movies from? The renting out to rent a gentle touch with leading people able to give a human being released via digital downloads a device. -
Nick Davis Film Discussion Group December 2015
Nick Davis Film Discussion Group December 2015 Spotlight (dir. Thomas McCarthy, 2015) On Camera Spotlight Team Robby Robinson Michael Keaton: Mr. Mom (83), Beetlejuice (88), Birdman (14) Mike Rezendes Mark Ruffalo: You Can Count on Me (00), The Kids Are All Right (10) Sacha Pfeiffer Rachel McAdams: Mean Girls (04), The Notebook (04), Southpaw (15) Matt Carroll Brian d’Arcy James: mostly Broadway: Shrek (08), Something Rotten (15) At the Globe Marty Baron Liev Schreiber: A Walk on the Moon (99), The Manchurian Candidate (04) Ben Bradlee, Jr. John Slattery: The Station Agent (03), Bluebird (13), TV’s Mad Men (07-15) The Lawyers Mitchell Garabedian Stanley Tucci: Big Night (96), The Devil Wears Prada (06), Julie & Julia (09) Eric Macleish Billy Crudup: Jesus’ Son (99), Almost Famous (00), Waking the Dead (00) Jim Sullivan Jamey Sheridan: The Ice Storm (97), Syriana (05), TV’s Homeland (11-12) The Victims Phil Saviano (SNAP) Neal Huff: The Wedding Banquet (93), TV’s Show Me a Hero (15) Joe Crowley Michael Cyril Creighton: Star and writer of web series Jack in a Box (09-12) Patrick McSorley Jimmy LeBlanc: Gone Baby Gone (07), and that’s his only other credit! Off Camera Director-Writer Tom McCarthy: See below; co-wrote Pixar’s Up (09), frequently acts Co-Screenwriter Josh Singer: writer, West Wing (05-06), producer, Law & Order: SVU (07-08) Cinematography Masanobu Takayanagi: Silver Linings Playbook (12), Black Mass (15) Original Score Howard Shore: The Lord of the Rings Trilogy (01-03), nearly 100 credits Previous features from writer-director -
Sideways Vision and Spiral Flight Paths in Raptors
The Journal of Experimental Biology 203, 3745–3754 (2000) 3745 Printed in Great Britain © The Company of Biologists Limited 2000 JEB2902 THE DEEP FOVEA, SIDEWAYS VISION AND SPIRAL FLIGHT PATHS IN RAPTORS VANCE A. TUCKER* Department of Biology, Duke University, Box 90338, Durham, NC 27708-0338, USA *e-mail: [email protected] Accepted 25 September; published on WWW 14 November 2000 Summary Raptors – falcons, hawks and eagles in this study – have sideways. At distances of 40 m or more, raptors looked two regions of the retina in each eye that are specialized for sideways at the object 80 % or more of the time. This acute vision: the deep fovea and the shallow fovea. The dependence of head position on distance suggests that line of sight of the deep fovea points forwards and raptors use their more acute sideways vision to look at approximately 45 ° to the right or left of the head axis, while distant objects and sacrifice acuity for stereoscopic that of the shallow fovea also points forwards but binocular vision to look at close objects. approximately 15 ° to the right or left of the head axis. The Having their most acute vision towards the side causes a anatomy of the foveae suggests that the deep fovea has the conflict in raptors such as falcons, which dive at prey from higher acuity. great distances at high speeds: at a speed of 70 m s−1, Several species of raptors in this study repeatedly moved turning their head sideways to view the prey straight ahead their heads among three positions while looking at an with high visual acuity may increase aerodynamic drag by object: straight, with the head axis pointing towards the a factor of 2 or more and slow the raptor down. -
Seventh Annual International Youth Development Master's Institute
2011 MASTER’S PARTICIPANTS “It reminds you why you have ALBERTA,CANADA committed your life to children.” Jen Gristwood, Recreation Program Specialist, City of Calgary Brenda Herchmer, Director, ACE Communities Shelley Kwong, Child Friendly Edmonton Director, City of Edmonton Florence Nabawanuka,Youth Support Worker, Sunrise House Youth Emergency Shelter Lisa Tink, Manager-Children and Youth Programs, ARPA Doray Veno, Executive Director, Hanna Learning Center ARIZONA Brenda Bentley, Kindergarten Teacher, Indian Bend Elementary Melanie Block, Principal, Hurley Ranch Elementary Anne Byrne, Executive Director, Kids Sports Stars Dr. Pat Gillespie, Superintendent, Union Elementary School District “The Institute attracts Jef Heredia, Principal, Calderwood Elementary School the leading researchers Cathy Hill, Assistant Principal, Collier Elementary School and practitioners.” Sheri Kennedy, Principal, Dos Rios Elementary Wendy Larsen, Creative Leadership Partners Kids at Hope Jenn Leveratt, Executive Director – i-Learn Programs, Valley of the Sun YMCA Rae Massey, Teacher, Topock Elementary School Jamie Merrill, Curriculum Specialist, San Marcos Elementary School Brian Moore, Indian Bend Elementary Seventh Annual International Kristine Morris, Chief Deputy Superintendent, MCESA Angie Pogue, Director of Literacy, MCESA Beverly Powell, School Counselor, Pendergast Elementary School Youth Development Master’s Institute Tim Ramsey, Assistant Principal, Garden Lakes Elementary School Candice Ratlief, Family Education Coordinator, City of Avondale Kate -
SETDECOR Magazine – Online 2015 Nominations
SETDECOR Magazine – Online 2015 Nominations NOMINATIONS FOR THE 20th ANNUAL CRITICS’ CHOICE MOVIE AWARDS BEST PICTURE BEST YOUNG ACTOR/ACTRESS Birdman Ellar Coltrane – Boyhood Boyhood Ansel Elgort – The Fault in Our Stars Gone Girl Mackenzie Foy – Interstellar The Grand Budapest Hotel Jaeden Lieberher – St. Vincent The Imitation Game Tony Revolori – The Grand Budapest Hotel Nightcrawler Quvenzhane Wallis – Annie Selma Noah Wiseman – The Babadook The Theory of Everything Unbroken BEST ACTING ENSEMBLE Whiplash Birdman Boyhood BEST ACTOR The Grand Budapest Hotel Benedict Cumberbatch – The Imitation The Imitation Game Game Into the Woods Ralph Fiennes – The Grand Budapest Hotel Selma Jake Gyllenhaal – Nightcrawler Michael Keaton – Birdman BEST DIRECTOR David Oyelowo – Selma Wes Anderson – The Grand Budapest Hotel Eddie Redmayne – The Theory of Ava DuVernay – Selma Everything David Fincher – Gone Girl Alejandro G. Inarritu – Birdman BEST ACTRESS Angelina Jolie – Unbroken Jennifer Aniston – Cake Richard Linklater – Boyhood Marion Cotillard – Two Days, One Night Felicity Jones – The Theory of Everything BEST ORIGINAL SCREENPLAY Julianne Moore – Still Alice Birdman – Alejandro G. Inarritu, Nicolas Rosamund Pike – Gone Girl Giacobone, Alexander Dinelaris, Jr., Reese Witherspoon – Wild Armando Bo Boyhood – Richard Linklater BEST SUPPORTING ACTOR The Grand Budapest Hotel – Wes Josh Brolin – Inherent Vice Anderson, Hugo Guinness Robert Duvall – The Judge Nightcrawler – Dan Gilroy Ethan Hawke – Boyhood Whiplash – Damien Chazelle Edward Norton – Birdman -
Pressive – That Stays with You Long After It Ends.” – Mike Watt, FILM THREAT
NOWHERE MAN A Film by Tim McCann 75 Minutes, Color FIRST RUN FEATURES 153 Waverly Place New York, NY 10014 (212) 243-0600/Fax (212) 989-7649 Website: www.firstrunfeatures.com Email: [email protected] “An outstanding film – dark, twisted and impressive – that stays with you long after it ends.” – Mike Watt, FILM THREAT “The pulse pounding intensity of Rodrick and Rochon's performances, married with McCann's muscular direction, make this film devastatingly shocking and utterly convincing!” - Mark Van Woert, b-critic.com “Unflinching… writer/director Tim McCann wisely concentrates his energy on story and characterization, pulling off one of the more impressive lo-fi efforts of the year.” – John W. Bowen, RUE MORGUE Just how bad can things get? Conrad has found a pornographic video featuring his fiancé. Shocked, he calls the wedding off. But now, after an emotionally brutal week, an abused Jennifer has cut off Conrad's penis - and taken it with her for ransom! A doctor has advised Conrad that if found immediately, there is some hope for re-attachment. But where is Jennifer hiding? Vengeful and furious, Conrad blunders gun first into the underworld of her “blue-film” past, to find her – and his missing member! Starring MICHAEL RODRICK ( Another World, Desolation Angels ), renowned cult actress DEBBIE ROCHON (‘Scream Queen of the Decade'), real life porn legend FRANK OLIVIER (as Daddy Mac), and directed by award winning filmmaker TIM MCCANN ( Revolution #9 , Desolation Angels ), NOWHERE MAN probes and cauterizes the preposterousness of love and revenge. It is both a nasty little film noir and a black humored treatise on the ever shifting balance of power in human relationships. -
Wednesday, March 4 Rue Auditorium (Sweigart Hall 115)
Wednesday, March 4 Rue Auditorium (Sweigart Hall 115) 10:00-11:30 a.m. Screening of a Cult Classic Directed by Hal Ashby (Featured speaker Nick Dawson will analyze Ashby’s work Wednesday at 6:30 p.m.) 11:45 a.m.-12:45 p.m. Student-Faculty Panel Hauntings — in Melodrama, Mansions, Love and War Dr. Charles Frantz, Moderator, Department of Music, Composition, History, and Theory; Film & Media Studies faculty • Jacob’s Ladder (1990): Kyle VanLaningham, Filmmaking, TV & Radio major; Film & Media Studies minor • Women on the Verge of a Nervous Breakdown (1988, Spain): Jordan Wilson, Marine Science major, Biology minor • The Haunting (1963): Dr. Charles Frantz 1:10-2:40 p.m. Student Screenplays and Papers Classic Cult, American Style Dr. Cynthia Lucia, Moderator, Department of English; Film & Media Studies Program Director • “Scooter Squad,” written by Collin Cortright, Filmmaking, TV & Radio major • Lost Highway (1997), Emily Fraschilla, Biology major • The Rocky Horror Picture Show (1975), Annie Challice, Theatre major; Film & Media Studies minor • Iron Giant (1999), Frank Gigliotti, Filmmaking, TV & Radio major; Film & Media Studies minor • Heathers (1989), Elliot Schwartz, Psychology and Spanish double major; Gender and Sexuality Studies minor • The Blues Brothers (1980), Gabe Kennis, Arts & Entertainment Industry Management major • Twilight (2008), Belle McNamara, Musical Theatre and Arts & Entertainment Industry Management double major 2:50-4:20 Student film and Papers So Superbad, It’s Good Dr. Cynthia Lucia, Moderator, Department of English; -
Charles Ramírez Berg Joe M. Dealey, Sr. Professor in Media Studies
Charles Ramírez Berg Joe M. Dealey, Sr. Professor in Media Studies University Distinguished Teaching Professor Board of Regents' Outstanding Teacher Top Ten Great Professor at the University of Texas at Austin Distinguished University Lecturer Department of Radio-Television-Film The University of Texas at Austin Austin, Texas 78712-1091 (512) 471-4071 (RTF Dept.) (512) 471-4077 (RTF fax) [email protected] http://rtf.utexas.edu/faculty/charles-ramirez-berg __________________________________________________________________ Education 1987 University of Texas at Austin Ph. D. Communication 1975 University of Texas at Austin M.A. Communication 1969 Loyola University, New Orleans, La. B.S. Biological Sciences Teaching Experience 2003- Professor, Department of Radio-Television-Film, UTexas-Austin 1993-2003 Associate Professor, Department of Radio-Television-Film, UTexas-Austin 2007, 1993-96 Graduate Adviser, Department of RTF, UTexas-Austin 1987-1993 Assistant Professor, Department of RTF, UTexas-Austin 1983-1987 Assistant Instructor, Department of RTF, UTexas-Austin 1979-1983 Lecturer, Departments of English, Communication, Linguistics, UTexas-El Paso 1970-1972 Edgewood High School, San Antonio, TX; Biology, Chemistry, Physiology Publications Books The Classical Mexican Cinema: The Poetics of the Exceptional Golden Age Films, University of Texas Press, 2015. Grand Prize Winner, 2016 University Co-Op Robert W. Hamilton Book Awards. Choice Magazine Outstanding Academic Title, American Library Association, 2016. Latino Images in Film: Stereotypes, Subversion, and Resistance. Austin: UTexas Press, 2002. Poster Art from the Golden Age of Mexican Cinema, 1936-1957. U. Guadalajara Press/IMCINE (Mexican Film Institute)/Agrasánchez Film Archive, 1997. Second Ed., 1998. Third Ed. published as Cine Mexicano: Posters from the Golden Age, 1936-1956.