Freelance Costume Designer, Wardrobe Stylist, Costumer, Etc

Total Page:16

File Type:pdf, Size:1020Kb

Freelance Costume Designer, Wardrobe Stylist, Costumer, Etc Freelance Costume Designer, Wardrobe Stylist, Costumer, etc. 646-641-3336 or 310-564-6384 [email protected] TWU Local 764 & USA Local 829 www.edenmiller.com www.cabiriastyle.com www.store.cabiriastyle.com Multidisciplinary freelance fashion & costume designer since 1989 FEATURE / TV WARDROBE SUPERVISOR SELECT ASSISTANT COSTUME DESIGN THE LOOMING TOWER Hulu Season 1 KISS ME KATE 2000 Tony Award ALPHA HOUSE Amazon TV Season 1 THOROUGHLY MODERN MILLIE 2002 Tony Award THE BOOK OF HENRY Focus Features DEADBEAT Hulu/ Lionsgate AGER / DISTRESSER / FABRIC PAINTER EVERY SECRET THING Hyde Park/ Likely Story BIG DADDY feature film THE HEBREW HAMMER Content Film BRYAN KOLLMAN Phantom/ Bway & tours THIS IS US NBC TV S1 LITTLE NICKY feature film UMPIRE (UNCLE DREW) NY Unit- Lionsgate STITCHER, FITTER, TAILOR, & REFURB FILM SET COSTUMER THE AGE OF INNOCENCE feature film THE BEAUTIFUL COUNTRY NY unit - feature film AMERICA’S GOT TALENT NBC TV Season 7 THE CHAPERONE key costumer - feature BARBARA MATERA’S LTD shop IF BEALE STREET COULD TALK key costumer-feature BULLETS OVER BROADWAY feature film MUDBOUND NY unit – feature film CARELLI COSTUMES shop OKJA NY unit- Netflix feature DOUBLE DARE Nickelodeon TV EYE CANDY MTV series Season 1 TV SET COSTUMER FIDDLER ON THE ROOF Broadway BLACKLIST: REDEMPTION NBC TV Season 1 LAST WEEK TONIGHT HBO series Season 3 THE BREAKS VH1 TV Season I MADONNA/ REBEL HEART tour BULL CBS TV S1 MARIAH CAREY XMAS TOUR tour THE CARRIE DIARIES (BG Supervisor) WB Pilot THE MARVELOUS MRS. MAISEL Amazon TV Season 1 CIVIL TNT Originals Pilot MIGHTY APHRODITE feature film CRASHING HBO TV S1 RADIO CITY ROCKETTES XMAS SHOW DAREDEVIL Netflix/ ABC TV S1 UNBREAKABLE KIMMY SCHMIDT Universal TV S1 THE DEFENDERS Netflix Original SI YOUNGER TV Land Season 3 THE DEUCE HBO TV THE GET DOWN Netflix Original SI EMBROIDERY, EMBELLISHMENT, ETC. GIRLS HBO TV LUCY BARNES / FIFTY fashion & bridal HAPPY! Syfy S1 MISS SAIGON Broadway HOMELAND Showtime TV LUKE CAGE ABC TV/ Marvel S2 MILLINERY & SOFT PROPS, CRAFTS MADAM SECRETARY CBS TV ARNOLD S. LEVINE shop THE MARVELOUS MRS. MAISEL Amazon TV Pilot CARELLI COSTUMES shop MR. ROBOT USA Network SI EAVES – BROOKS COSTUME CO. shop THE MYSTERIES OF LAURA NBC TV S2 IZQUIERDO STUDIOS shop THE PUNISHER ABC TV/ Marvel S1 MADONNA/ REBEL HEART tour RONALD NBC TV S1 PARSON’S - MEARES LTD. shop THE STRAIN FX TV S2 SHOPPER BROADWAY DRESSER & DAY WORK CARELLI COSTUMES shop AMERICAN BALLET THEATER EAVES – BROOKS COSTUME CO. shop LES MISERABLES HONEYMOON IN VEGAS feature film PRISCILLA QUEEN OF THE DESERT MAMBO KINGS feature film PHANTOM OF THE OPERA SABRINA feature film SEARCHING FOR BOBBY FISCHER feature film THE BIRDCAGE feature film .
Recommended publications
  • Audience Affect, Interactivity, and Genre in the Age of Streaming TV
    . Volume 16, Issue 2 November 2019 Navigating the Nebula: Audience affect, interactivity, and genre in the age of streaming TV James M. Elrod, University of Michigan, USA Abstract: Streaming technologies continue to shift audience viewing practices. However, aside from addressing how these developments allow for more complex serialized streaming television, not much work has approached concerns of specific genres that fall under the field of digital streaming. How do emergent and encouraged modes of viewing across various SVOD platforms re-shape how audiences affectively experience and interact with genre and generic texts? What happens to collective audience discourses as the majority of viewers’ situated consumption of new serial content becomes increasingly accelerated, adaptable, and individualized? Given the range and diversity of genres and fandoms, which often intersect and overlap despite their current fragmentation across geographies, platforms, and lines of access, why might it be pertinent to reconfigure genre itself as a site or node of affective experience and interactive, collective production? Finally, as studies of streaming television advance within the industry and academia, how might we ponder on a genre-by- genre basis, fandoms’ potential need for time and space to collectively process and interact affectively with generic serial texts – in other words, to consider genres and generic texts themselves as key mediative sites between the contexts of production and those of fans’ interactivity and communal, affective pleasure? This article draws together threads of commentary from the industry, scholars, and culture writers about SVOD platforms, emergent viewing practices, speculative genres, and fandoms to argue for the centrality of genre in interventions into audience studies.
    [Show full text]
  • As Writers of Film and Television and Members of the Writers Guild Of
    July 20, 2021 As writers of film and television and members of the Writers Guild of America, East and Writers Guild of America West, we understand the critical importance of a union contract. We are proud to stand in support of the editorial staff at MSNBC who have chosen to organize with the Writers Guild of America, East. We welcome you to the Guild and the labor movement. We encourage everyone to vote YES in the upcoming election so you can get to the bargaining table to have a say in your future. We work in scripted television and film, including many projects produced by NBC Universal. Through our union membership we have been able to negotiate fair compensation, excellent benefits, and basic fairness at work—all of which are enshrined in our union contract. We are ready to support you in your effort to do the same. We’re all in this together. Vote Union YES! In solidarity and support, Megan Abbott (THE DEUCE) John Aboud (HOME ECONOMICS) Daniel Abraham (THE EXPANSE) David Abramowitz (CAGNEY AND LACEY; HIGHLANDER; DAUGHTER OF THE STREETS) Jay Abramowitz (FULL HOUSE; MR. BELVEDERE; THE PARKERS) Gayle Abrams (FASIER; GILMORE GIRLS; 8 SIMPLE RULES) Kristen Acimovic (THE OPPOSITION WITH JORDAN KLEEPER) Peter Ackerman (THINGS YOU SHOULDN'T SAY PAST MIDNIGHT; ICE AGE; THE AMERICANS) Joan Ackermann (ARLISS) 1 Ilunga Adell (SANFORD & SON; WATCH YOUR MOUTH; MY BROTHER & ME) Dayo Adesokan (SUPERSTORE; YOUNG & HUNGRY; DOWNWARD DOG) Jonathan Adler (THE TONIGHT SHOW STARRING JIMMY FALLON) Erik Agard (THE CHASE) Zaike Airey (SWEET TOOTH) Rory Albanese (THE DAILY SHOW WITH JON STEWART; THE NIGHTLY SHOW WITH LARRY WILMORE) Chris Albers (LATE NIGHT WITH CONAN O'BRIEN; BORGIA) Lisa Albert (MAD MEN; HALT AND CATCH FIRE; UNREAL) Jerome Albrecht (THE LOVE BOAT) Georgianna Aldaco (MIRACLE WORKERS) Robert Alden (STREETWALKIN') Richard Alfieri (SIX DANCE LESSONS IN SIX WEEKS) Stephanie Allain (DEAR WHITE PEOPLE) A.C.
    [Show full text]
  • DIGITAL ORIGINAL SERIES Global Demand Report
    DIGITAL ORIGINAL SERIES Global Demand Report Trends in 2016 Copyright © 2017 Parrot Analytics. All rights reserved. Digital Original Series — Global Demand Report | Trends in 2016 Executive Summary } This year saw the release of several new, popular digital } The release of popular titles such as The Grand Tour originals. Three first-season titles — Stranger Things, and The Man in the High Castle caused demand Marvel’s Luke Cage, and Gilmore Girls: A Year in the for Amazon Video to grow by over six times in some Life — had the highest peak demand in 2016 in seven markets, such as the UK, Sweden, and Japan, in Q4 of out of the ten markets. All three ranked within the 2016, illustrating the importance of hit titles for SVOD top ten titles by peak demand in nine out of the ten platforms. markets. } Drama series had the most total demand over the } As a percentage of all demand for digital original series year in these markets, indicating both the number and this year, Netflix had the highest share in Brazil and popularity of titles in this genre. third-highest share in Mexico, suggesting that the other platforms have yet to appeal to Latin American } However, some markets had preferences for other markets. genres. Science fiction was especially popular in Brazil, while France, Mexico, and Sweden had strong } Non-Netflix platforms had the highest share in Japan, demand for comedy-dramas. where Hulu and Amazon Video (as well as Netflix) have been available since 2015. Digital Original Series with Highest Peak Demand in 2016 Orange Is Marvels Stranger Things Gilmore Girls Club De Cuervos The New Black Luke Cage United Kingdom France United States Germany Mexico Brazil Sweden Russia Australia Japan 2 Copyright © 2017 Parrot Analytics.
    [Show full text]
  • Q3 2016 Netflix Inc Earnings Call on October 17, 2016 / 9:00PM
    Client Id: 77 THOMSON REUTERS STREETEVENTS EDITED TRANSCRIPT NFLX - Q3 2016 Netflix Inc Earnings Call EVENT DATE/TIME: OCTOBER 17, 2016 / 9:00PM GMT THOMSON REUTERS STREETEVENTS | www.streetevents.com | Contact Us ©2016 Thomson Reuters. All rights reserved. Republication or redistribution of Thomson Reuters content, including by framing or similar means, is prohibited without the prior written consent of Thomson Reuters. 'Thomson Reuters' and the Thomson Reuters logo are registered trademarks of Thomson Reuters and its affiliated companies. Client Id: 77 OCTOBER 17, 2016 / 9:00PM, NFLX - Q3 2016 Netflix Inc Earnings Call CORPORATE PARTICIPANTS David Wells Netflix, Inc. - CFO Reed Hastings Netflix, Inc. - CEO Ted Sarandos Netflix, Inc. - Chief Content Officer CONFERENCE CALL PARTICIPANTS Ben Swinburne Morgan Stanley - Analyst Scott Devitt Stifel Nicolaus - Analyst PRESENTATION QUESTIONS AND ANSWERS David Wells - Netflix, Inc. - CFO Welcome to the Netflix Q3 2016 earnings call. I'm David Wells, CFO, and joining me on the Company side today is Reed Hastings, our CEO; and Ted Sarandos, our Chief Content Officer. Interviewing us will be Scott Devitt from Stifel, sorry, Scott Devitt from Stifel and Ben Swinburne from Morgan Stanley. Ben in his fourth interview before he passes the baton. Before we get started, we will be making forward-looking statements. Actual results may vary. Ben, I think you have the first question. Over to you. Ben Swinburne - Morgan Stanley - Analyst Thank you very much. Reed, maybe we could start by focusing in on the international strength this quarter. Typically, I think you and your colleagues have downplayed the impact of originals, but in the letter you really called out the benefit of -- on acquisitions from your original content.
    [Show full text]
  • Cast Biographies
    CAST BIOGRAPHIES MICHAEL SHANNON (Gary Noesner) Academy Award®, Golden Globe® and Tony Award® nominated actor Michael Shannon continues to make his mark in entertainment, working with the industry's most respected talent and treading the boards in notable theaters around the world. Shannon will next be seen in Guillermo del Toro's The Shape of Water, a love story set against the backdrop of Cold War-era America. The film co-stars Sally Hawkins, Richard Jenkins, Michael Stuhlbarg and Octavia Spencer. Fox Searchlight will release the film December 2017. In 2018, Shannon will return to Red Orchard Theatre for its 25th Anniversary to direct the world premiere of Traitor, Brett Neveu's adaption of Henrik Ibsen's Enemy of the People. Traitor will include ensemble members Dado, Larry Grimm, Danny McCarthy, Guy Van Swearingen and Natalie West and will run from January 5, 2018 through February 25, 2018. Back on the big screen, Shannon will then be seen in the Nicolai Fuglsig’s 12 Strong opposite Chris Hemsworth. The project follows a team of CIA agents and special forces who head into Afghanistan in the aftermath of the 9/11 attacks in an attempt to dismantle the Taliban. Warner Brothers is releaseing the film in January 2018. Later next year, Shannon will also be seen in writer-director Elizabeth Chomko’s drama, What They Had, opposite Hilary Swank. The story centers on a woman who must fly back to her hometown when her Alzheimer's-stricken mother wanders into a blizzard and the return home forces her to confront her past, which includes her brother (Shannon).
    [Show full text]
  • 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
    [Show full text]
  • Video on Demand Online Streaming Services in Canada
    Video on Demand Online Streaming Services in Canada The closure of Shomi, the survival of CraveTV, and what’s good for digital content in Canada. “Canadian television rests on a solid foundation. We have more than enough money and talent to tell our stories. But the system cannot remain frozen in time when the world around us is changing. [...] We know that it will not be easy for everyone to adapt to this shift. We are confident, however, that Canadian creators have the know-how and tools to succeed.” - Jean-Pierre Blais, Chairman of the CRTC Video on demand online streaming services are the next frontier of Netflix is a giant compared to the video on demand online streaming how Canadians watch movies and television. Though, calling it the next services in Canada. Shomi and CraveTV have attempted to follow in its frontier is dated because the digital revolution has arrived. wake. Shomi closed its doors in late 2016 while CraveTV is still active. The first thing that comes to mind when you think of streaming services in Canada is Netflix, but there are more than 50 ways for Canadians to view digital content. Most programming that airs on Canadian television channels is available to watch on that same channel’s website. There are a variety of ways broadcasters distribute content. Some post What happened to Shomi, why hasn’t the video on their website or on a streaming channel with pre- and mid-roll ads that appear throughout. Others offer a subscription service it happened to CraveTV, and what can where viewers pay a monthly fee to access commercial-free content.
    [Show full text]
  • Dan Dechellis Trio
    ada–music.com @ada_music NEW RELEASE GUIDE February 19 February 26 ORDERS DUE JANUARY 15 ORDERS DUE JANUARY 22 2021 ISSUE 5 February 19 ORDERS DUE JANUARY 15 OVERVIEW: NECTAR TRACKLIST: Japan-born singer and producer Joji is a multi-talented visionary, with a cult following from every corner of the inter- net. Joji is one of the most enthralling artists of the digital age. He has a total vision for his work, not just in the writ- 1. Ew ing and producing of his music, but artwork, videos, merch, and live performances as well. It’s a fully realized world 2. MODUS that his fans can inhabit and explore—and see themselves in. “My music is not biographical,” he says, but even still, 3. Tick Tock the deep, heavily shaded emotions in his songs are genuine and they speak to anyone who has ever felt stuck on 4. Daylight (w/ Diplo) the outside looking in, who knows what it means to not belong. In 2019, Joji sold-out his North America tour within 5. Upgrade minutes and performed at some of the most coveted festivals across the world, including Reading & Leeds in the UK 6. Gimme Love and Lollapalooza. As Joji surpasses 5 billion global streams, 2020 promises to be his biggest year to date. 7. Run 8. Sanctuary Joji’s sophomore studio album, Nectar, arrives September 25. With a star-studded cast of features across the 9. High Hopes (feat. Omar Apollo) 18- track album, Nectar is Joji’s most ambitious project to date. From the first 4 singles alon , Nectar has already 10.
    [Show full text]
  • 2020 DISNEY ENTERPRISES, INC. CAST Stargirl Caraway
    © 2020 DISNEY ENTERPRISES, INC. CAST Stargirl Caraway . GRACE VANDERWAAL Leo Borlock . GRAHAM VERCHERE DISNEY Archie . .GIANCARLO ESPOSITO presents Mr. Robineau . MAXIMILANO HERNANDEZ Kevin Singh . KARAN BRAR A Tess Reed . .ANNACHESKA BROWN GOTHAM GROUP Benny Burrito . COLLIN BLACKFORD Production Dori Dilson . ALLISON WENTWORTH Alan Ferko . JULIOCESAR CHAVEZ In Association with Mallory Franklin . ARTEMIS HAHNSCAPE ENTERTAINMENT Summer . JULIA FLORES Kim . GABRIELLA SURODJAWAN Hillary Kimble . .SHELBY SIMMONS Wayne Parnell. JOHN APOLINAR Zack James . .ALEX JAMES Gloria Borlock . .DARBY STANCHFIELD Leo Age 8 . ENZO CHARLES DE ANGELIS Cool Girl . CAYMAN GUAY Ana Caraway . .SARA ARRINGTON Principal Sutters . LUCINDA MARKER Band Leader . HANNAH KAUFFMANN Big Kid #1 . GAVIN WILLIAM WHITE Big Kid #2 . SEAN DENNIS Big Kid #3 . .DAVID TRUJILLO Ron Kovak . .TROY BROOKINS Mud Frog Fan . RYAN BEGAY Leo’s Dad . DAMIAN O’HARE Emcee . AUDRA CHARITY Kevin Age 8 . ATHARVA VERMA Teacher . JIMMY E. JONES Young Male Teacher . .ORION C. CARRINGTON Directed by . JULIA HART EMT . THOMAS SONS Screenplay by . KRISTIN HAHN Athletic Trainer . .ERIC ARCHULETA and JULIA HART WINTER DANCE BAND & JORDAN HOROWITZ Keyboard Player . REBECCA ANN ARSCOTT Based on the Novel by . .JERRY SPINELLI Lead Singer/Guitar . HERVE GASPARD Produced by . ELLEN GOLDSMITH-VEIN, p.g.a. Drummer . PAUL PALMER III LEE STOLLMAN, p.g.a. Bass . ARTHA MEADORS KRISTIN HAHN, p.g.a. Mudfrogs Marching Band Executive Producers . .JORDAN HOROWITZ ARMANDO ARELLANO VICTOR ARMIJO JIM POWERS ANDREW BLAIR VINCENT CONTE JERRY SPINELLI GISELLE CRUZ OSCAR GAMBOA EDDIE GAMARRA EDGAR HERNANDEZ GABE HICKS CATHERINE HARDWICKE CHRIS KINGSWADD SHANNON LATHAM JONATHAN LEVIN JULIO QUIROZ LOPEZ SPENSER LOTZ Director of Photography . BRYCE FORTNER GUS PEDROTTY ISIAH ROJAS Production Designer .
    [Show full text]
  • Freelance Costume Designer, Wardrobe Stylist, Costumer, More
    Freelance Costume Designer, Wardrobe Stylist, Costumer, more 646-641-3336 or 310-564-6384 [email protected] TWU Local 764 & USA Local 829 www.edenmiller.com www.cabiriastyle.com www.store.cabiriastyle.com Multidisciplinary freelance fashion & costume designer since 1989 FILM COSTUME DESIGN THE GLORIAS: A LIFE ON THE ROAD (NY Unit) Page Fifty-four Pictures dir. Julie Taymor LITTLE MEN Parts and Labor dir. Ira Sachs ON THE INSIDE Fleas Partners & Mike Wittlin Productions dir. D.W. Brown THE MISSING PERSON The 7th Floor & Strand Releasing dir. Noah Buschel Official Selection - Sundance Film Festival 2009 SWEET LAND Libero & Lasalle/Holland dir. Ali Selim Winner - Independent Spirit Award Best First Feature 2007 BELLA Metanoia Films & Lionsgate dir. Alejandro Monteverde Winner - People's Choice Award Toronto Film Festival 2006 NEAL CASSADY Jean Doumanian Productions dir. Noah Buschel LOVELY BY SURPRISE @radical.media & HouseGoat Productions dir. Kirt Gunn New American Cinema Special Jury Prize - Seattle International Film Festival 2007 PISTOL WHIPPED Sony Home Ent. & Steamroller Productions dir. Roel Reiné WAR EAGLE, ARKANSAS Downstream People Prods. dir. Robert Milazzo NEVER AGAIN Michael/Finney & USA Films dir. Eric Schaeffer RETURN TO SLEEPAWAY CAMP Morningstar Films dir. Robert Hiltzik MESSENGERS Workshop Productions dir. Philip Farha ASTORIA Marevan Pictures dir. Nick Efteriades TELEVISION COSTUME DESIGN ONE DOLLAR (associate designer) (S1) CBS All Access dir. Craig Zobel THE NEW YORKER PRESENTS (Pilot) The New Yorker Presents/ Amazon Studios dir. Troy Miller GRAVITY (S1) Starz Original Series dir. Eric Schaeffer MUSIC VIDEOS ALABAMA SHAKES Capitol Records/ ATR Sound + Color press & tour for Brittany Howard DAVE MATTHEWS BAND 44 Pictures/ RCA Records "Funny the Way It Is" dir.
    [Show full text]
  • Digital Original Series
    DIGITAL ORIGINAL SERIES Global Demand Report 2nd Quarter, 2017 Copyright © 2017 Parrot Analytics. All rights reserved. Digital Original Series — Global Demand Report | Q2, 2017 Executive Summary } Netflix once again dominates the world’s digital originals: } Some older titles found success in international markets: In 9 of the 10 markets, teen drama 13 Reasons Why was For example, in Turkey the Netflix sci-fi drama Black the most in-demand title this quarter. Mirror was the most popular digital original this quarter even though the show hasn’t released new episodes } This could well be the quarter of teen dramas: As well since October 2016. as 13 Reasons Why, breakout hit Skam from Norwegian platform NRK TV featured in the top 25 of 9 markets, } This quarter saw the cancellations of the highest profile despite the teen drama not being officially translated Netflix shows to date. Fans did not take the news well: from Norwegian. The social media backlash against the cancellation of Sense8 had a higher demand peak than the show’s } Critical acclaim and demand aligned for Hulu’s The Season 2 release in most markets. Handmaid’s Tale. The highly regarded show appeared in the top 5 in 4 markets. Top Digital Original Series in Q2 2017 13 Reasons Why Black Mirror United tates Turkey nited ingdom Singapore Gerany Canada Australia France Mexico Brazil 2 Copyright © 2017 Parrot Analytics. All rights reserved. Digital Original Series — Global Demand Report | Q2, 2017 Contents Introduction 4 Quarterly Events 5 Demand Trends for Digital Original Series by Market 7 Methodology 28 About Parrot Analytics 29 3 Copyright © 2017 Parrot Analytics.
    [Show full text]
  • A Consumer-Based Examination of Netflix Inc. Original Programming and Streaming Strategy
    Streaming is the New Black: A Consumer-based Examination of Netflix Inc. Original Programming and Streaming Strategy A Thesis Submitted to the Faculty of Drexel University by Lindsay B. Strott in partial fulfillment of the requirements for the degree of Master of Science in Television Management March 2015 © Copy Right 2015 Lindsay B. Strott. All Rights Reserved i Acknowledgements Thank you to my thesis advisor Dr. Lydia Timmins and program director Al Tedesco for your guidance throughout my studies and the thesis writing process. I would also like to thank my family, friends, and classmates for their support and encouragement. ii Table of Contents List of Tables ............................................................................................................. vii List of Figures ........................................................................................................... viii List of Appendices ...................................................................................................... xi Abstract ...................................................................................................................... xii Chapter 1 : Introduction ............................................................................................ 1 1.1 Introduction ............................................................................................................. 1 1.2 Statement of the Problem ........................................................................................ 4 1.3 Background ............................................................................................................
    [Show full text]