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Cosmos: a Spacetime Odyssey (2014) Episode Scripts Based On
Cosmos: A SpaceTime Odyssey (2014) Episode Scripts Based on Cosmos: A Personal Voyage by Carl Sagan, Ann Druyan & Steven Soter Directed by Brannon Braga, Bill Pope & Ann Druyan Presented by Neil deGrasse Tyson Composer(s) Alan Silvestri Country of origin United States Original language(s) English No. of episodes 13 (List of episodes) 1 - Standing Up in the Milky Way 2 - Some of the Things That Molecules Do 3 - When Knowledge Conquered Fear 4 - A Sky Full of Ghosts 5 - Hiding In The Light 6 - Deeper, Deeper, Deeper Still 7 - The Clean Room 8 - Sisters of the Sun 9 - The Lost Worlds of Planet Earth 10 - The Electric Boy 11 - The Immortals 12 - The World Set Free 13 - Unafraid Of The Dark 1 - Standing Up in the Milky Way The cosmos is all there is, or ever was, or ever will be. Come with me. A generation ago, the astronomer Carl Sagan stood here and launched hundreds of millions of us on a great adventure: the exploration of the universe revealed by science. It's time to get going again. We're about to begin a journey that will take us from the infinitesimal to the infinite, from the dawn of time to the distant future. We'll explore galaxies and suns and worlds, surf the gravity waves of space-time, encounter beings that live in fire and ice, explore the planets of stars that never die, discover atoms as massive as suns and universes smaller than atoms. Cosmos is also a story about us. It's the saga of how wandering bands of hunters and gatherers found their way to the stars, one adventure with many heroes. -
Outstanding Original Screenplay Screenplay by Bong Joon Ho and Han Jin Won Story by Bong Joon Ho
FOR YOUR CONSIDERATION OUTSTANDING ORIGINAL SCREENPLAY SCREENPLAY BY BONG JOON HO AND HAN JIN WON STORY BY BONG JOON HO PARASITE Screenplay by Bong Joon Ho and Han Jin Won Story by Bong Joon Ho 1 TITLE SEQUENCE OVER BLACK 1 Accompanied by dark but curiously upbeat MUSIC. At the end of the credits, the MAIN TITLE, in strange calligraphy, fills the screen -- “PARASITE” MUSIC FADES. 2 INT. SEMI-BASEMENT - DAY 2 A dank semi-basement apartment. KI-WOO, 24, runs from corner to corner searching desperately for a Wi-Fi signal. Various networks pop up, but they’re all password-protected. KI-WOO NO. Not you too “iptime.” Ki-Jung! Upstairs neighbor finally locked up his Wi-Fi. ADJACENT ROOM -- Lying on the floor of the narrow room, KI-JUNG, 23, barely moves her lips -- ‘Fuck.’ KI-JUNG Try ‘123456789.’ Then try it backwards. KI-WOO No luck. ANOTHER ROOM -- Also lying on the floor, CHUNG-SOOK, 49, the mother, scoffs at their collective misery. CHUNG-SOOK What am I supposed to do if someone calls me? What if it’s a job? Hey, Ki-Tek! She kicks KI-TEK, 49, who is sleeping at her feet. CHUNG-SOOK (CONT’D) I know you’re awake, asshole. Care to comment? KI-TEK (wiping his drool) What? 2. CHUNG-SOOK Our phones have been suspended for weeks, and now the neighbors have shut us out. What’s your plan? She kicks him again. CHUNG-SOOK (CONT’D) What are you going to do about it? What’s the plan, genius? She treats Ki-Tek like shit, but it doesn’t bother him. -
Asian-American Characters in Black Films and Black Activism
GET OUT, HIROKI TANAKA: ASIAN-AMERICAN CHARACTERS IN BLACK FILMS AND BLACK ACTIVISM by Naomi Yoko Ward Capstone submitted in partial fulfillment of the requirements for graduation with UNIVERSITY HONORS with a major in Communication Studies in the Department of Language, Philosophy, and Communication Studies Approved: Capstone Mentor Departmental Honors Advisor Dr. Jennifer Peeples Dr. Debra E. Monson ____________________________________ University Honors Program Director Dr. Kristine Miller UTAH STATE UNIVERSITY Logan, UT Spring 2020 1 Get Out, Hiroki Tanaka: Asian-Americans in Black Stories and Black Activism Naomi Yoko Ward Utah State University 2 Abstract The purpose of this study is to examine the relationship Asian-Americans have with black Americans in order to determine how Asian Americans navigate their role in American racial discourse. Additionally, this study considers the causes and effects of Asian-American participation in movements like Black Lives Matter (BLM). This topic is explored through the analysis of Asian-American characters in black stories told through four films: Fruitvale Station, Get Out, The Hate U Give, and Sorry to Bother You. To narrow the scope of this research, I placed focus on characters in works that have been published since 2013, when the Black Lives Matter movement was officially formed and founded. Media functions both as a reflection of the society it is made in as well as an influence on how society perceives the world. The pervasiveness and power that media has in the world, particularly concerning social issues and social justice, makes this lens appropriate for studying race relations in the United States over the past several years. -
Sundance Press Release
Media Contact: Spencer Alcorn [email protected] 2021 Sundance Film Festival Will Meet Audiences Where They Are Festival Offers Robust Online Platform and Announces Screening Partnerships with Independent Cinemas and Cultural Organizations PARK CITY, UTAH — The nonprofit Sundance Institute today unveiled plans for the seven-day 2021 Sundance Film Festival, offered digitally via a custom-designed online platform (festival.sundance.org) alongside drive-ins, independent arthouses, and a network of local community partnerships. The online expression of the Sundance Film Festival will provide global access for storytellers and audiences alike to come together, experience artists new work, connect with one another, and participate in conversation. All films in the program will be available online in the United States, with certain films opting for global availability. The full talks and events program, as well as the New Frontier section for XR and emerging media, will be available globally. The Festival runs January 28 through February 3, 2021. “Even under these impossible circumstances artists are still finding paths to make bold and vital work in whatever ways they can,” says Tabitha Jackson, in her first year as Festival Director. “So Sundance, as a festival of discovery, will bring that work to its first audiences in whatever ways we can. The core of our Festival in the form of an online platform and socially distanced cinematic experiences is responsive to the pandemic and gives us the opportunity to reach new audiences, safely, where they are. And thanks to a constellation of independent cinema communities across the U.S. we are not putting on our Festival alone. -
Introduction in FOCUS: Revoicing the Screen
IN FOCUS: Revoicing the Screen Introduction by TESSA DWYER and JENNIFER o’mEARA, editors he paradoxes engendered by voice on-screen are manifold. Screen voices both leverage and disrupt associations with agency, presence, immediacy, and intimacy. Concurrently, they institute artifice and distance, otherness and uncanniness. Screen voices are always, to an extent, disembodied, partial, and Tunstable, their technological mediation facilitating manipulation, remix, and even subterfuge. The audiovisual nature of screen media places voice in relation to— yet separate from—the image, creating gaps and connections between different sensory modes, techniques, and technologies, allowing for further disjunction and mismatch. These elusive dynamics of screen voices—whether on-screen or off-screen, in dialogue or voice-over, as soundtrack or audioscape— have already been much commented on and theorized by such no- tables as Rick Altman, Michel Chion, Rey Chow, Mary Ann Doane, Kaja Silverman, and Mikhail Yampolsky, among others.1 Focusing primarily on cinema, these scholars have made seminal contribu- tions to the very ways that film and screen media are conceptual- ized through their focus on voice, voice recording and mixing, and postsynchronization as fundamental filmmaking processes. Altman 1 Rick Altman, “Moving Lips: Cinema as Ventriloquism,” Yale French Studies 60 (1980): 67–79; Rick Altman, Silent Film Sound (New York: Columbia University Press, 2004); Michel Chion, The Voice in Cinema, trans. Claudia Gorbman (New York: Columbia Univer- sity -
Following Is a Listing of Public Relations Firms Who Have Represented Films at Previous Sundance Film Festivals
Following is a listing of public relations firms who have represented films at previous Sundance Film Festivals. This is just a sample of the firms that can help promote your film and is a good guide to start your search for representation. 11th Street Lot 11th Street Lot Marketing & PR offers strategic marketing and publicity services to independent films at every stage of release, from festival premiere to digital distribution, including traditional publicity (film reviews, regional and trade coverage, interviews and features); digital marketing (social media, email marketing, etc); and creative, custom audience-building initiatives. Contact: Lisa Trifone P: 646.926-4012 E: [email protected] www.11thstreetlot.com 42West 42West is a US entertainment public relations and consulting firm. A full service bi-coastal agency, 42West handles film release campaigns, awards campaigns, online marketing and publicity, strategic communications, personal publicity, and integrated promotions and marketing. With a presence at Sundance, Cannes, Toronto, Venice, Tribeca, SXSW, New York and Los Angeles film festivals, 42West plays a key role in supporting the sales of acquisition titles as well as launching a film through a festival publicity campaign. Past Sundance Films the company has represented include Joanna Hogg’s THE SOUVENIR (winner of World Cinema Grand Jury Prize: Dramatic), Lee Cronin’s THE HOLE IN THE GROUND, Paul Dano’s WILDLIFE, Sara Colangelo’s THE KINDERGARTEN TEACHER (winner of Director in U.S. competition), Maggie Bett’s NOVITIATE -
2020 Sundance Film Festival: Juries Announced
FOR IMMEDIATE RELEASE Media Contact: January 14, 2020 Spencer Alcorn 310.360.1981 [email protected] 2020 Sundance Film Festival: Juries Announced 25 Jurors to Award 31 Prizes Park City, UT — Sundance Institute will gather 25 celebrated and revered expert voices across film, art, culture and science to award feature-length and short films shown at the 2020 Sundance Film Festival with 31 prizes, announced at a ceremony February 1. Short Film Awards will be announced at a separate ceremony on January 28. The Festival takes place January 23 through February 2 in Park City, Salt Lake City and Sundance, Utah. The awards, which recognize standout artistic and story elements, are voted on by each of 6 section juries, including, in the case of the NEXT Innovator’s Award, a jury of one. As in years past, Festival audiences have a role in deciding the 2020 Audience Awards, which will recognize 66 films in the U.S. Competition, World Competition and NEXT categories; audiences will also vote on a Festival Favorite film across categories, which will be announced the week following the Festival. The juried Alfred P. Sloan Feature Film Prize was awarded to Tesla; information on those jury members appear below. The 2020 Sundance Film Festival Jury members are: U.S. DRAMATIC JURY Rodrigo Garcia Rodrigo Garcia’s films include the award-winning Nine Lives, Albert Nobbs, Mother and Child, and Things You Can Tell Just by Looking at Her. His television credits include the pilots of In Treatment, Carnivàle, Big Love, Bull, and the upcoming Party of Five series reboot. -
2019 Sundance Film Festival: Indie Episodic, Shorts and Special Events Announced
CONFIDENTIAL & UNDER EMBARGO Media Contact: UNTIL 1 P.M. PT ON: Spencer Alcorn December 3, 2018 310.360.1981 [email protected] 2019 SUNDANCE FILM FESTIVAL: INDIE EPISODIC, SHORTS AND SPECIAL EVENTS ANNOUNCED 12 Episodic Works, 73 Short Films, 4 Special Events Join Festival Slate From L-R: Acid Rain, photo by Tomek Popakul; Delhi Crime Story, photo by Johan Aidt; Now Apocalypse, photo courtesy of Sundance Institute. Park City, UT — Works selected across the Indie Episodic, Shorts and Special Events sections of the 2019 Sundance Film Festival were announced today, underlining Sundance Institute's commitment to showcasing bold independent storytelling regardless of form, format or length. Kim Yutani, the Festival’s Director of Programming, said “Our newly-expanded programming team took in a full spectrum of human experience across genres and formats in creating this year’s Festival program. Following the success of last year’s inaugural Indie Episodic section, we’re immensely proud to showcase these stories told across installments, alongside several provocative, conversation-starting Special Events.” Mike Plante, Senior Programmer, said “This year’s crop of shorts are rowdy, reflective, visionary -- we are excited to discover so many new voices and perspectives on today’s world.” Of the projects announced today, 53% were directed or created by one or more women, 51% were directed or created by one or more filmmaker of color, and 26% by one or more people who identify as LGBTQIA. 12 were supported by Sundance Institute in development, whether through direct granting or residency Labs. 73 short films will screen at the Festival from 28 countries and chosen from 9,443 submissions -- 4,720 from the U.S. -
Pdf, 266.43 KB
00:00:00 Music Transition Gentle, trilling music with a steady drumbeat plays under the dialogue. 00:00:01 Promo Promo Speaker: Bullseye with Jesse Thorn is a production of MaximumFun.org and is distributed by NPR. [Music fades out.] 00:00:11 Jesse Host I’m Jesse Thorn. It’s Bullseye. Thorn 00:00:14 Music Transition “Huddle Formation” from the album Thunder, Lightning, Strike by The Go! Team plays. A fast, upbeat, peppy song. Music plays as Jesse speaks, then fades out. 00:00:21 Jesse Host So. This week, we are coming to you from my home office, in Los Angeles, about a week into self-isolation. We figured now is as good a time as any to look back at some of our favorite Bullseye interviews. [Music ends.] So, a 2018 conversation with the great Boots Riley. Boots is, hands down, one of the most interesting people making art today. Among other things, he’s the front man of The Coup, one of my favorite rap groups of all time. The Coup make straightforward music. The beats never had a lot of frills. Boots, when he raps, does so plainly. But the central element of The Coup is its message. Boots told stories, when he rapped: painted pictures from his real life. He talked about social justice and poverty and racism. [Music fades in.] A lot of hip-hop is about prosperity, overcoming a system that’s been rigged against you for centuries. Success stories, in other words. The Coup—with Boots as the front man—want to the throw the system out entirely. -
Kornhaber-Es376m Syllabus-Summer 2019 Updated
E s376M l Black Film at the Oscars Instructor: Kornhaber, Donna Areas: C or J Unique #: 80825 Flags: Cultural Diversity Semester: Summer 2019, second session Restrictions: n/a Cross-lists: AFR 374D, 79085 Computer Instruction: No Prerequisites: Nine semester hours of coursework in English or rhetoric and writing Description: This course surveys the recent success of Black Film in, around, and beyond Oscar contention. It will seek to explore the recent controversies about race in American cinema and the Hollywood system, as well as its historical precedents. Students will be expected to watch and discuss films as well as read scholarly articles on race theory and cultural criticism. Texts: To be distributed by instructor Requirements & Grading: Two close reading assignments (2-3 pages), 25% each; Final paper (8-10 pages), 35%; Attendance and participation, 15% Schedule: Week Day Date Assignment/Event 1 M 7/15 Introduction T 7/16 Do The Right Thing (dir. Spike Lee, 1989) W 7/17 Do The Right Thing (dir. Spike Lee, 1989) TH 7/18 BlacKkKlansman (dir. Spike Lee, 2018) F 7/19 BlacKkKlansman (dir. Spike Lee, 2018) 2 M 7/22 Medicine for Melancholy (dir. Barry Jenkins, 2008) T 7/23 Medicine for Melancholy (dir. Barry Jenkins, 2008) W 7/24 Moonlight (dir. Barry Jenkins, 2016) TH 7/25 Moonlight (dir. Barry Jenkins, 2016) F 7/26 Theory Discussion; First Close Reading Exercise Due 3 M 7/29 Sorry to Bother You (dir. Boots Riley, 2018) T 7/30 Sorry to Bother You (dir. Boots Riley, 2018) W 7/31 Get Out (dir. -
Download Press
A FOUR-PART DOCUSERIES DIRECTED BY Keith McQuirter SERIES PRODUCER: Cyndee Readdean SENIOR PRODUCER: Asako Gladsjo EXECUTIVE PRODUCERS: Forest Whitaker, Nina Yang Bongiovi, Keith McQuirter, Swizz Beatz, Michael Wright and Jill Burkhart Episode 1: 47:59mins | Episode 2: 50:47mins | Episode 3: 48:27mins | Episode 4: 48:40 mins USA | 2020 MAIN CONTACTS: DIRECTOR: Keith McQuirter, Decoder Media [email protected] MEDIA: Marlea Willis, [email protected] | 646.535.9056 decodermedia.com @DecoderMedia LOGLINE By Whatever Means Necessary: The Times of Godfather of Harlem, directed by Keith McQuirter, is inspired by the music and subjects featured in the EPIX original series “Godfather of Harlem”. The four-part docuseries brings alive the dramatic true story of Harlem and its music during the 1960s and connects that history to our present moment. SYNOPSIS Inspired by the music and subjects featured in the Emmy®-winning EPIX original series “Godfather of Harlem,” the four-part docuseries By Whatever Means Necessary: The Times of Godfather of Harlem, directed by Keith McQuirter (“The Innocence Files,” MILWAUKEE 53206), tells the dramatic true story of Harlem and its revolutionary music during the 1960s and connects that history to our present moment. Featuring interviews with the stars of “Godfather of Harlem,” including Academy Award®-winner Forest Whitaker, Giancarlo Esposito, Ilfenesh Hadera and Markuann Smith and musicians Gladys Knight, Martha Reeves, Herbie Hancock, Nile Rodgers, A$AP Ferg, CHIKA, Carlos Alomar, Robin Clark and Joe Bataan, the series spotlights artists and activists who dared to use their voices, instruments, and lyrics to take a stand against oppression. Other notables in the series include activists Reverend Al Sharpton, Felipe Luciano, Denise Oliver-Velez and Miguel “Mickey” Melendez; former U.S. -
A Basic Interpretive Study on the Role of Intercultural Communication on Career Development
Florida International University FIU Digital Commons FIU Electronic Theses and Dissertations University Graduate School 7-2-2020 It Takes Two: A Basic Interpretive Study on the Role of Intercultural Communication on Career Development Rochelle T. Patten Florida International University, [email protected] Follow this and additional works at: https://digitalcommons.fiu.edu/etd Part of the Adult and Continuing Education Commons Recommended Citation Patten, Rochelle T., "It Takes Two: A Basic Interpretive Study on the Role of Intercultural Communication on Career Development" (2020). FIU Electronic Theses and Dissertations. 4471. https://digitalcommons.fiu.edu/etd/4471 This work is brought to you for free and open access by the University Graduate School at FIU Digital Commons. It has been accepted for inclusion in FIU Electronic Theses and Dissertations by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. FLORIDA INTERNATIONAL UNIVERSITY Miami, Florida IT TAKES TWO: A BASIC INTERPRETIVE STUDY ON THE ROLE OF INTERCULTURAL COMMUNICATION ON CAREER DEVELOPMENT A dissertation submitted in partial fulfillment of the requirements for the degree of DOCTOR OF EDUCATION in ADULT EDUCATION AND HUMAN RESOURCE DEVELOPMENT by Rochelle T. Patten 2020 To: Dean Michael R. Heithaus College of Arts, Sciences and Education This dissertation, written by Rochelle T. Patten, and entitled It Takes Two: A Basic Interpretive Study on the Role of Intercultural Communication on Career Development, having been approved in respect to style and intellectual content, is referred to you for judgment. We have read this dissertation and recommend that it be approved. ______________________________________ Benjamin Baez ______________________________________ Sarah Mathews ______________________________________ Maria Elena Villar ______________________________________ Thomas G.