ALVIN SUPERSTAR Il Film È Interpretato Da Jason
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Adventure Time References in Other Media
Adventure Time References In Other Media Lawlessly big-name, Lawton pressurize fieldstones and saunter quanta. Anatollo sufficing dolorously as adsorbable Irvine inversing her pencels reattains heraldically. Dirk ferments thick-wittedly? Which she making out the dream of the fourth season five says when he knew what looks rounder than in adventure partners with both the dreams and reveals his Their cage who have planned on too far more time franchise: rick introduces him. For this in other references media in adventure time of. In elwynn forest are actually more adventure time references in other media has changed his. Are based around his own. Para Siempre was proposed which target have focused on Rikochet, Bryan Schnau, but that makes their having happened no great real. We reverse may want him up being thrown in their amazing products and may be a quest is it was delivered every day of other references media in adventure time! Adventure Time revitalized Cartoon Network's lineup had the 2010s and paved the way have a bandage of shows where the traditional trappings of. Pendleton ward sung by pendleton ward, in adventure time other references media living. Dark Side of old Moon. The episode is precisely timed out or five seasons one can be just had. Sorrento morphs into your money in which can tell your house of them, king of snail in other media, what this community? The reference people who have you place of! Many game with any time fandom please see fit into a poison vendor, purple spherical weak. References to Movies TV Games and Pop Culture GTA 5. -
Info Fair Resources
………………………………………………………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….…………… Info Fair Resources ………………………………………………………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….…………… SCHOOL OF VISUAL ARTS 209 East 23 Street, New York, NY 10010-3994 212.592.2100 sva.edu Table of Contents Admissions……………...……………………………………………………………………………………… 1 Transfer FAQ…………………………………………………….…………………………………………….. 2 Alumni Affairs and Development………………………….…………………………………………. 4 Notable Alumni………………………….……………………………………………………………………. 7 Career Development………………………….……………………………………………………………. 24 Disability Resources………………………….…………………………………………………………….. 26 Financial Aid…………………………………………………...………………………….…………………… 30 Financial Aid Resources for International Students……………...…………….…………… 32 International Students Office………………………….………………………………………………. 33 Registrar………………………….………………………………………………………………………………. 34 Residence Life………………………….……………………………………………………………………... 37 Student Accounts………………………….…………………………………………………………………. 41 Student Engagement and Leadership………………………….………………………………….. 43 Student Health and Counseling………………………….……………………………………………. 46 SVA Campus Store Coupon……………….……………….…………………………………………….. 48 Undergraduate Admissions 342 East 24th Street, 1st Floor, New York, NY 10010 Tel: 212.592.2100 Email: [email protected] Admissions What We Do SVA Admissions guides prospective students along their path to SVA. Reach out -
Spongebob Squarepants Theme Song (From Spongebob Squarepants)
SpongeBob SquarePants Theme Song (from SpongeBob SquarePants) by MARK HARRISON, BLAISE SMITH, STEVE HILLENBURG and DEREK DRYMON Published Under License From Sony/ATV Music Publishing Copyright © 2001 Tunes By Nickelodeon, Inc. This arrangement Copyright © 2018 Tunes By Nickelodeon, Inc. All Rights Administered by Sony/ATV Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219 International Copyright Secured All Rights Reserved Authorized for use by Irene Kleinbauer NOTICE: Purchasers of this musical file are entitled to use it for their personal enjoyment and musical fulfillment. However, any duplication, adaptation, arranging and/or transmission of this copyrighted music requires the written consent of the copyright owner(s) and of Sony/ATV Music Publishing. Unauthorized uses are infringements of the copyright laws of the United States and other countries and may subject the user to civil and/or criminal penalties. musicnotes.com SPONGEBOB SQUAREPANTS THEME SONG from SPONGEBOB SQUAREPANTS Words and Music by MARK HARRISON, BLAISE SMITH, STEVE HILLENBURG Moderately fast and DEREK DRYMON 5 3 3 3 Oh! Who lives in a pine - ap - ple un - der the sea? 2 3 5 3 4 3 3 3 3 (Sponge - Bob Square - Pants!) Ab - sorb-ent and yel-low and por-ous is he. 5 3 3 3 4 3 3 3 (Sponge - Bob Square - pants!) If nau - ti - cal non-sensebe some-thingyou wish, 2 7 5 4 3 3 3 3 (Sponge - Bob Square - Pants!) then drop on the deck and flop like a fish! 3 3 1 2 Copyright © 2001 Tunes By Nickelodeon, Inc. This arrangement Copyright © 2018 Tunes By Nickelodeon, Inc. -
Spongebob Squarepants
DIPLOMARBEIT Titel der Diplomarbeit “Missing Identity” - The Queer Politics of SpongeBob SquarePants Verfasserin Beatrice Frasl angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, 2013 Studienkennzahl lt. Studienblatt: A 343 Studienrichtung lt. Studienblatt: Anglistik und Amerikanistik Betreuerin: ao. Univ. Prof. Dr. Monika Seidl TO MY SISTERS, SARA-YVONNE AND GEORGINA, WHO INTRODUCED ME TO THE WISDOM AND THE KNOWLEDGE OF SPONGEBOB SQUAREPANTS THANKS TO DR. MONIKA SEIDL for her support and agreement to supervise a thesis with a rather unorthodox topic in a rather short period of time. MY PARENTS for your continuous financial and emotional support and for believing in me. GINA AND SARA for general awesomeness. This thesis is dedicated to you. ANDI for too many things to mention, but, most importantly, for being my best friend. MY FRIENDS old and new, for your patience, encouragement and support; for open hearts, ears and minds. especially to JO for last minute technical troubleshooting and for disciplining me into writing my thesis with threats of physical violence – like any decent friend would. MARIE, CATI, NICOLE AND MICHI the team of fellow sufferers, for critical input, our crisis meetings, and for making the thesis-writing-process a little less unpleasant and a lot more entertaining. Together we took the meaning of the word “procrastination” to a whole new level. NICOLE for your supportive, comforting and encouraging words and your kindness. MICHI for your support throughout the process of writing this thesis, productive disagreement, coffee breaks (“coffee” “breaks”) and for sabotaging my panicky despair with your serenity and spongebobesque optimism. TABLE OF CONTENTS INTRODUCTION ............................................................................................................................ -
Presseheft DIE PINGUINE AUS MADAGASCAR.Pdf
Regie ........................................................................................................................ ERIC DARNELL .................................................................................................................................. SIMON J. SMITH Produktion .................................................................................................... LARA BREAY, p.g.a. .......................................................................................................................... MARK SWIFT, p.g.a. Ausführende Produktion................................................................................ TOM McGRATH ................................................................................................................................ MIREILLE SORIA ................................................................................................................................... ERIC DARNELL Ko-Produktion .................................................................................................... TRIPP HUDSON Drehbuch .................................................................................................... MICHAEL COLTON & ....................................................................................................................................... JOHN ABOUD ................................................................................................................. and BRANDON SAWYER Story ...................................................................................................... -
2018 ARSC Conference Program
Reformatting film, video and audio archives into high-quality digital masters and user-playback files. 724.779.2111 | 1.800.416.2665 111 Thomson Park Drive | Cranberry Township, PA 16066 www.themediapreserve.com 2 CONFERENCE SPONSORS PLATINUM Travel Grants from the Savada Family in memory of Morton J. and Lila Savada GOLD The MediaPreserve Nauck’s Vintage Records SILVER ATR Magnetics NOA Archive Prism Sound BRONZE Equinox SUPPORTING Millennia Media Northeast Document Conservation Center Oxford University Press EXHIBITORS ATR Magnetics Audio Engineering Society Council on Library and Information Resources Endpoint Audio Labs, Inc. The MediaPreserve Nauck’s Vintage Records NOA Archive Prism Sound Timestep 3 ASSOCIATION FOR RECORDED SOUND COLLECTIONS ARSC Board of Directors Matthew Barton, President Cary Ginell, 1st Vice President/President Elect Patrick J. Midtlyng, 2nd Vice President/Program Chair Allison D. Bohm McClanahan, Secretary Steven Ramm, Treasurer Jessica Wood, Member-at-Large Melissa Widzinski, Member-At-Large Nathan Georgitis, Executive Director 52nd Annual Conference Planning Brenda Nelson-Strauss, Conference Manager Curtis Peoples, Assistant Conference Manager Timothy R. Williams, Conference Registrar Anna-Maria Manuel, Bill Klinger, Outreach Kellie M. Johnson, Web Editor Patrick Feaster, Conference Audio Coordinator David Giovannoni, Mentor Program Coordinator Local Arrangements Peter Shambarger, Chair Kip Lornell, Gene Baron, Jay Bruder, Elizabeth MacPherson, Steve Shapiro Program Committee Patrick J. Midtlyng, Chair Jay -
Response to ITN 2015-11 Faculty Development for Online Education
Response to ITN 2015-11 Faculty Development for Online Education June 26, 2015 Part 1: Technical Reply Table of Contents Preliminary Administrative Review ...................................................................................................... 2 1. Executive Summary .................................................................................................................... 10 2. Qualifications and Experience ..................................................................................................... 11 Blended Learning Toolkit ....................................................................................................................... 14 The BlendKit Course .............................................................................................................................. 16 BlendKit MOOCs .................................................................................................................................... 17 Awards and Recognition ........................................................................................................................ 19 3. Technical Plan ............................................................................................................................. 20 Technical Approach ............................................................................................................................... 20 The Online Faculty Development Toolkit ......................................................................................... -
Reader's Guide, Vol. 8 No.15, 1986, January 31
This Issue in iwo Sections nside: Re der'S Guide to L.A. Restaura ts Suzanne Lummis, coordinator of the Dogstar poetry series Friday, January 31, 1986 Vol. 8, No. 15 LOS ANGELES'S FREE WEEKLY Organizers of local readings are finding homes for the .work of Los Angeles poets .·1 ·... l. f I By Lynn McGee On a rainy afternoon in November, 20 or so people grope through the unlit backstages at Hollywood's GalaxyTheater. Eventually, they Charlotte Gusay of George Sand Books find the performance space where two Lamont award poetry winners-Henri Coulette and Robert Mezey-are scheduled to read their work. Suzanne Lummis, coordinator of this event as part of her Dogstar Poetry Series, carries glasses ofwine to the audience and asks if any- one is thirsty. Surprised strangers thank her and sip their rose. The two poets-dapper, well- -groomed college professors-deliver briskly paced, poignant samples ofwork . Their voices echo from the small stage, with its garish navy and pink walls. The Dogstar readings, unlike the dozens of other poetry series in the Los Angeles area, cen- ters its events around themes, and not necessar- ily around individual poets. One ofthe readings, Alan Mandel of the Los Angeles Theatre Center centered around the theme "Madness and Re- · covery," attracted droves of people who could relate to losing their minds and feeling better, even if they couldn't relate to poetry, per se. "Life Stories" and "Urban Poetry" were two other themes. A memorial reading for the late William Pillin attracted over 90 people. "Po- etry meets Prose" was held on the roof of the Galaxy Theater, which meant audience mem- cont£nued on page 19 Jean-Pierre Boccaro and Anna Mariani of the Lhasa Club photographs by Beth Herzhaft 2 READER Section 1 January 17) was right on the mark, though acquired in 1945, and this was specifically it didn't go quite far enough. -
Mining the Box: Adaptation, Nostalgia and Generation X
From TV to Film How to Cite: Hill, L 2018 Mining the Box: Adaptation, Nostalgia and Generation X. Open Library of Humanities, 4(1): 1, pp. 1–28, DOI: https://doi.org/10.16995/olh.99 Published: 09 January 2018 Peer Review: This article has been peer reviewed through the double-blind process of Open Library of Humanities, which is a journal published by the Open Library of Humanities. Copyright: © 2017 The Author(s). This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use, distri- bution, and reproduction in any medium, provided the original author and source are credited. See http://creativecommons.org/licenses/by/4.0/. Open Access: Open Library of Humanities is a peer-reviewed open access journal. Digital Preservation: The Open Library of Humanities and all its journals are digitally preserved in the CLOCKSS scholarly archive service. Lisa Hill, ‘Mining the Box: Adaptation, Nostalgia and Generation X’, (2018) 4(1): 1 Open Library of Humanities, DOI: https:// doi.org/10.16995/olh.99 FROM TV TO FILM Mining the Box: Adaptation, Nostalgia and Generation X Lisa Hill University of the Sunshine Coast, AU [email protected] This article identifies the television to film phenomenon by cataloguing contemporary films adapted from popular television shows of the 1960s and 1970s. This trend is located within the context of Generation X and considered within the framework of nostalgia and Linda Hutcheon’s (2006) conception of adaptation. The history of re-visiting existing texts in screen culture is explored, and the distinction between remakes and adaptation is determined. -
A Content Analysis of Teen Shows Over Three Decades on Television
SQUAD GOALS: A CONTENT ANALYSIS OF TEEN SHOWS OVER THREE DECADES (1993-2017) Lindsay Thompson & Kelsey Bocharski Department of Psychology, Ithaca ColLege Introduction Examples of Programs Studied Results Results A recent study was conducted that revealed that Character Demographics (see Figure 1) the more people watch television, the more they • There were 629 different dyads in the 91 episodes: expect their lives to comply with what is 247 dyads in the 1990s, 202 in the 2000s, and 180 1990s happening on it (Russell, Russell, Boland, & in the 2010s. Grube, 2014), and they tend to adopt the beliefs • Most of the dyads consisted of two white and attitudes of their favorite characters on characters, although this decreased over time television. The present study represents a California Saved By The (63.2% in the 1990s, 46.5% in the 2000s, and longitudinal content analysis of the portrayals of Dreams Bell: New Class 51.1% in the 2010s). The percent of dyads made teenagers on teen-oriented situation comedies. It up of two people of color increased over time aims to examine the differences in relationships (6.1% in the 1990s, 8.4% in the 2000s, and 10.6% in 30-minute teen-oriented situation comedies in all white dyads all people of color dyads mixed race dyads in the 2010s. the 1990s, 2000s, and 2010s. An initial analysis • The percent of dyads with one white character and showed that many of these teen sitcoms take 2000s Fig. 1. Racial Makeup of Dyads, by Decade. one character of color also increased over time place inside the home with interactions between (30.8% in the 1990s, 45.0% in the 2000s, and the teens and their parents or siblings. -
The Animated Movie Guide
THE ANIMATED MOVIE GUIDE Jerry Beck Contributing Writers Martin Goodman Andrew Leal W. R. Miller Fred Patten An A Cappella Book Library of Congress Cataloging-in-Publication Data Beck, Jerry. The animated movie guide / Jerry Beck.— 1st ed. p. cm. “An A Cappella book.” Includes index. ISBN 1-55652-591-5 1. Animated films—Catalogs. I. Title. NC1765.B367 2005 016.79143’75—dc22 2005008629 Front cover design: Leslie Cabarga Interior design: Rattray Design All images courtesy of Cartoon Research Inc. Front cover images (clockwise from top left): Photograph from the motion picture Shrek ™ & © 2001 DreamWorks L.L.C. and PDI, reprinted with permission by DreamWorks Animation; Photograph from the motion picture Ghost in the Shell 2 ™ & © 2004 DreamWorks L.L.C. and PDI, reprinted with permission by DreamWorks Animation; Mutant Aliens © Bill Plympton; Gulliver’s Travels. Back cover images (left to right): Johnny the Giant Killer, Gulliver’s Travels, The Snow Queen © 2005 by Jerry Beck All rights reserved First edition Published by A Cappella Books An Imprint of Chicago Review Press, Incorporated 814 North Franklin Street Chicago, Illinois 60610 ISBN 1-55652-591-5 Printed in the United States of America 5 4 3 2 1 For Marea Contents Acknowledgments vii Introduction ix About the Author and Contributors’ Biographies xiii Chronological List of Animated Features xv Alphabetical Entries 1 Appendix 1: Limited Release Animated Features 325 Appendix 2: Top 60 Animated Features Never Theatrically Released in the United States 327 Appendix 3: Top 20 Live-Action Films Featuring Great Animation 333 Index 335 Acknowledgments his book would not be as complete, as accurate, or as fun without the help of my ded- icated friends and enthusiastic colleagues. -
“The Spongebob Squarepants Movie”
“THE SPONGEBOB SQUAREPANTS MOVIE” Production Information Ah, the simple, quiet life of Bikini Bottom, where home is a pineapple and a Krabby Patty is always served hot and fresh just around the corner at the Krusty Krab...... But starting on November 19th, the world is going to see just how wild things can get in the underwater paradise that SpongeBob SquarePants calls home. When he and his dimwitted best friend Patrick set out on an epic quest, SpongeBob finds himself driving a sandwich on a road trip where he’ll discover new worlds, dangerous monsters, and that being a kid isn’t such a bad thing after all. Sporting a fleet of famous voice talent that includes Alec Baldwin as Dennis the hit man, Scarlett Johansson as Mindy the mermaid and Jeffrey Tambor as King Neptune, not to mention a surprise appearance by David Hasselhoff as none other than himself, “The SpongeBob SquarePants Movie” is a cleverly drawn expansion of what has become the most watched kids’ show in television history. Co-written/storyboarded by SpongeBob creator Stephen Hillenburg, and featuring the original voice talent from the beloved series, this full-length animated feature is destined to float into the collective consciousness of moviegoers of all ages. Paramount Pictures presents a Nickelodeon Movies Production in association with United Plankton Pictures, “The SpongeBob SquarePants Movie.” Produced and directed by Stephen Hillenburg, written and storyboarded by Derek Drymon & Tim Hill & Stephen Hillenburg & Kent Osborne & Aaron Springer & Paul Tibbitt, the full-length animated feature is based on a story and the series created by Stephen Hillenburg.