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ECU® Storybook Theatre Presents
ECU® Storybook Theatre presents ADA Accommodation: 252-737-1018 | [email protected] theatredance.ecu.edu | 252-328-6829 ECU® Storybook Theatre presents Dramatized by Olga Fricker. Based on the book by Hugh Lofting Director Patch Clark Music Director Monica Edwards Stage Manager Dashay Williams Scenic Deisgn Connor Gerney Lighting Design Stuart Lannon Costume Design Monica Edwards Sound Deisgn Riley Yates Storybook Theatre's Production of Doctor Dolittle is dedicated in loving memory to Ann Rhem Schwarzmann, Patron of ECU Storybook Theatre and School of Theatre and Dance ©2020. This livestream or video recording was produced by special arrangement with Dramatic Publishing Company. All rights reserved. This performance is authorized for private, in-home use only. By viewing the livestream or video recording, you agree not to authorize or permit the livestream or recording to be downloaded, copied, distributed, broadcast, telecast or otherwise exploited, in whole or in part, in any media now known or hereafter developed. WARNING: Federal law provides severe civil and criminal penalties for the unauthorized reproduction, distribution or exhibition of copyrighted motion pictures, videotapes or videodiscs. Criminal copyright infringement is investigated by the FBI and may constitute a felony with a maximum penalty of up to five years in prison and/or a $250,000.00 fine. From the Director Greetings, everyone! It was my distinct pleasure to direct ECU Storybook Theatre’s production of Doctor Dolittle, and even though under the most challenging of circumstances during a pandemic year, when cast members had to faithfully practice socially distancing, washing of hands and the wearing of masks, we persevered. -
Read It Here
Case 5:13-cv-05570-JLS Document 64 Filed 03/11/14 Page 1 of 30 UNITED STATES DISTRICT COURT EASTERN DISTRICT OF PENNSYLVANIA DISNEY ENTERPRISES, INC., et al., Plaintiffs, Case No: 5:13-cv-05570 (JSL) VS. ENTERTAINMENT THEATRE GROUP d/b/a AMERICAN MUSIC THEATRE; JAMES D. MARTIN; FREDERICK W. STEUDLER, JR.; and DWIGHT H. BRUBAKER, Defendants, and STAN LEE MEDIA, INC., Defendant / Intervenor. ENTERTAINMENT THEATRE GROUP d/b/a AMERICAN MUSIC THEATRE, Counterclaim-Plaintiff, and Case No: 5:13-cv-05570 (JSL) STAN LEE MEDIA, INC. Counterclaim-Plaintiff/Intervenor, -against- DISNEY ENTERPRISES, INC.; and MARVEL CHARACTERS, INC., Deadline.comCounterclaim-Defendants. DEFENDANTS' OPPOSITION IN RESPONSE TO PLAINTIFFS' MOTION TO DISMISS AMENDED COUNTERCLAIMS AND INTERVENOR COMPLAINT AND TO STRIKE AMENDED AFFIRMATIVE DEFENSES Case 5:13-cv-05570-JLS Document 64 Filed 03/11/14 Page 2 of 30 Table of Contents Page I. INTRODUCTION 1 II. BACKGROUND 3 III. ARGUMENT 6 A. Legal Standard 6 B. Res Judicata Does Not Bar AMT's Counterclaims And Affirmative Defenses As The Causes Of Action At Issue In This Litigation Are Not The Same Causes Of Action At Issue In The Prior SLMI-Related Litigations. 7 1. The Present Litigation Does Not Involve The Same Cause Of Action As The Prior SLMI-Related Litigations. 8 2. AMT Is Not In Privity With SLMI Or The Abadin Plaintiffs And, Thus, AMT Cannot Be Bound By The Decisions Reached In The Prior SLMI-Related Litigations. 12 C. Collateral Estoppel Or Issue Preclusion Does Not Bar AMT's Counterclaims As Identical Issues Are Not Present And The Issue Of Ownership Has Never Been Actually Litigated 15 D. -
Media Industry Approaches to Comic-To-Live-Action Adaptations and Race
From Serials to Blockbusters: Media Industry Approaches to Comic-to-Live-Action Adaptations and Race by Kathryn M. Frank A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Communication) in the University of Michigan 2015 Doctoral Committee: Associate Professor Amanda D. Lotz, Chair Professor Susan J. Douglas Professor Lisa A. Nakamura Associate Professor Aswin Punathambekar © Kathryn M. Frank 2015 “I don't remember when exactly I read my first comic book, but I do remember exactly how liberated and subversive I felt as a result.” ― Edward W. Said, Palestine For Mom and Dad, who taught me to be my own hero ii Acknowledgements There are so many people without whom this project would never have been possible. First and foremost, my parents, Paul and MaryAnn Frank, who never blinked when I told them I wanted to move half way across the country to read comic books for a living. Their unending support has taken many forms, from late-night pep talks and airport pick-ups to rides to Comic-Con at 3 am and listening to a comics nerd blather on for hours about why Man of Steel was so terrible. I could never hope to repay the patience, love, and trust they have given me throughout the years, but hopefully fewer midnight conversations about my dissertation will be a good start. Amanda Lotz has shown unwavering interest and support for me and for my work since before we were formally advisor and advisee, and her insight, feedback, and attention to detail kept me invested in my own work, even in times when my resolve to continue writing was flagging. -
Brendan Lacy M.Arch Thesis.Indb
The Green Scare: Radical environmental activism and the invention of “eco-terror- ism” in American superhero comics from 1970 to 1990 by Brendan James Lacy A thesis presented to the University of Waterloo in fulfi llment of the thesis requirement for the degree of Master of Architecture Waterloo, Ontario, Canada, 2021 © Brendan James Lacy 2021 Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required fi nal revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. iii Abstract American environmentalism became a recognizable social move- ment in the 1960s. In the following two decades the movement evolved to represent a diverse set of philosophies and developed new protest methods. In the early 1990s law enforcement and govern- ment offi cials in America, with support from extraction industries, created an image of the radical environmental movement as danger- ous “eco-terrorists.” Th e concept was deployed in an eff ort to de-val- ue the environmental movement’s position at a time of heightened environmental consciousness. With the concept in place members of the movement became easier to detain and the public easier to deter through political repression. Th e concept of “eco-terrorism” enters popular media relatively quickly indicated by the proliferation of superhero comics in the ear- ly 1990s that present villainous environmental activists as “eco-ter- rorists.” Th is imagery contrasts comics from 1970 which depicted superheroes as working alongside activists for the betterment of the world. -
Hulk Smash! September, 2020, Vol
Journal of Criminal Justice and Popular Culture Hulk Smash! September, 2020, Vol. 20 (Issue 1): pp. 28 - 42 Clevenger and Acquaviva Copyright © 2020 Journal of Criminal Justice and Popular Culture All rights reserved. ISSN: 1070-8286 Hulk Smash! Violence in The Incredible Hulk Comics Shelly Clevenger Sam Houston State University & Brittany L. Acquaviva Sam Houston State University 28 Journal of Criminal Justice and Popular Culture Hulk Smash! September, 2020, Vol. 20 (Issue 1): pp. 28 - 42 Clevenger and Acquaviva Abstract “Hulk smash!” is one of the most iconic phrases uttered in the pages of comic books. The Incredible Hulk is one of comics’ most violent characters as the Hulk smashes first and asks questions later. The popularity of the comic book genre has exploded within past decades and the interest in comics has increased. But exactly how violent is The Incredible Hulk and what does that mean for readers? This research examines the occurrence of violence in the Incredible Hulk comics through a thematic content analysis of 248 issues. Specifically, such themes as violence against men and women, unpunished violence, formal punishments of violence, interventions to stop violence and the justification provided for violence were assessed. The goal of the research was to determine the amount and level of violence within the comic and in what context it occurred. Results indicate that there is a large amount of violence occurring within the pages of the Incredible Hulk, but that this violence is often justified and committed by the Hulk to protect himself and others. A discussion is provided regarding the potential impact this may have on a reader and their view of violence, crime and justice. -
Limits, Malice and the Immortal Hulk
https://lthj.qut.edu.au/ LAW, TECHNOLOGY AND HUMANS Volume 2 (2) 2020 https://doi.org/10.5204/lthj.1581 Before the Law: Limits, Malice and The Immortal Hulk Neal Curtis The University of Auckland, New Zealand Abstract This article uses Kafka's short story 'Before the Law' to offer a reading of Al Ewing's The Immortal Hulk. This is in turn used to explore our desire to encounter the Law understood as a form of completeness. The article differentiates between 'the Law' as completeness or limitlessness and 'the law' understood as limitation. The article also examines this desire to experience completeness or limitlessness in the work of George Bataille who argued such an experience was the path to sovereignty. In response it also considers Francois Flahault's critique of Bataille who argued Bataille failed to understand limitlessness is split between a 'good infinite' and a 'bad infinite', and that it is only the latter that can ultimately satisfy us. The article then proposes The Hulk, especially as presented in Al Ewing's The Immortal Hulk, is a study in where our desire for limitlessness can take us. Ultimately it proposes we turn ourselves away from the Law and towards the law that preserves and protects our incompleteness. Keywords: Law; sovereignty; comics; superheroes; The Hulk Introduction From Jean Bodin to Carl Schmitt, the foundation of the law, or what we more readily understand as sovereignty, is marked by a significant division. The law is a limit in the sense of determining what is permitted and what is proscribed, but the authority for this limit is often said to derive from something unlimited. -
The Story of Doctor Dolittle Hugh Lofting
The Story of Doctor Dolittle Hugh Lofting ALMA CLASSICS alma classics an imprint of alma books ltd 3 Castle Yard Richmond Surrey TW10 6TF United Kingdom www.almaclassics.com The Story of Doctor Dolittle first published in 1920 This edition first published by Alma Classics in 2018 Cover image © Susan Hellard, 2018 Extra Material © Alma Books Ltd Printed in Great Britain by CPI Group (UK) Ltd, Croydon CR0 4YY isbn: 978-1-84749-745-1 All the pictures in this volume are reprinted with permission or pre sumed to be in the public domain. Every effort has been made to ascertain and acknowledge their copyright status, but should there have been any unwitting oversight on our part, we would be happy to rectify the error in subsequent printings. All rights reserved. No part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or other- wise), without the prior written permission of the publisher. This book is sold subject to the condition that it shall not be resold, lent, hired out or otherwise circulated without the express prior consent of the publisher. Contents The Story of Doctor Dolittle 1 Notes 104 Extra Material for Young Readers 105 The Writer 107 The Book 109 The Characters 110 Other Classic Animal Stories 113 Test Yourself 115 Glossary 119 to all children children in years and children in heart i dedicate this story The Story of Doctor Dolittle 1 Puddleby nce upon a time, many years ago – when our grandfathers were little children – there was a doctor, and his name was Dolittle – John Dolittle, MD. -
The Story of DOCTOR DOLITTLE
1 The Story of DOCTOR DOLITTLE by Hugh Lofting Published by Ichthus Academy Doctor Dolittle ©Ichthus Academy 2 INTRODUCTION There are some of us now reaching middle age who discover themselves to be lamenting the past in one respect if in none other, that there are no books written now for children comparable with those of thirty years ago. I say written FOR children because the new psychological business of writing ABOUT them as though they were small pills or hatched in some especially scientific method is extremely popular today. Writing for children rather than about them is very difficult as everybody who has tried it knows. It can only be done, I am convinced, by somebody having a great deal of the child in his own outlook and sensibilities. Such was the author of "The Little Duke" and "The Dove in the Eagle's Nest," such the author of "A Flatiron for a Farthing," and "The Story of a Short Life." Such, above all, the author of "Alice in Wonderland." Grownups imagine that they can do the trick by adopting baby language and talking down to their very critical audience. There never was a greater mistake. The imagination of the author must be a child's imagination and yet maturely consistent, so that the White Queen in "Alice," for instance, is seen just as a child would see her, but she continues always herself through all her distressing adventures. The supreme touch of the white rabbit pulling on his white gloves as he hastens is again absolutely the child's vision, but the white rabbit as guide and introducer of Alice's adventures belongs to mature grown insight. -
University Microfilms. Inc., Ann Arbor, Michigan
7 0 -m -,1 1 9 WILLIS, Craig Dean, 1935- THE TUDORS AND THEIR TUTORS: A STUDY OF SIXTEENTH CENTURY ROYAL EDUCATION IN BRITAIN. The Ohio State University, Ph.D., 1969 Education, history University Microfilms. Inc., Ann Arbor, Michigan © Copyright by Craig Dean W illis 1970 THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED THE TUDORS AND THEIR- TUTORS: A STUDY OF SIXTEENTH CENTURY ROYAL EDUCATION IN BRITAIN DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University SY Craig Dean W illis, B.A., M.A. IHt- -tttt -H-H- The Ohio State U niversity 1969 Adviser t School of Education ACKNOWLEDGMENTS To Dr. Robert B. Sutton, my major adviser, I owe a major debt of gratitude for his guidance, encouragement, and scholarly qualifies* I also wish to thank the members of the reading committee for their contribution; and in particular, I want to express appreciation to Dr. Richard J. Frankie and the late Dr. Earl Anderson for their professional and meaningful assistance. It is appropriate to thank the administrative officers at Ohio Wesleyan University for their encouragement and willingness to let me arrange my work around my graduate studies. Persons of particular help were Dr, Allan C. Ingraham, Dr. Elden T. Smith, Dr. Emerson C. Shuck, and Dr. Robert P. Lisensky. My family has been of invaluable assistance to me, and it is to them that I dedicate the study of the education of the Tudor family. My parents, J. Russell and Glenna A. W illis, have helped in many ways, both overt and subtle. -
Newbery Award Winners Newbery Award Winners
Waterford Public Library Newbery Award Winners Newbery Award Winners 1959: The Witch of Blackbird Pond by Elizabeth George Speare 1958: Rifles for Watie by Harold Keith Newbery Award Winners 1996: The Midwife's Apprentice by Karen Cushman 1957: Miracles on Maple Hill by Virginia Sorenson 1995: Walk Two Moons by Sharon Creech 1956: Carry On, Mr. Bowditch by Jean Lee Latham 1994: The Giver by Lois Lowry 1955: The Wheel on the School by Meindert DeJong The Newbery Medal was named for 18th-century British bookseller 1993: Missing May by Cynthia Rylant 1954: ...And Now Miguel by Joseph Krumgold John Newbery. It is awarded annually by the Association for 1992: Shiloh by Phyllis Reynolds Naylor 1953: Secret of the Andes by Ann Nolan Clark Library Service to Children, a division of the American Library 1991: Maniac Magee by Jerry Spinelli 1952: Ginger Pye by Eleanor Estes Association, to the author of the most distinguished contribution to 1990: Number the Stars by Lois Lowry 1951: Amos Fortune, Free Man by Elizabeth Yates American literature for children. 1989: Joyful Noise: Poems for Two Voices by Paul Fleischman 1950: The Door in the Wall by Marguerite de Angeli 1988: Lincoln: A Photobiography by Russell Freedman 1949: King of the Wind by Marguerite Henry 2021: When You Trap a Tiger by Tae Keller 1987: The Whipping Boy by Sid Fleischman 1948: The Twenty-One Balloons by William Pène du Bois 1986: Sarah, Plain and Tall by Patricia MacLachlan 1947: Miss Hickory by Carolyn Sherwin Bailey 2020: New Kid, written and illustrated by Jerry Craft 1985: The Hero and the Crown by Robin McKinley 1946: Strawberry Girl by Lois Lenski 2019: Merci Suárez Changes Gears by Meg Medina 1984: Dear Mr. -
Disney-Marvel-Stan-Lee-Copyright-Infringement-Suit__121010000839.Pdf
IN THE UNITED STATES DISTRICT COURT FOR THE DISTRICT OF COLORADO Civil Action No. ______________1:12-cv-02663 STAN LEE MEDIA, INC. Plaintiff, v. THE WALT DISNEY COMPANY, Defendant. COMPLAINT FOR COPYRIGHT INFRINGEMENT INTRODUCTION 1. Spider Man, Iron Man, The Incredible Hulk, Thor, The X-Men, The Fantastic Four, and most of The Avengers are among the best known comic book characters of all time and all were created by the comic book genius Stan Lee. Motion pictures starring these characters released within the past three (3) years have generated box office receipts in excess of $3 billion. Defendant The Walt Disney Company has represented to the public that it, in fact, owns the copyright to theseDEADLINE.com characters as well as to hundreds of other characters created by Stan Lee. Those representations made to the public by The Walt Disney Company are false. The true facts are that Stan Lee Media, Inc. owns the copyrights to Stan Lee’s creations. Accordingly, Plaintiff Stan Lee Media, Inc. is entitled to the billions of dollars of profits that have been kept by Defendant Disney. THE PARTIES 2. Stan Lee Media, Inc. (“SLMI”) is a Colorado corporation authorized to sue to recover damages to its assets. The Walt Disney Company (“Disney”) is a Delaware corporation which improperly claims ownership to the Stan Lee characters. JURISDICTION AND VENUE 3. This is a civil action seeking damages and injunctive relief for copyright infringement under the Copyright Laws of the United States, 17 U.S.C. §101 et seq. This Court has subject matter jurisdiction pursuant to 28 U.S.C. -
General Literary Manuscripts Collection 0375
http://oac.cdlib.org/findaid/ark:/13030/kt8489s0dh No online items Finding Aid of the General Literary Manuscripts collection 0375 Jacqueline Morin USC Libraries Special Collections 2010 Doheny Memorial Library 206 3550 Trousdale Parkway Los Angeles, California 90089-0189 [email protected] URL: http://libraries.usc.edu/locations/special-collections Finding Aid of the General 03751031 1 Literary Manuscripts collection 0375 Contributing Institution: USC Libraries Special Collections Title: General Literary Manuscripts collection Creator: Allmond, Marcus Blakey Creator: Andros, R. S. S. (Richard Salter Storrs) Creator: Auden, W. H. (Wystan Hugh) Creator: Brett, Brian Creator: Burgess, Gelett Creator: Cooper, James Fenimore Creator: Davie, Donald Creator: Gioia, Dana Creator: Gosse, Edmund Creator: Herford, Oliver Creator: Howard, Robert, Sir Creator: Howells, William Dean, 1837-1920 Creator: Lindsay, Vachel Creator: Lofting, Hugh Creator: Longfellow, Henry Wadsworth Creator: Mabie, Hamilton Wright Creator: Maeterlinck, Maurice Creator: Morley, Christopher, 1890-1957 Creator: Norris, Frank, 1870-1902 Creator: Page, Thomas Nelson, 1853-1922 Creator: Perkoff, Stuart Z. Creator: Porter, Cole Creator: Read, Thomas Buchanan Creator: Roberts, Charles George Douglas, Sir Creator: Runyon, Damon Creator: Ruskin, John Creator: Saltus, Edgar Creator: Sherman, Frank Dempster Creator: Stevenson, Robert Louis Creator: Vale, Eugene Creator: Van Dyke, Henry, 1852-1933 Creator: Weismiller, Edward Ronald Creator: Wells, Carolyn Identifier/Call Number: 0375 Identifier/Call Number: 1031 Physical Description: 0.42 Linear Feet1 legal-size document box Date (inclusive): 1677-1991 Abstract: The General Literary Manuscripts collection is an artificially created collection comprised chiefly of literary works and manuscript fragments of well-known writers and other public figures. The time covered is late 17th century to the first half of the 20th century.