DAVID HELFAND, ACE Editor

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DAVID HELFAND, ACE Editor PROJECTS DIRECTORS STUDIOS/PRODUCERS YOUNG SHELDON Various Directors WARNER BROS. / CBS Seasons 1 - 5 Chuck Lorre, Steven Molaro Tim Marx UNITED WE FALL Mark Cendrowski ABC / John Amodeo, Julia Gunn Pilot Julius Sharpe UNTITLED REV RUN Don Scardino AMBLIN PARTNERS / ABC Pilot Presentation Jeremy Bronson, Rev Run Simmons Jhoni Marchinko ATYPICAL Michael Patrick Jann SONY / NETFLIX 1 Episode Robia Rashid, Seth Gordon Mary Rohlich, Joanne Toll GREAT NEWS Various Directors UNIVERSAL / NBC Season 1 Tina Fey, Robert Carlock Tracey Wigfield, David Miner THE BRINK Michael Lehman HBO / Roberto Benabib, Jay Roach Season 1 Tim Robbins Jerry Weintraub UNCLE BUCK Reggie Hudlin ABC / Brian Bradley, Steven Cragg Season 1 Ken Whittingham Korin Huggins, Will Packer Fred Goss Franco Bario BAD JUDGE Andrew Fleming NBC / Adam McKay, Kevin Messick Pilot Will Ferrell THE MINDY PROJECT Various Directors FOX / Mindy Kaling, Howard Klein Seasons 1 - 2 Michael Spiller WEEDS Craig Zisk SHOWTIME Series Paul Feig Jenji Kohan, Roberto Benabib 2x Nominated, Single Camera Comedy Paris Barclay Mark Burley Series – Emmys NEXT CALLER Pilot Marc Buckland NBC / Stephen Falk, Marc Buckland PARTY DOWN Bryan Gordon STARZ Season 2 Fred Savage John Enbom, Rob Thomas David Wain Dan Etheridge, Paul Rudd THE MIDDLE Pilot Julie Anne Robinson ABC / DeeAnn Heline, Eileen Heisler GANGSTER’S PARADISE Ralph Ziman Tendeka Matatu Winner, Best Editing, FESPACO Awards FOSTER HALL Bob Berlinger NBC / Christopher Moynihan Pilot Conan O’Brien, Tom Palmer THAT ‘70S SHOW David Trainer FOX Season 6 Jeff Filgo, Jackie Filgo, Tom Carsey Nominated, Multi-Cam Comedy Series – Mary Werner Emmys CRACKING UP Chris Weitz FOX Pilot Paul Weitz Mike White GROSSE POINTE Peyton Reed WARNER BROS. Series Jake Kasdan Darren Starr, Robin Schiff David Knoller MIND OF THE MARRIED MAN Danny Leiner HBO Series Bob Saget Mike Binder FRIENDS Jim Burrows NBC Seasons 2 - 7 Thomas Schlamme Marta Kaufman, David Crane Editor & Associate Producer Kevin Bright INNOVATIVE-PRODUCTION.COM | 310.656.5151 .

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Senior Women's Performances of Sexuality
“DUSTY MUFFINS”: SENIOR WOMEN’S PERFORMANCES OF SEXUALITY A Thesis by EVLEEN MICHELLE NASIR Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2012 Major Subject: Performance Studies “Dusty Muffins”: Senior Women’s Performances of Sexuality Copyright 2012 Evleen Michelle Nasir “DUSTY MUFFINS”: SENIOR WOMEN’S PERFORMANCES OF SEXUALITY A Thesis by EVLEEN MICHELLE NASIR Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Approved by: Chair of Committee, Kirsten Pullen Committee Members, Judith Hamera Harry Berger Alfred Bendixen Head of Department, Judith Hamera August 2012 Major Subject: Performance Studies iii ABSTRACT “Dusty Muffins”: Senior Women’s Performance of Sexuality. (August 2012) Evleen Michelle Nasir, B.A., Texas A&M University Chair of Advisory Committee: Dr. Kirsten Pullen There is a discursive formation of incapability that surrounds senior women’s sexuality. Senior women are incapable of reproduction, mastering their bodies, or arousing sexual desire in themselves or others. The senior actresses’ I explore in the case studies below insert their performances of self and their everyday lives into the large and complicated discourse of sex, producing a counter-narrative to sexually inactive senior women. Their performances actively embody their sexuality outside the frame of a character. This thesis examines how senior actresses’ performances of sexuality extend a discourse of sexuality imposed on older woman by mass media. These women are the public face of senior women’s sexual agency.
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The Fan/Creator Alliance: Social Media, Audience Mandates, and the Rebalancing of Power in Studio–Showrunner Disputes
Media Industries 5.2 (2018) The Fan/Creator Alliance: Social Media, Audience Mandates, and the Rebalancing of Power in Studio–Showrunner Disputes Annemarie Navar-Gill1 UNIVERSITY OF MICHIGAN amngill [AT] umich.edu Abstract Because companies, not writer-producers, are the legally protected “authors” of television shows, when production disputes between series creators and studio/ network suits arise, executives have every right to separate creators from their intellectual property creations. However, legally disempowered series creators can leverage an audience mandate to gain the upper hand in production disputes. Examining two case studies where an audience mandate was involved in overturning a corporate production decision—Rob Thomas’s seven-year quest to make a Veronica Mars movie and Dan Harmon’s firing from and subsequent rehiring to his position as the showrunner of Community—this article explores how the social media ecosystem around television rebalances power in disputes between creators and the corporate entities that produce and distribute their work. Keywords: Audiences, Authorship, Management, Production, Social Media, Television Scripted television shows have always had writers. For the most part, however, until the post-network era, those writers were not “authors.” As Catherine Fisk and Miranda Banks have shown in their respective historical accounts of the WGA (Writers Guild of America), television writers have a long history of negotiating the terms of what “authorship” meant in the context of their work, but for most of the medium’s history, the cultural validation afforded to an “author” eluded them.2 This began to change, however, in the 1990s, when the term “showrunner” began to appear in television trade press.3 “Showrunner” is an unofficial title referring to the executive producer and head writer of a television series, who acts in effect as the show’s CEO, overseeing the program’s story development and having final authority in essentially all production decisions.
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Armortech ® THREESOME ® Label
2,4-D • MECOPROP-p • DICAMBA Threesome® Herbicide Selective broadleaf weed control for turfgrass including use on sod farms. To control clover, dandelion, henbit, plantains, wild onion, and many other broadleaf weeds. Also for highways, rights-of-way and other similar non-crop areas as listed on this label. Contains 2,4-D, mecoprop-p, and dicamba. ACTIVE INGREDIENTS KEEP OUT OF REACH OF CHILDREN Dimethylamine Salt of 2,4-Dichlorophenoxyacetic Acid* .......30.56% Dimethylamine Salt of (+)-R-2-(2-Methyl-4-Chlorophenoxy) DANGER – PELIGRO propionic Acid**‡ .......................................................................8.17% Si usted no entiende la etiqueta, busque a alguien para que se la Dimethylamine Salt of Dicamba (3,6-Dichloro-o-anisic Acid)*** 2.77% explique a usted en detalle. (If you do not understand the label, find someone to explain it to you OTHER INGREDIENTS: ......................................................................58.5% in detail.) TOTAL: ....................................................................................100.00% Isomer Specific Method, Equivalent to: *2,4-Dichlorophenoxyacetic Acid ................................... 25.38%, 2.38 lbs/gal PRECAUTIONARY STATEMENTS **(+)-R-2-(2-Methyl-4-Chlorophenoxy)propionic Acid.... 6.75%, 0.63 lbs/gal HAZARDS TO HUMANS AND DOMESTIC ANIMALS ***3,6-Dichloro-o-anisic Acid .......................................... 2.30%, 0.22 lbs/gal Corrosive. Causes irreversible eye damage. Do not get in eyes, or on skin or clothing. ‡CONTAINS THE SINGLE ISOMER FORM OF MECOPROP-p Harmful if swallowed. FIRST AID IF • Call a poison control center or doctor immediately for treatment advice. HOT LINE NUMBER SWALLOWED: • Have person sip a glass of water if able to swallow. Have the product container or label with you when calling a poison control • Do not induce vomiting unless told to do so by the poison control center or doctor.
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Carol Raskin
Carol Raskin Artistic Images Make-Up and Hair Artists, Inc. Miami – Office: (305) 216-4985 Miami - Cell: (305) 216-4985 Los Angeles - Office: (310) 597-1801 FILMS DATE FILM DIRECTOR PRODUCTION ROLE 2019 Fear of Rain Castille Landon Pinstripe Productions Department Head Hair (Kathrine Heigl, Madison Iseman, Israel Broussard, Harry Connick Jr.) 2018 Critical Thinking John Leguizamo Critical Thinking LLC Department Head Hair (John Leguizamo, Michael Williams, Corwin Tuggles, Zora Casebere, Ramses Jimenez, William Hochman) The Last Thing He Wanted Dee Rees Elena McMahon Productions Additional Hair (Miami) (Anne Hathaway, Ben Affleck, Willem Dafoe, Toby Jones, Rosie Perez) Waves Trey Edward Shults Ultralight Beam LLC Key Hair (Sterling K. Brown, Kevin Harrison, Jr., Alexa Demie, Renee Goldsberry) The One and Only Ivan Thea Sharrock Big Time Mall Productions/Headliner Additional Hair (Bryan Cranston, Ariana Greenblatt, Ramon Rodriguez) (U. S. unit) 2017 The Florida Project Sean Baker The Florida Project, Inc. Department Head Hair (Willem Dafoe, Bria Vinaite, Mela Murder, Brooklynn Prince) Untitled Detroit City Yann Demange Detroit City Productions, LLC Additional Hair (Miami) (Richie Merritt Jr., Matthew McConaughey, Taylour Paige, Eddie Marsan, Alan Bomar Jones) 2016 Baywatch Seth Gordon Paramount Worldwide Additional Hair (Florida) (Dwayne Johnson, Zac Efron, Alexandra Daddario, David Hasselhoff) Production, Inc. 2015 The Infiltrator Brad Furman Good Films Production Department Head Hair (Bryan Cranston, John Leguizamo, Benjamin Bratt, Olympia
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Weed Discrimination Using Ultrasonic Sensors
INSIGHTS DOI: 10.1111/j.1365-3180.2011.00876.x Weed discrimination using ultrasonic sensors D ANDU´JAR*, A ESCOLA` , J DORADO* & C FERNAŃDEZ-QUINTANILLA* *Instituto de Ciencias Agrarias, CSIC, Madrid, Spain, and Universitat de Lleida, Lleida, Spain Received 11 March 2011 Revised version accepted 7 June 2011 Subject Editor: Peter Lutman, UK sis revealed that the ultrasonic data could separate three Summary groups of assemblages: pure stands of broad-leaved A new approach is described for automatic discrimina- weeds (lower height), pure stands of grasses (higher tion between grasses and broad-leaved weeds, based on height) and mixed stands of broad-leaved and grass their heights. An ultrasonic sensor was mounted on the weeds (medium height). Dynamic measurements con- front of a tractor, pointing vertically down in the inter- firmed the potential of this system to detect weed row area, with a control system georeferencing and infestations. This technique offers significant promise for registering the echoes reflected by the ground or by the the development of real-time spatially selective weed various leaf layers. Static measurements were taken at control techniques, either as the sole weed detection locations with different densities of grasses (Sorghum system or in combination with other detection tools. halepense) and broad-leaved weeds (Xanthium strumar- Keywords: weed species discrimination, site-specific ium and Datura spp.). The sensor readings permitted the weed management, wide-row crops, ultrasound detec- discrimination of pure stands of grasses (up to 81% tion, patch, sonar. success) and pure stands of broad-leaved weeds (up to 99% success). Moreover, canonical discriminant analy- ANDU´JAR D, ESCOLA` A, DORADO J&FERNAŃDEZ-QUINTANILLA C (2011).
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EFFICACY of ORGANIC WEED CONTROL METHODS Scott Snell, Natural Resources Specialist
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Invasive Weeds of the Appalachian Region
$10 $10 PB1785 PB1785 Invasive Weeds Invasive Weeds of the of the Appalachian Appalachian Region Region i TABLE OF CONTENTS Acknowledgments……………………………………...i How to use this guide…………………………………ii IPM decision aid………………………………………..1 Invasive weeds Grasses …………………………………………..5 Broadleaves…………………………………….18 Vines………………………………………………35 Shrubs/trees……………………………………48 Parasitic plants………………………………..70 Herbicide chart………………………………………….72 Bibliography……………………………………………..73 Index………………………………………………………..76 AUTHORS Rebecca M. Koepke-Hill, Extension Assistant, The University of Tennessee Gregory R. Armel, Assistant Professor, Extension Specialist for Invasive Weeds, The University of Tennessee Robert J. Richardson, Assistant Professor and Extension Weed Specialist, North Caro- lina State University G. Neil Rhodes, Jr., Professor and Extension Weed Specialist, The University of Ten- nessee ACKNOWLEDGEMENTS The authors would like to thank all the individuals and organizations who have contributed their time, advice, financial support, and photos to the crea- tion of this guide. We would like to specifically thank the USDA, CSREES, and The Southern Region IPM Center for their extensive support of this pro- ject. COVER PHOTO CREDITS ii 1. Wavyleaf basketgrass - Geoffery Mason 2. Bamboo - Shawn Askew 3. Giant hogweed - Antonio DiTommaso 4. Japanese barberry - Leslie Merhoff 5. Mimosa - Becky Koepke-Hill 6. Periwinkle - Dan Tenaglia 7. Porcelainberry - Randy Prostak 8. Cogongrass - James Miller 9. Kudzu - Shawn Askew Photo credit note: Numbers in parenthesis following photo captions refer to the num- bered photographer list on the back cover. HOW TO USE THIS GUIDE Tabs: Blank tabs can be found at the top of each page. These can be custom- ized with pen or marker to best suit your method of organization. Examples: Infestation present On bordering land No concern Uncontrolled Treatment initiated Controlled Large infestation Medium infestation Small infestation Control Methods: Each mechanical control method is represented by an icon.
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James L. Carter, Asc Director of Photography Iatse 600
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Directors Tell the Story Master the Craft of Television and Film Directing Directors Tell the Story Master the Craft of Television and Film Directing
Directors Tell the Story Master the Craft of Television and Film Directing Directors Tell the Story Master the Craft of Television and Film Directing Bethany Rooney and Mary Lou Belli AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Focal Press is an imprint of Elsevier 225 Wyman Street, Waltham, MA 02451, USA The Boulevard, Langford Lane, Kidlington, Oxford, OX5 1GB, UK © 2011 Bethany Rooney and Mary Lou Belli. Published by Elsevier Inc. All rights reserved No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. Details on how to seek permission, further information about the Publisher’s permissions policies and our arrangements with organizations such as the Copyright Clearance Center and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/permissions. This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as may be noted herein). Notices Knowledge and best practice in this field are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility.
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