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KEN FAR MER (Partial Resume- Actor/Director) Ht: 6ft., Wt: 200 Eyes: Blue, Hair: Grey SELECTED FEATURE FILMS DIRECTOR ROCKABILLY BABY Writer/Director KEN FARMER FRIDAY NIGHT LIGHTS PETER BERG RED RIDGE Co-STAR DAMIAN SKINNER THE NEWTON BOYS RICK LINKLATER ROCKET MAN STUART GILLARD LAST OF THE WARRIORS (STAR, - Above Title) LLOYD SIMANDLE MANIAC WARRIORS (STAR) LLOYD SIMANDLE SILVERADO LAWRENCE KASDAN UNCOMMON VALOR TED KOTCHEFF SPLIT IMAGE TED KOTCHEFF EMPIRE OF ASH (STAR - Above Title) MICHAEL MAZO POWER PLAY AL FRAKES SELECT MOVIES OF THE WEEK AND EPISODIC TELEVISION (Star, Co-Star, Guest Star) “THE GOOD GUYS” FOX SANFORD BOOKSTAVER "TOO LEGIT TO QUIT" VH1 ARTIE MANDELBERG "THE PRESIDENT'S MAN" CBS MICHAEL PREECE "WALKER, TEXAS RANGER" CBS MICHAEL PREECE "LOGAN'S WAR" CBS MICHAEL PREECE "WALKER, TEXAS RANGER" CBS TONY MORDENTE "AUSTIN STORIES" MTV (STAR) GEORGE VERSHOOR "WALKER, TEXAS RANGER" CBS ALEX SINGER "WALKER, TEXAS RANGER" CBS TONY MORDENTE "WALKER, TEXAS RANGER" CBS MICHAEL PREECE "WALKER, TEXAS RANGER" CBS TONY MORDENTE "ANOTHER PAIR OF ACES" CBS (STAR) BILL BIXBY "AMERICA'S MOST WANTED" FOX (STAR) TOM SHELLY "HIGH MOUNTAIN RANGERS" CBS GEORGE FENNEDY "DALLAS" CBS LEONARD KATZMAN "GENERAL HOSPITAL" ABC (RECURRING) MARLENA LAIRD "DALLAS" CBS LEONARD KATZMAN "BENJI" CBS (STAR) JOE CAMP "DALLAS, WHO SHOT J.R.?" CBS LEONARD KATZMAN "BENJI" CBS (STAR) JOE CAMP "JAKE'S WAY" CBS RICHARD COLLA "BACKLOT" NICK (STAR) GARY PAUL "DALLAS" CBS MICHAEL PREECE "DALLAS" CBS LEONARD KATZMAN "SUPERIOR COURT" (2) NBC (STAR) HANK GRIMER SPECIAL ABILITIES EXPERT HORSEMAN: ALL SPORTS: COLLEGE ALL-AMERICAN, FOOTBALL: EXCELLENT SWIMMER: DIVING: SCUBA: WRESTLING: HAND-TO-HAND COMBAT: USMC: FAMILIAR WITH ALL TYPES OF FIREARMS: CAN FURNISH OWN FILM TRAINED HORSE: BACHELOR'S DEGREE - SPEECH & DRAMA : GOLF: AUTHOR OF "ACTING IS STORYTELLING ©" : ACTING COACH: STORYTELLING CONSULTANT: PRODUCER: DIRECTOR Web Site - www.kenfarmer-author.net THEATRICAL AND COMMERCIAL DVD & AUDIO TAPES AVAILABLE LINDA McALISTER TALENT - 972-938-2433.

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The Construction of Muslim Terrorism in the Kingdom Movie (2007) Directed by Peter Berg: a Reception Theory Magister of Language
THE CONSTRUCTION OF MUSLIM TERRORISM IN THE KINGDOM MOVIE (2007) DIRECTED BY PETER BERG: A RECEPTION THEORY PUBLICATION ARTICLE Submitted as a Partial Fulfillment of the Requirements for Getting Master Degree of Education in Magister of Language Study by: Agung Budi Santoso S200130035 MAGISTER OF LANGUAGE STUDY MUHAMMADIYAH UNIVERSITY OF SURAKARTA 2015 i ii iii 1 THE CONSTRUCTION OF MUSLIM TERRORISM IN THE KINGDOM MOVIE (2007) DIRECTED BY PETER BERG: A RECEPTION THEORY Agung Budi Santoso Magister of Language Study Muhammadiyah University of Surakarta Abstract This study belongs to the literary study. This study analyzes the construction of Muslim terrorism based on reader response reflected in The Kingdom Movie (2007). There are two objectives of the study, the first is to describe the dominant issues by the reviewers in applying reader response theory to Peter Berg‟s The Kingdom movie, and the second is to explain the reason why the dominant issue are perceived differently by reviewers. This study is a qualitative study and using two data sources; they are primary and secondary data. The primary data source is the reviews of The Kingdom movie (2007) by Peter Berg from IMDb (Internet Movie Database). The secondary data of this study are taken from other sources such as literary book, previous studies, articles, journals, and also website related to reader response theory. This study aimed to reveal how the cultural reader response reflected to The Kingdom movie. The dominant issue which is respond by the reviewers is the terrorism dealing with the culture reader response. Keywords: Culture Reader Response, Richard Beach, The Kingdom Abstrak Penelitian ini termasuk dalam penelitian sastra.
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Popular Cultural Islamophobia
CHAPTER 4 POPULAR CULTURAL ISLAMOPHOBIA Muslim representations in Films, News Media, and Television Programs INTRODUCTION Thus far in the book, we have examined Islamophobia from a theoretical perspective, as well as how it manifests in political discourse, and policies and legislation in the context of the War on Terror. Negatively evaluated beliefs and perceptions of Muslims in the post-9/11 context have also been strongly influenced and informed by representations in popular cultural mediums such as film, news media, and television programs. The impact of media in the construction of race has been discussed in great detail by Stuart Hall (1996), as he states, “the media construct for us a definition of what race is, what meaning the imagery of race carries, and what the ‘problem of race’ is understood to be” (p. 161). Indeed, after 9/11 depictions of Muslim terrorists flooded TV and cinema screens reinforcing narratives in the news media about ‘dangerous Muslim men’ and ‘imperilled Muslim women’. This chapter examines Muslim representations in popular cultural mediums after 9/11. The reason I have devoted an entire chapter on analyzing Muslim representations in popular cultural mediums is because a number of people I interviewed for this book directly and unambiguously discussed how they felt the ‘media’ negatively portrayed Muslims and that these depictions have facilitated the growth of stereotypes of Muslims in Canadian society and secondary schools. This chapter examines the types of media that participants discussed in the interview process to demonstrate how these media have circulated the tropes of ‘dangerous Muslim men’, ‘imperilled Muslim women’, and Muslim cultures as being monolithic.
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KATHRINE GORDON Hair Stylist IATSE 798 and 706
KATHRINE GORDON Hair Stylist IATSE 798 and 706 FILM DOLLFACE Department Head Hair/ Hulu Personal Hair Stylist To Kat Dennings THE HUSTLE Personal Hair Stylist and Hair Designer To Anne Hathaway Camp Sugar Director: Chris Addison SERENITY Personal Hair Stylist and Hair Designer To Anne Hathaway Global Road Entertainment Director: Steven Knight ALPHA Department Head Studio 8 Director: Albert Hughes Cast: Kodi Smit-McPhee, Jóhannes Haukur Jóhannesson, Jens Hultén THE CIRCLE Department Head 1978 Films Director: James Ponsoldt Cast: Emma Watson, Tom Hanks LOVE THE COOPERS Hair Designer To Marisa Tomei CBS Films Director: Jessie Nelson CONCUSSION Department Head LStar Capital Director: Peter Landesman Cast: Gugu Mbatha-Raw, David Morse, Alec Baldwin, Luke Wilson, Paul Reiser, Arliss Howard BLACKHAT Department Head Forward Pass Director: Michael Mann Cast: Viola Davis, Wei Tang, Leehom Wang, John Ortiz, Ritchie Coster FOXCATCHER Department Head Annapurna Pictures Director: Bennett Miller Cast: Steve Carell, Channing Tatum, Mark Ruffalo, Siena Miller, Vanessa Redgrave Winner: Variety Artisan Award for Outstanding Work in Hair and Make-Up THE MILTON AGENCY Kathrine Gordon 6715 Hollywood Blvd #206, Los Angeles, CA 90028 Hair Stylist Telephone: 323.466.4441 Facsimile: 323.460.4442 IATSE 706 and 798 [email protected] www.miltonagency.com Page 1 of 6 AMERICAN HUSTLE Personal Hair Stylist to Christian Bale, Amy Adams/ Columbia Pictures Corporation Hair/Wig Designer for Jennifer Lawrence/ Hair Designer for Jeremy Renner Director: David O. Russell
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'Perfect Fit': Industrial Strategies, Textual Negotiations and Celebrity
‘Perfect Fit’: Industrial Strategies, Textual Negotiations and Celebrity Culture in Fashion Television Helen Warner Submitted for the degree of Doctor of Philosophy (PhD) University of East Anglia School of Film and Television Studies Submitted July 2010 ©This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that no quotation from the thesis, nor any information derived therefrom, may be published without the author's prior, written consent. Helen Warner P a g e | 2 ABSTRACT According to the head of the American Costume Designers‟ Guild, Deborah Nadoolman Landis, fashion is emphatically „not costume‟. However, if this is the case, how do we approach costume in a television show like Sex and the City (1998-2004), which we know (via press articles and various other extra-textual materials) to be comprised of designer clothes? Once onscreen, are the clothes in Sex and the City to be interpreted as „costume‟, rather than „fashion‟? To be sure, it is important to tease out precise definitions of key terms, but to position fashion as the antithesis of costume is reductive. Landis‟ claim is based on the assumption that the purpose of costume is to tell a story. She thereby neglects to acknowledge that the audience may read certain costumes as fashion - which exists in a framework of discourses that can be located beyond the text. This is particularly relevant with regard to contemporary US television which, according to press reports, has witnessed an emergence of „fashion programming‟ - fictional programming with a narrative focus on fashion.
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20 Established 1961 Monday, August 20, 2018 Lifestyle Gossip Shawn Mendes can’t drink and sing hawn Mendes insists it’s “physically mess up, it’s going viral.” But the ‘Treat You impossible” for him to drink alcohol Better’ hitmaker admitted he needs to find Swhile on tour. The 20-year-old pop more time to “enjoy life” instead of concen- star feels he has to be an “athlete” while on trating too much on his work. He told the road because if he makes a mistake on Sunday Times Style magazine: “I actually stage, he’s aware the social media age means need to work on that. I’m not much of a all of his fans will soon hear about it. He said: partier. Honest to God, I need to enjoy my “Have you sung on stage for 60 minutes? life more and stop worrying about work, but It’s hard. And almost impossible hungover. I find it difficult.” However, Shawn does go There’s certain magic drugs that can help, out sometimes and doesn’t feel he needs to but I’m not interested in those, so when I’m take an entourage with him. He said: “I don’t flying 10 hours and there’s a three-hour worry about it. If people want a photo, then drive to the venue and I’m doing three inter- I take the photo.” When he does have time views, honestly, it’s physically impossible to off, the ‘Stitches’ singer values time alone at drink. You have to be an athlete in the pop his home in Toronto.
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The Narrative Functions of Television Dreams by Cynthia A. Burkhead A
Dancing Dwarfs and Talking Fish: The Narrative Functions of Television Dreams By Cynthia A. Burkhead A Dissertation Submitted in Partial Fulfillment of the Requirements for the Ph.D. Department of English Middle Tennessee State University December, 2010 UMI Number: 3459290 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT Dissertation Publishing UMI 3459290 Copyright 2011 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 DANCING DWARFS AND TALKING FISH: THE NARRATIVE FUNCTIONS OF TELEVISION DREAMS CYNTHIA BURKHEAD Approved: jr^QL^^lAo Qjrg/XA ^ Dr. David Lavery, Committee Chair c^&^^Ce~y Dr. Linda Badley, Reader A>& l-Lr 7i Dr./ Jill Hague, Rea J <7VM Dr. Tom Strawman, Chair, English Department Dr. Michael D. Allen, Dean, College of Graduate Studies DEDICATION First and foremost, I dedicate this work to my husband, John Burkhead, who lovingly carved for me the space and time that made this dissertation possible and then protected that space and time as fiercely as if it were his own. I dedicate this project also to my children, Joshua Scanlan, Daniel Scanlan, Stephen Burkhead, and Juliette Van Hoff, my son-in-law and daughter-in-law, and my grandchildren, Johnathan Burkhead and Olivia Van Hoff, who have all been so impressively patient during this process.
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Science Fiction Films of the 1950S Bonnie Noonan Louisiana State University and Agricultural and Mechanical College, [email protected]
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 "Science in skirts": representations of women in science in the "B" science fiction films of the 1950s Bonnie Noonan Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Noonan, Bonnie, ""Science in skirts": representations of women in science in the "B" science fiction films of the 1950s" (2003). LSU Doctoral Dissertations. 3653. https://digitalcommons.lsu.edu/gradschool_dissertations/3653 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. “SCIENCE IN SKIRTS”: REPRESENTATIONS OF WOMEN IN SCIENCE IN THE “B” SCIENCE FICTION FILMS OF THE 1950S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English By Bonnie Noonan B.G.S., University of New Orleans, 1984 M.A., University of New Orleans, 1991 May 2003 Copyright 2003 Bonnie Noonan All rights reserved ii This dissertation is “one small step” for my cousin Timm Madden iii Acknowledgements Thank you to my dissertation director Elsie Michie, who was as demanding as she was supportive. Thank you to my brilliant committee: Carl Freedman, John May, Gerilyn Tandberg, and Sharon Weltman.
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Spring 2021 Spring 2021
SPRING 2021 SPRING 2021 INSIDE 42 Unscripted: How filmmakers Peter Berg ’80 and Jason Blum ’87 evolved during a year of COVID-19 By Neil Vigdor ’95 c 56 Confronting the Pandemic Dr. Paul Ehrlich ’62 and his work as a New York City allergist-immunologist By Bonnie Blackburn-Penhollow ’84 b OTHER DEPARTMENTS 3 On Main Hall 5 Social Scene 6 Belonging 24/7 Elena Echavarria ’21 8 Alumni Spotlight works on a project in 20 In Print Advanced Ceramics 26 Around the Pond class, where students 62 do hands-on learning Class Notes in the ceramics studio 103 Milestones with teacher Claudia 108 Looking Back Black. ROBERT FALCETTI 8 On MAIN HALL A WORD FROM HEAD Managing Stress in Trying Times OF SCHOOL WILLY MACMULLEN ’78 This is a column about a talk I gave and a talk I heard—and about how SPRING 2021 ON THE COVER schools need to help students in managing stress. Needless to say, this Volume 91, Number 2 Students enjoyed the warm spring year has provided ample reason for this to be a singularly important weather and the beautiful flowering EDITOR trees on the Jig Patio following focus for schools. Linda Hedman Beyus Community Time. ROBERT FALCETTI In September 2018, during my opening remarks to the faculty, I spoke about student stress, and how I thought we needed to think about DIRECTOR OF MARKETING AND COMMUNICATIONS Kaitlin Thomas Orfitelli it in new ways. I gave that talk because it was clear to me that adolescents today were ASSISTANT DIRECTOR OF MARKETING AND COMMUNICATIONS experiencing stress and managing stress in different ways than when I Debra Meyers began teaching and even when I began as head of school just 20 years PHOTOGRAPHY ago.
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Patriots Day Review
Just saw "Patriots Day". This powerful docudrama centering around the Boston marathon bombing is directed by Peter Berg("Lone Survivor", "Deepwater Horizon"). The film stars a power packed cast including Mark Whalberg, Michelle Monahagn, John Goodman, Kevin Bacon, J.K. Simmons, Melissa Benoist, Jimmy O. Yang, Rachel Brosnahan, Christopher O'Shea, Jake Picking, Alex Wolf and Themo Melikidze. This film has been on my highly anticipated list for several months now. After seeing "Deepwater Horizon" back in September I was more than ready for this. Now here we are. Berg's been on a roll lately with his films. "Lone Survivor" is said to be extremely well done( I haven't seen it yet) and I thought "Deepwater Horizon" was a incredible movie. So I was looking forward to seeing if he could not only continue this trend but deliver a even better film than his previous two. I'm very happy to say that he has indeed done just that. This is a excellent film and I feel it's his best one of the 3. So let's dive headfirst into the movie and talk about what made it great. The first aspect I'm going to talk about is the acting. No surprise here. It's very good all around. Whalberg and Monahagn turn in very compelling performances husband and wife despite being the only fictional characters in the film. John Goodman is a force to be reckoned with as the police commissioner Ed Davis. Kevin Bacon gives a very cautious and calculated perfromance as FBI agent Rick Deslauriers.
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To Feature Sneak Preview of NBC Series Premiere of 'Friday Night Lights'
DISH Network(TM) to Feature Sneak Preview of NBC Series Premiere of 'Friday Night Lights' ENGLEWOOD, Colo. & BURBANK, Calif.--(BUSINESS WIRE)--Sept. 21, 2006--EchoStar Communications Corporation (NASDAQ: DISH) and its DISH Network™ satellite TV service today announced that the series premiere of NBC's new fall series "Friday Night Lights" will be featured on its Video On Demand platform, DISH On Demand, before its network debut on NBC on Tuesday, Oct. 3 at 8 p.m. ET/7 p.m. CT. The "Friday Night Lights" series centers on the small rural town of Dillon, Texas, where the coveted state football championship rings are held in the highest regard. Dillon's promising high school team, its star quarterback, and newly appointed head coach Eric Taylor (Kyle Chandler, "King Kong," "Grey's Anatomy") feel the mounting pressure of the town's pride and honor riding on their shoulders as a new football season kicks off. "Friday Night Lights" will be available on DISH On Demand on Saturday, Sept. 23 through Monday, Oct. 2 for DISH Network customers with a 622 or 625 receiver. Customers simply need to press the "DVR" button on their remote and select "TV Entertainment" from the menu screen, select "Friday Night Lights" from the menu, and select "Start" to begin viewing. DISH Network's DISH On Demand service gives customers immediate access to the latest movies and television programs, allowing them to enjoy movies and other programs whenever they want. Additionally, DISH Network's state-of-the-art DVRs enable subscribers to further customize their viewing experience by taking advantage of popular features such as pause, fast forward, and rewind.
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The Use and Abuse of Global Telepoiesis: of Human and Non-Human Bondages Entangled in Media Mobilities
Keio Communication Review No.39, 2017 The Use and Abuse of Global Telepoiesis: Of Human and Non-Human Bondages Entangled in Media Mobilities OGAWA NISHIAKI Yoko* Introduction Collective memory is not an archive that is concealed or defiant to any access. Rather, collective memory is open to re-interpretation. Also, collective memory is displayed in various forms: names, folk tales, old films, TV programs and Japanese cinema on the big screen, which Japanese migrant women watch again but this time with local audiences in foreign cities. Media audience studies and other studies on diasporic media consumption (Morley, 1974, 1990; Collins et al., 1986; Liebes & Katz, 1990; Ang, 1991; Livingstone, 1998; Moores, 1993; Ogawa, 1992) have been endeavoring to examine readings of specific media texts in relation to audience so far. On the contrary, more detailed analysis of collective memory will be required to understand the global media mobilities we encounter in the past decades (Zelizer, 1993; Gillespie, 1995; Fortier, 2000). This paper will focus on recursivity by shifting the emphasis from meaning of the text itself to how collective memories in talks act as sites, namely time-spaces (Scannell, 1988, 1991; Gilroy et al., 2000). It is this type of media mobilities with which the Japanese women who live abroad try to locate themselves somewhere local amid the global upheavals they encounter (Ogawa, 1994, 1996; Urry, 2007; 1 Elliot & Urry, 2010) . With emphasis on Japanese women, who are unfamiliar with war memories but are destined to recursively cope with them, diasporic experiences in relation with media, history and self-identity will be highlighted (Dower, 1986; Goodman, 1990; Clair et al., 2016).
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