Curriculum Vitae
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
A Producer's Handbook
DEVELOPMENT AND OTHER CHALLENGES A PRODUCER’S HANDBOOK by Kathy Avrich-Johnson Edited by Daphne Park Rehdner Summer 2002 Introduction and Disclaimer This handbook addresses business issues and considerations related to certain aspects of the production process, namely development and the acquisition of rights, producer relationships and low budget production. There is no neat title that encompasses these topics but what ties them together is that they are all areas that present particular challenges to emerging producers. In the course of researching this book, the issues that came up repeatedly are those that arise at the earlier stages of the production process or at the earlier stages of the producer’s career. If not properly addressed these will be certain to bite you in the end. There is more discussion of various considerations than in Canadian Production Finance: A Producer’s Handbook due to the nature of the topics. I have sought not to replicate any of the material covered in that book. What I have sought to provide is practical guidance through some tricky territory. There are often as many different agreements and approaches to many of the topics discussed as there are producers and no two productions are the same. The content of this handbook is designed for informational purposes only. It is by no means a comprehensive statement of available options, information, resources or alternatives related to Canadian development and production. The content does not purport to provide legal or accounting advice and must not be construed as doing so. The information contained in this handbook is not intended to substitute for informed, specific professional advice. -
FILM-1020: Story: Pre-Production Methods and the Art of Story in Motion Media 1
FILM-1020: Story: Pre-production Methods and the Art of Story in Motion Media 1 FILM-1020: STORY: PRE-PRODUCTION METHODS AND THE ART OF STORY IN MOTION MEDIA Cuyahoga Community College Viewing: FILM-1020 : Story: Pre-production Methods and the Art of Story in Motion Media Board of Trustees: 2018-05-24 Academic Term: Fall 2021 Subject Code FILM - Film and Media Arts Course Number: 1020 Title: Story: Pre-production Methods and the Art of Story in Motion Media Catalog Description: Study dramatic theory while writing an original script. Explore cultural uses of storytelling. Take real-life scenarios and respond to them with arguments constructed by the traditional elements of drama. Learn to write outlines, log lines, treatments, and character descriptions. Discuss facets of pre-production. Introduction to organizational tools and techniques used in film industry to prepare a script for production. Credit Hour(s): 3 Lecture Hour(s): 2 Lab Hour(s): 3 Requisites Prerequisite and Corequisite ENG-0995 Applied College Literacies, or appropriate score on English Placement Test; or departmental approval. Note: ENG-0990 Language Fundamentals II taken prior to Fall 2021 will also meet prerequisite requirements. Outcomes Course Outcome(s): Apply knowledge of story structure to a written treatment for a motion media production. Objective(s): 1. Identify the theme and dramatic or persuasive intent of the story. 2. Apply the art of storytelling to achieve a communications need (motivate and persuade) by creating a script for a short commercial or public service announcement (PSA). 3. Define the phases of a production from initial concept, treatment, pre-production, production, post-production and distribution. -
Project Information Form
PROJECT INFORMATION FORM - THEATRICAL This Project Information Form (PIF) should be filled out by an existing Directors Guild of America signatory company for each new theatrical film, low budget film or documentary film project or by a company requesting DGA signatory status. Please note that more detailed information may be required pending review by the Guild. Submission of this form does not constitute signatory acceptance. Please print clearly: Signatory Company: _________________________________________________________________________________________ Company Contact: ____________________________________________ Phone : _________________ E-Mail: _________________ Project Title: _______________________________________________________________________________________________ Copyright Holder: _______________________________________ Contact: ________________________ Phone: _______________ Screenwriter/s :_______________________________________________________________________________________________ Type: Feature Freelance Short Documentary Other:______________________ Low Budget Agreement : Yes No Budget: (U.S. ) $ ________________________________ Produced on : Film Digital Other (specify):__________________ Length (in minutes) : _______ Location/s: ________________________________________________________________________ Start Dates: Pre-Production:________________ Principal Photography :____________________ Wrap: _________________ EMPLOYEE INFORMATION (Name all, print clearly) : Print Full Name: Position: ‘ Director ‘ UPM ‘ -
The Development and Improvement of Instructions
QUEER UTOPIAN PERFORMANCE AT TEXAS A&M UNIVERSITY A Thesis by DANA NICOLE SAYRE 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 May 2012 Major Subject: Performance Studies Queer Utopian Performance at Texas A&M University Copyright 2012 Dana Nicole Sayre QUEER UTOPIAN PERFORMANCE AT TEXAS A&M UNIVERSITY A Thesis by DANA NICOLE SAYRE 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, Judith Hamera Committee Members, Kirsten Pullen Joseph O. Jewell Head of Department, Judith Hamera May 2012 Major Subject: Performance Studies iii ABSTRACT Queer Utopian Performance at Texas A&M University. (May 2012) Dana Nicole Sayre, B.A.; B.A, Fairmont State University Chair of Advisory Committee: Dr. Judith Hamera Through a combination of personal interviews and participant-observation in three field sites – the Tim Miller workshop and performance of October 2010 and the student organizations Cepheid Variable and the GLBT Aggies – I argue that manifestations of utopian desire and performance circulate within and among marginalized groups on the Texas A&M University campus, undermining the heteronormative and monolithic utopia the university attempts to present. I participated in each night of rehearsal during the Tim Miller workshop, as well as the creation and performance of my own solo autobiographical monologue as a part of the ensemble. My participant-observation in Cepheid Variable and the GLBT Aggies was concurrent, consisting of attendance at both weekly organizational meetings and outside events sponsored by the organizations over two years. -
Summer 2019 Vol.21, No.3 Screenwriter Film | Television | Radio | Digital Media
CANADIAN CANADA $7 SUMMER 2019 VOL.21, NO.3 SCREENWRITER FILM | TELEVISION | RADIO | DIGITAL MEDIA A Rock Star in the Writers’ Room: Bringing Jann Arden to the small screen Crafting Canadian Horror Stories — and why we’re so good at it Celebrating the 23rd annual WGC Screenwriting Awards Emily Andras How she turned PM40011669 Wynonna Earp into a fan phenomenon Congratulations to Emily Andras of SPACE’s Wynonna Earp, Sarah Dodd of CTV’s Cardinal, and all of the other 2019 WGC Screenwriting Award winners. Proud to support Canada’s creative community. CANADIAN SCREENWRITER The journal of the Writers Guild of Canada Vol. 21 No. 3 Summer 2019 ISSN 1481-6253 Publication Mail Agreement Number 400-11669 Publisher Maureen Parker Editor Tom Villemaire [email protected] Contents Director of Communications Lana Castleman Cover Editorial Advisory Board There’s #NoChill When it Comes Michael Amo to Emily Andras’s Wynonna Earp 6 Michael MacLennan How 2019’s WGC Showrunner Award winner Emily Susin Nielsen Andras and her room built a fan and social media Simon Racioppa phenomenon — and why they’re itching to get back in Rachel Langer the saddle for Wynonna’s fourth season. President Dennis Heaton (Pacific) By Li Robbins Councillors Michael Amo (Atlantic) Features Mark Ellis (Central) What Would Jann Do? 12 Marsha Greene (Central) That’s exactly the question co-creators Leah Gauthier Alex Levine (Central) and Jennica Harper asked when it came time to craft a Anne-Marie Perrotta (Quebec) heightened (and hilarious) fictional version of Canadian Andrew Wreggitt (Western) icon Jann Arden’s life for the small screen. -
Canadian Canada $7 Spring 2020 Vol.22, No.2 Screenwriter Film | Television | Radio | Digital Media
CANADIAN CANADA $7 SPRING 2020 VOL.22, NO.2 SCREENWRITER FILM | TELEVISION | RADIO | DIGITAL MEDIA The Law & Order Issue The Detectives: True Crime Canadian-Style Peter Mitchell on Murdoch’s 200th ep Floyd Kane Delves into class, race & gender in legal PM40011669 drama Diggstown Help Producers Find and Hire You Update your Member Directory profile. It’s easy. Login at www.wgc.ca to get started. Questions? Contact Terry Mark ([email protected]) Member Directory Ad.indd 1 3/6/19 11:25 AM CANADIAN SCREENWRITER The journal of the Writers Guild of Canada Vol. 22 No. 2 Spring 2020 Contents ISSN 1481-6253 Publication Mail Agreement Number 400-11669 Cover Publisher Maureen Parker Diggstown Raises Kane To New Heights 6 Editor Tom Villemaire [email protected] Creator and showrunner Floyd Kane tackles the intersection of class, race, gender and the Canadian legal system as the Director of Communications groundbreaking CBC drama heads into its second season Lana Castleman By Li Robbins Editorial Advisory Board Michael Amo Michael MacLennan Features Susin Nielsen The Detectives: True Crime Canadian-Style 12 Simon Racioppa Rachel Langer With a solid background investigating and writing about true President Dennis Heaton (Pacific) crime, showrunner Petro Duszara and his team tell us why this Councillors series is resonating with viewers and lawmakers alike. Michael Amo (Atlantic) By Matthew Hays Marsha Greene (Central) Alex Levine (Central) Anne-Marie Perrotta (Quebec) Murdoch Mysteries’ Major Milestone 16 Lienne Sawatsky (Central) Andrew Wreggitt (Western) Showrunner Peter Mitchell reflects on the successful marriage Design Studio Ours of writing and crew that has made Murdoch Mysteries an international hit, fuelling 200+ eps. -
Paramount Collection
Paramount Collection Airtight To control the air is to rule the world. Nuclear testing has fractured the Earth's crust, releasing poisonous gases into the atmosphere. Breathable air is now an expensive and rare commodity. A few cities have survived by constructing colossal air stacks which reach through the toxic layer to the remaining pocket of precious air above. The air is pumped into a huge underground labyrinth system, where a series of pipes to the surface feed the neighborhoods of the sealed city. It is the Air Force, known as the "tunnel hunters", that polices the system. Professor Randolph Escher has made a breakthrough in a top-secret project, the extraction of oxygen from salt water in quantity enough to return breathable air to the world. Escher is kidnapped by business tycoon Ed Conrad, who hopes to monopolize the secret process and make a fortune selling the air by subscription to the masses. Because Conrad Industries controls the air stacks, not subscribing to his "air service" would mean certain death. When Air Force Team Leader Flyer Lucci is murdered, his son Rat Lucci soon uncovers Conrad's involvement in his father's death and in Escher's kidnapping. Rat must go after Conrad, not only to avenge his father's murder, but to rescue Escher and his secret process as well. The loyalties of Rat's Air Force colleagues are questionable, but Rat has no choice. Alone, if necessary, he must fight for humanity's right to breathe. Title Airtight Genre Action Category TV Movie Format two hours Starring Grayson McCouch, Andrew Farlane, Tasma Walton Directed by Ian Barry Produced by Produced by Airtight Productions Proprietary Ltd. -
Steinhart Runaway Hollywood Chapter3
Chapter 3 Lumière, Camera, Azione! the personnel and practices of hollywood’s mode of international production as hollywood filmmakers gained more experience abroad over the years, they devised various production strategies that could be shared with one another. A case in point: in May 1961, Vincente Minnelli was preparing the production of Two Weeks in Another Town (1962), part of which he planned to shoot in Rome. Hollywood flmmaker Jean Negulesco communicated with Minnelli, ofering some advice on work- ing in Italy, where Negulesco had directed portions of Tree Coins in the Fountain (1954) and Boy on a Dolphin (1957) and at the time was producing his next flm, Jessica (1962): I would say that the most difcult and the most important condition of mak- ing a picture in Italy is to adapt yourself to their spirit, to their way of life, to their way of working. A small example: Tis happened to me on location. As I arrive on the set and everything is ready to be done at 9 o’clock—the people are having cofee. Now, your assistant also is having cofee—and if you are foolish enough to start to shout and saying you want to work, right away you’ll have an unhappy crew and not the cooperation needed for the picture. But if you have cofee with them, they will work for you with no time limit or no extra expense.1 Negulesco’s letter underscores a key lesson that Hollywood moviemakers learned overseas when confronted with diferent working hours, production practices, and cultural customs. -
Insite Mag 03.15.Indd
March 2015 ROUND TOP HERBAL FORUM MONEY MATTERS LEMONADE DAY HOME SPRING 2015 HOME & GARDEN WOMAN’S CLUB ANNUAL TOUR CITY FARMER HOMESTEADING INSIDE INSITE 1 3 2 4 Shop For a Cause Monarch Butter ies Symphony Premiere Market Renewing Populations Compiled by Carolina Keating Compiled by Insite Sta Page 6 Page 32 Hole In One Aggiecon 46 Twin City Mission Golf Classic Fantasy Comes to Aggieland By Carolina Keating By Cassidy Tyrone Page 8 Page 34 4 Herbal Forum 1 Home & Garden Savory Cooking & Cures Annual Woman’s Club Tour Preview By Cassidy Tyrone By Joan Moore Page 36 Page 10 Marburger Farms 2 Money Matters Antiques Galore Lemonade Day Teaches Success Compiled by Carolina Keating By Carolina Keating Page 38 Page 22 Eats & Treats 3 Live Sustainably Brazos Valley Food & Fun Homesteading in the City Page 39 By Carolina Keating Page 28 Error & Omissions Th e February Bridal issue included incorrect photos and articles aff ecting the coverage of Karina & Geronimo Longoria and Kylee & Rey Quintanilla. Insite regrets the error. Insite Printing & Graphic Services Managing Partners: Kyle INSITE Magazine is published monthly by Insite Printing & DeWitt, Angelique Gammon, Greg Gammon. General Manager: Carl Graphic Services, 123 E. Wm. J. Bryan Pkwy., Bryan, Texas 77803. Dixon; Pre-Press Manager: Mari Brown; Offi ce Manager: Wendy (979) 823-5567 www.insitebrazosvalley.com Volume 31, Number Seward; Sales & Customer Service: Molly Barton; Candi Burling; 3. Publisher/Editor: Angelique Gammon; Managing Editor: Sarah Manda Jackson; Marie Lindley; Kimberly Martinez; Barbara Wyss; Kinzbach Williams; Account Executive: Dave Marsh; Editorial Chris Zamora; Production: Stephen Beatty; Norris Carnes; Marilyn Interns: Carolina Keating, Cassidy Tyrone. -
Jill D'agnenica
Editor, I.A.T.S.E. Local 700 Jill D’Agnenica [email protected] 323.244.3880 TELEVISION Switched at Birth Editor Executive Producers: Lizzy Weiss, Paul Stupin 2011-2015 Pirates’ Cove/ABC Family Production, ABC Family Hollywood Heights Editor Exec Producers: Josh Griffith, Jill Farren-Phelps, Hisham Abed 2012 Sony Pictures Television Production, Nickelodeon Undercovers Editor Executive Producers: J.J. Abrams and Josh Reims 2010 Bad Robot/Warner Bros. Television Productions, NBC Dirt Editor Executive Producers: Matthew Carnahan, 2006 David Arquette, Courteney Cox-Arquette Co-Executive Producers: Chris Long, Joel Fields Touchstone/Coquette Productions, FX Channel The Division Editor Exec Producers: Deborah Joy LeVine and Aaron Lipstadt 2002-2004 Viacom Productions/Lifetime FEATURES Life Inside Out Director/ Producer: Tessa Bell 2014 Co-Producer/ Writers: Maggie Baird and Lori Nasso Editor Life Inside Out, LLC Magic Boys Add’l Editor Directors: Robert Koltai and Eva Gardos 2010 Producers: Zoltan Furedi and Gabor Koltai Wyvem Images and B&B Entertainment Nothing Special Editor/ Director: Angela Garcia-Combs 2009 Co-Producer Producer: Sascha Scheider Yellow Wallpaper Productions Habana Eva Add’l Editor Director: Fina Torres 2008 Villa del Cine Productions The Cuckold Editor/ Director: Jonathan Corban Butler 2008 Co-Producer Executive Producers: Jonathan Butler and Cynthia Ambres Mythological Beast and Knuckle City Films Ricky & Melinda Editor/ Director: Richard A. Salazar 2006 Assoc. Producer DVFilms and MovieKidz Productions Loaner Editor Director: Jason Schmid 2005 Blue Apples Media Productions SHORT FILMS Resolutions Editor/ Directed by Matthew Hill 2014 Co-Producer The Things I’ve Seen Editor/ Written and Directed by Gerry Donahoe 2010 Co-Producer The Shangri-la Cafe Editor Written and Directed by Lily Mariye 2000 Nice Girls Films/American Film Institute Desert Fox Editor Written and Directed by Bill Johnson 1999 Fulcrum Entertainment D’Agnenica p.2 PSA How Far Does $1 Go? Director/ Exec. -
CBS-Viacom and the Effects of Media Mergers: an Economic Perspective
Federal Communications Law Journal Volume 52 Issue 3 Article 6 5-2000 CBS-Viacom and the Effects of Media Mergers: An Economic Perspective David Waterman Indiana University Follow this and additional works at: https://www.repository.law.indiana.edu/fclj Part of the Antitrust and Trade Regulation Commons, Communications Law Commons, and the Law and Economics Commons Recommended Citation Waterman, David (2000) "CBS-Viacom and the Effects of Media Mergers: An Economic Perspective," Federal Communications Law Journal: Vol. 52 : Iss. 3 , Article 6. Available at: https://www.repository.law.indiana.edu/fclj/vol52/iss3/6 This Article is brought to you for free and open access by the Law School Journals at Digital Repository @ Maurer Law. It has been accepted for inclusion in Federal Communications Law Journal by an authorized editor of Digital Repository @ Maurer Law. For more information, please contact [email protected]. CBS-Viacom and the Effects of Media Mergers: An Economic Perspective David Waterman* I. INTRODUCTION ............................................................................. 531 II. HORIZONTAL CONCENTRATION WTrHIN PARTICULAR INDUSTRY SEGMENTS .................................................................. 534 II. VERTICAL INTEGRATION OF CONTENT AND CONDUT ................ 536 IV. CONGLOMERATE SIZE AND CONTROL OF MEDIA RESOURCES .... 540 V. THE QuALITY AND INTEGRrTY OF NEWS REPORTING .................. 542 VI. CONCLUSION ................................................................................ 544 A PPENDIX -
Dragon Magazine #236
The dying game y first PC was a fighter named Random. I had just read “Let’s go!” we cried as one. Roger Zelazny’s Nine Princes in Amber and thought that Mike held up the map for us to see, though Jeff and I weren’t Random was a hipper name than Corwin, even though the lat- allowed to touch it. The first room had maybe ten doors in it. ter was clearly the man. He lasted exactly one encounter. Orcs. One portal looked especially inviting, with multi-colored veils My second PC was a thief named Roulette, which I thought drawn before an archway. I pointed, and the others agreed. was a clever name. Roulette enjoyed a longer career: roughly “Are you sure you want to go there?” asked Mike. one session. Near the end, after suffering through Roulette’s “Yeah. I want a vorpal sword,” I said greedily. determined efforts to search every 10’-square of floor, wall, and “It’s the most dangerous place in the dungeon,” he warned. ceiling in the dungeon, Jeff the DM decided on a whim that the “I’ll wait and see what happens to him,” said Jeff. The coward. wall my thief had just searched was, in fact, coated with contact “C’mon, guys! If we work together, we can make it.” I really poison. I rolled a three to save. wanted a vorpal sword. One by one they demurred, until I Thus ensued my first player-DM argument. There wasn’t declared I’d go by myself and keep all the treasure I found.