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„When Am I?“ – Zeitlichkeit in Der US-Serie LOST, Teil 2
GABRIELE SCHABACHER „When Am I?“ – Zeitlichkeit in der US-Serie LOST, Teil 2 Previously on … An der US-Serie LOST lässt sich eine systematische Nutzung der temporalen Di- mension beobachten: Auf den Ebenen von Erzählzeit und erzählter Zeit – das konnte der erste Teil dieses Beitrags zeigen – ist der Einsatz von story arcs überspan- nenden Flashbacks bzw. Flashforwards sowie eine handlungsseitig ausgeführte Thematisierung und Problematisierung von Zeitreisen und Teleportation für das Seriennarrativ zentral. Schon diese zeitlichen Relationen ermöglichen der Narra- tion entscheidende Inversionen und paradoxe Konstruktionen, die für die Serie LOST charakteristisch geworden sind. 1. Die dritte Zeit Eine dritte Dimension der Narration, um die es dem zweiten Teil dieses Beitrags geht, lässt sich nun keiner der beiden bisher thematisierten Gruppen eindeutig zuordnen, weder also der Erzählzeit und damit den stilistischen Mitteln im engeren Sinne, noch der erzählten Zeit, d. h. der inhaltlichen Ebene der Geschichte. Es handelt sich vielmehr um eine Gruppe von Phänomen, die sich durch eine spezifi - sche Übergängigkeit zwischen diesen beiden Kategorien auszeichnen. Daher wird im Folgenden auf die in der Serie geäußerten Vorahnungen, Time Loops, Bewusst- seinsreisen und Zeitsprünge einzugehen sein, um die Hybridisierung von Stilistik und Inhaltsmomenten der Narration zu verdeutlichen. Das Vorhandensein solcher hybrider Elemente ist es, das eine mögliche Erklärung für die besondere Faszinati- on an LOST und eine spezifi sch temporal motivierte Komplexität -
Race in Hollywood: Quantifying the Effect of Race on Movie Performance
Race in Hollywood: Quantifying the Effect of Race on Movie Performance Kaden Lee Brown University 20 December 2014 Abstract I. Introduction This study investigates the effect of a movie’s racial The underrepresentation of minorities in Hollywood composition on three aspects of its performance: ticket films has long been an issue of social discussion and sales, critical reception, and audience satisfaction. Movies discontent. According to the Census Bureau, minorities featuring minority actors are classified as either composed 37.4% of the U.S. population in 2013, up ‘nonwhite films’ or ‘black films,’ with black films defined from 32.6% in 2004.3 Despite this, a study from USC’s as movies featuring predominantly black actors with Media, Diversity, & Social Change Initiative found that white actors playing peripheral roles. After controlling among 600 popular films, only 25.9% of speaking for various production, distribution, and industry factors, characters were from minority groups (Smith, Choueiti the study finds no statistically significant differences & Pieper 2013). Minorities are even more between films starring white and nonwhite leading actors underrepresented in top roles. Only 15.5% of 1,070 in all three aspects of movie performance. In contrast, movies released from 2004-2013 featured a minority black films outperform in estimated ticket sales by actor in the leading role. almost 40% and earn 5-6 more points on Metacritic’s Directors and production studios have often been 100-point Metascore, a composite score of various movie criticized for ‘whitewashing’ major films. In December critics’ reviews. 1 However, the black film factor reduces 2014, director Ridley Scott faced scrutiny for his movie the film’s Internet Movie Database (IMDb) user rating 2 by 0.6 points out of a scale of 10. -
Diffusion of Viral Marekting Into the World of Public Relations
DIFFUSION OF VIRAL MAREKTING INTO THE WORLD OF PUBLIC RELATIONS A Thesis presented to the Faculty of the Graduate School at the University of Missouri In Partial Fulfillment of the Requirements for the Degree Master of Journalism by KARI STEPHANSEN Dr. Cynthia Frisby, Thesis Supervisor MAY 2008 The undersigned, appointed by the dean of the Graduate School, have examined the thesis entitled DIFFUSION OF VIRAL MARKETING INTO THE WORLD OF PUBLIC RELATIONS presented by Kari Stephansen, a candidate for the degree master of journalism, and hereby certify that, in their opinion, it is worthy of acceptance. Dr. Cynthia Frisby Dr. Glen Cameron Dr. Shelly Rodgers Dr. Michael Porter TO MOM, DAD, ERIK AND NICOLE Thank you for holding me up when it seemed like I would fall. I love you. “Hold fast to dreams for if dreams die, life is a broken winged bird that cannot fly.” -Langston Hughes ACKNOWLEDGEMENTS Through my five years at the University of Missouri, I have classes with professors of all kinds. None contained the passion that Dr. Frisby carried from her life into the classroom. No matter how I felt going into lecture, I had a renewed sense of capability and want to assurance that I had chosen the right major when I left. The challenging nature of Dr. Frisby’s classes, while sometimes made me want to quit, only proved to me that I was able to do anything as long as I tried. It was this that gave me confidence to pursue a Master’s degree. Having her as my advisor and committee chair was a true blessing. -
Memes, Memeiosis, and Memetic Drift: Cheryl’S Chichier She Shed S
2020 МЕДИАЛИНГВИСТИКА Том 7, № 2 ТЕОРЕТИЧЕСКИЕ ОСНОВЫ МЕДИАЛИНГВИСТИКИ UDC 81.27 Memes, memeiosis, and memetic drift: Cheryl’s Chichier She Shed S. Attardo Texas A&M University-Commerce, P.O. Box 3011, Commerce, TX, 75429, USA For citation: Attardo, S. (2020). Memes, memeiosis, and memetic drift: Cheryl’s Chichier She Shed. Media Linguistics, 7 (2), 146–168. https://doi.org/10.21638/spbu22.2020.201 In this paper, a comparison between meme cycles and joke cycles is carried out, using the tools of the General Theory of Verbal Humor and its analysis of joke cycles as consisting of intertex- tual and metatextual variants of the original joke. It is shown that the same tools can be applied to joke cycles and to meme cycles. The methodology is applied to a meme cycle called Cheryl’s She Shed. The analysis shows that the users start from the original video featuring Cheryl’s shed on fire, but soon the process of meme creation (memeiosis) is activated and users start generating all sorts of memes remixing various aspects of the original video and adding other ideas, such as a conspiracy theory about the source of the fire. Eventually, the drift is broad enough that intertextual memes start to appear which require a reference to another text to function, and eventually meta-memes also appear (memes that fail to deliver a meme and are funny because of the violation of expectations). In conclusion, speakers use memes to express their concerns and interests. Meme cycles are very similar to joke cycles, except for the speed of diffusion, a shorter life span, and an increased ease of manipulation of images and text. -
Learning from Ambiguously Labeled Images
University of Pennsylvania ScholarlyCommons Technical Reports (CIS) Department of Computer & Information Science January 2009 Learning From Ambiguously Labeled Images Timothee Cour University of Pennsylvania Benjamin Sapp University of Pennsylvania Chris Jordan University of Pennsylvania Ben Taskar University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/cis_reports Recommended Citation Timothee Cour, Benjamin Sapp, Chris Jordan, and Ben Taskar, "Learning From Ambiguously Labeled Images", . January 2009. University of Pennsylvania Department of Computer and Information Science Technical Report No. MS-CIS-09-07 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/cis_reports/902 For more information, please contact [email protected]. Learning From Ambiguously Labeled Images Abstract In many image and video collections, we have access only to partially labeled data. For example, personal photo collections often contain several faces per image and a caption that only specifies who is in the picture, but not which name matches which face. Similarly, movie screenplays can tell us who is in the scene, but not when and where they are on the screen. We formulate the learning problem in this setting as partially-supervised multiclass classification where each instance is labeled ambiguously with more than one label. We show theoretically that effective learning is possible under reasonable assumptions even when all the data is weakly labeled. Motivated by the analysis, we propose a general convex learning formulation based on minimization of a surrogate loss appropriate for the ambiguous label setting. We apply our framework to identifying faces culled from web news sources and to naming characters in TV series and movies. -
DAVID L. HU Assistant Professor the George W. Woodruff School of Mechanical Engineering July 17, 2012
DAVID L. HU Assistant Professor The George W. Woodruff School of Mechanical Engineering July 17, 2012 I. EARNED DEGREES Degree Year University Field Advisor Massachusetts Institute of Doctor of Philosophy 2005 Mathematics John Bush Technology Massachusetts Institute of Mechanical Bachelor of Science 2001 L. Mahadevan Technology Engineering (Minor in Math) II. EMPLOYMENT Title Organization Years Assistant Professor Georgia Institute of Technology 8/08-present (3/4 appointment) School of Mechanical Engineering Assistant Professor Georgia Institute of Technology 8/08-present (1/4 appointment) School of Biology Courant Institute of Mathematical Instructor of Mathematics 9/07-8/08 Sciences, New York University National Science Foundation Courant Institute of Mathematical Mathematical Sciences Sciences, New York University 9/05-08/07 Postdoctoral Fellow (Advisor: Michael Shelley) III. TEACHING A. Individual Student Guidance PhD Students Supervised 1. Name: Mlot, Nathaniel Began Advising: Fall 2008 Project: Rheology of Ants Status: Passed Qualifying exams in 2011, scheduled PhD proposal in 2012 Publications: Mlot, Tovey & Hu PNAS 2011; Mlot, Tovey & Hu 2012 Comm. Integr. Biology Presentations: APS 2009; APS 2010; Fibers 2011 2. Name: Marvi, Hamidreza Began Advising: Spring 2009 Project: Locomotion of Snakes Status: Passed Qualifying Exams in 2010; Passed PhD proposal in 2011; Completed all classes Dr. David Hu 7/17/2012 Publications: Marvi et al. ASME DSSC Proceedings (2011), Marvi & Hu (2012 Proc. Roy. Soc Interface) Presentations: APS 2010, DSSC 2011; SICB 2012; APS March 2012 3. Name: Dickerson, Andrew Began Advising: Spring 2009 Project: Active water-repellency Status: Re-taking qualifying exams 2012 Publications: Dickerson, Mills & Hu (Proc Roy Soc Interface 2012); Dickerson, Shankles, Madhavan 2012 PNAS Presentations: APS 2010; APS 2011; SICB 2012 4. -
CONNECT SELECT a Wide Selection of Interesting and Trending Stories – Rip ‘Em, Read ‘Em and Post ‘Em! THURSDAY, JUNE 10Th, 2021
CONNECT SELECT A wide selection of interesting and trending stories – rip ‘em, read ‘em and post ‘em! THURSDAY, JUNE 10th, 2021 TODAY IS… • NATIONAL BALLPOINT PEN DAY -- You can’t text with it, but the ballpoint pen revolutionized hand-written communications. It was patented 78 years ago, on June 10th, 1943. Think of how silly we’d all look if we were still writing with a feather! • NATIONAL HERBS AND SPICES DAY -- The ‘Colonel’ used 11 of them, the least you can do is throw one or two into whatever you’re making for dinner! DID YOU KNOW?…. Cumin is the world’s most popular spice and cilantro (or coriander) is the most- used herb. (How do you say it: ‘herb’ or ‘erb’?) • NATIONAL ICED TEA DAY -- Celebrating one of the favorite drinks of summertime, whether sweetened or not. Iced tea dates back to the 1870s, long before people had icemakers (or golf carts). BIRTHDAYS: • KATE UPTON, 29: Model/actress. The former Sports Illustrated swimsuit model shot to fame after dancing the ‘Dougie’ at a Los Angeles Clippers game in 2011. • LEE BRICE, 42: Musician. The Country singer/songwriter wrote hits for other artists before breaking out with his own solo career. CLICK HERE FOR BRICE’S “ONE OF THEM GIRLS” • BILL BURR, 53: Comedian/Actor. The stand-up comic and podcaster played Patrick in “Breaking Bad” and currently stars in the Netflix animated sitcom “F is for Family.” CLICK FOR “F IS FOR FAMILY” THEME • SASHA OBAMA, 20: Former First Daughter. She is the youngest daughter of former President Barack and Michelle Obama. -
College Voice Vol. 31 No. 13
Connecticut College Digital Commons @ Connecticut College 2006-2007 Student Newspapers 2-9-2007 College Voice Vol. 31 No. 13 Connecticut College Follow this and additional works at: https://digitalcommons.conncoll.edu/ccnews_2006_2007 Recommended Citation Connecticut College, "College Voice Vol. 31 No. 13" (2007). 2006-2007. 10. https://digitalcommons.conncoll.edu/ccnews_2006_2007/10 This Newspaper is brought to you for free and open access by the Student Newspapers at Digital Commons @ Connecticut College. It has been accepted for inclusion in 2006-2007 by an authorized administrator of Digital Commons @ Connecticut College. For more information, please contact [email protected]. The views expressed in this paper are solely those of the author. : • '+• '+• '+• • 1 First Class • U.5. Postage PAID Permit #35 o e e Olee New London, CT PUBUSlIED WEEKLY BY THE STUDENTS OF CONNECTICUT COLLEGE VOLUME XXXI • NUMBER 13 FRIDAY, FEBRUARY 9, 2007 CONNECTICUT COLLEGE, NEW LONDON, CT Strategic Planning Outline For Conn's Future Released 8Y SOPHIE MATHEWSON & us to take an 'institutional view' capital campaign," added Devlin. STAA"5S STE"E rather than to focus exclusively on Indeed, completion of the .1 news editor & editor in chief our own territory-as hard as that is Strategic Plan will require a suc- for many of us." This concept has cessful capital campaign. Drafters II Now six months into his first left many hoping to see visual alter- intend to follow through on the year at the h~lm of Connecticut ations in the near future. For one plan's mission statement -to College, President Leo Higdon sent senior in particular, an impending "Identify, enhance and preserve the out an e-mail to both students and spring graduation date will cut short strengths of the Connecticut College faculty this week, to which he the pleasure of experiencing any campus in terms of its design, char- attached the most recent draft of the further improvements. -
The Vilcek Foundation Celebrates a Showcase Of
THE VILCEK FOUNDATION CELEBRATES A SHOWCASE OF THE INTERNATIONAL ARTISTS AND FILMMAKERS OF ABC’S HIT SHOW EXHIBITION CATALOGUE BY EDITH JOHNSON Exhibition Catalogue is available for reference inside the gallery only. A PDF version is available by email upon request. Props are listed in the Exhibition Catalogue in the order of their appearance on the television series. CONTENTS 1 Sun’s Twinset 2 34 Two of Sun’s “Paik Industries” Business Cards 22 2 Charlie’s “DS” Drive Shaft Ring 2 35 Juliet’s DHARMA Rum Bottle 23 3 Walt’s Spanish-Version Flash Comic Book 3 36 Frozen Half Wheel 23 4 Sawyer’s Letter 4 37 Dr. Marvin Candle’s Hard Hat 24 5 Hurley’s Portable CD/MP3 Player 4 38 “Jughead” Bomb (Dismantled) 24 6 Boarding Passes for Oceanic Airlines Flight 815 5 39 Two Hieroglyphic Wall Panels from the Temple 25 7 Sayid’s Photo of Nadia 5 40 Locke’s Suicide Note 25 8 Sawyer’s Copy of Watership Down 6 41 Boarding Passes for Ajira Airways Flight 316 26 9 Rousseau’s Music Box 6 42 DHARMA Security Shirt 26 10 Hatch Door 7 43 DHARMA Initiative 1977 New Recruits Photograph 27 11 Kate’s Prized Toy Airplane 7 44 DHARMA Sub Ops Jumpsuit 28 12 Hurley’s Winning Lottery Ticket 8 45 Plutonium Core of “Jughead” (and sling) 28 13 Hurley’s Game of “Connect Four” 9 46 Dogen’s Costume 29 14 Sawyer’s Reading Glasses 10 47 John Bartley, Cinematographer 30 15 Four Virgin Mary Statuettes Containing Heroin 48 Roland Sanchez, Costume Designer 30 (Three intact, one broken) 10 49 Ken Leung, “Miles Straume” 30 16 Ship Mast of the Black Rock 11 50 Torry Tukuafu, Steady Cam Operator 30 17 Wine Bottle with Messages from the Survivor 12 51 Jack Bender, Director 31 18 Locke’s Hunting Knife and Sheath 12 52 Claudia Cox, Stand-In, “Kate 31 19 Hatch Painting 13 53 Jorge Garcia, “Hugo ‘Hurley’ Reyes” 31 20 DHARMA Initiative Food & Beverages 13 54 Nestor Carbonell, “Richard Alpert” 31 21 Apollo Candy Bars 14 55 Miki Yasufuku, Key Assistant Locations Manager 32 22 Dr. -
Answer to Friday's
The Goodland Star-News / Tuesday, August 28, 2007 5 Like puzzles? Then you’ll love sudoku. This mind-bending puzzle will have FUN BY THE NUMBERS you hooked from the moment you square off, so sharpen your pencil and put your sudoku savvy to the test! Here’s How It Works: Sudoku puzzles are formatted as a 9x9 grid, broken down into nine 3x3 boxes. To solve a sudoku, the numbers 1 through 9 must fill each row, col- umn and box. Each number can appear only once in each row, column and box. You can figure out the order in which the numbers will appear by using the numeric clues already provided in the boxes. The more numbers you name, the easier it gets to solve the puzzle! ANSWER TO FRIDAY’S TUESDAY EVENING AUGUST 28, 2007 WEDNESDAY EVENING AUGUST 29, 2007 6PM 6:30 7PM 7:30 8PM 8:30 9PM 9:30 10PM 10:30 6PM 6:30 7PM 7:30 8PM 8:30 9PM 9:30 10PM 10:30 E S E = Eagle Cable S = S&T Telephone E S E = Eagle Cable S = S&T Telephone Dog Bounty Dog Bounty Dog Bounty Dog Bounty Mindfreak Criss Angel Criss Angel Criss Angel Dog Bounty Dog Bounty CSI: Miami: Double Jeop- CSI: Miami: Driven The Sopranos: Whitecaps A new Dog Bounty CSI: Miami: Double Jeop- 36 47 A&E (R) (R) (R) (TVPG) (TVPG) (R) (R) (R) (R) (R) 36 47 A&E ardy (TV14) (HD) (TV14) (HD) house. (TVMA) (HD) (R) ardy (TV14) (HD) Laughs Laughs i-Caught Amateur video. -
Remakes Im Horror-Genre Er- Klären? Eine Filmanalytische Betrachtung
BACHELORARBEIT Herr < Alexander Drung Manchmal kommen sie wieder Wie lässt sich der Trend zu Remakes im Horror-Genre er- klären? Eine filmanalytische Betrachtung Mittweida, 2011 Fakultät Medien BACHELORARBEIT Wie lässt sich der Trend zu Remakes im Horror-Genre er- klären? Eine filmanalytische Betrachtung Autor: Herr Alexander Drung Studiengang: Film und Fernsehen Seminargruppe: FF 2008 Erstprüfer: Prof. Peter Gottschalk Zweitprüfer: Dipl.-Kfm. Udo Bomnüter, M.A. Einreichung: Mittweida, 15.07.2011 Verteidigung/Bewertung: Mittweida, 2011 Inhaltsverzeichnis 1. Einleitung 6 2. Begriffserklärung 7 2.1. Horrorfilm 7 2.2. Remake 7 2.3. Reboot 8 2.4. Neu-Adaption 8 2.5. Sequel 9 2.6. Prequel 9 2.7. Crossover 10 3. Entwicklung des Horror-Films bis 2000 10 3.1. 1886-1920er – Die Stummfilm Ära 10 3.2. 1930er-1940er – Die Universal Ära 11 3.3. 1950er – Monster und Außerirdische 11 3.4. 1960er – Thriller und das Übernatürliche 12 3.5. 1970er – Slasher-Filme und Tierhorror 13 3.6. 1980er – Körperhorror und Sequels 14 3.7. 1990er – Serien-Mörder und Teenie-Horror 15 4. Entwicklung des Horror-Film seit 2000 16 4.1. Terrorangst und Sadismus 16 4.2. TV-Filme und Mock-Buster 17 4.3. Remakes ausländischer Filme 18 4.4. Remakes amerikanischer Filme 19 5. Gründe für die Remake-Welle 20 6. Formen von Remakes 25 6.1. Remake 25 6.2. Shot-for-Shot Remake 28 6.3. Reboot 30 6.4. Mischform 32 7. Vergleich von Remakes unter kommerziellen und kritischen Aspekten 34 7.1. Vorgehensweise 37 7.2. Remake: „The Crazies“ 38 7.2.1. -
Managerial Economics
12e Managerial Economics Mark Hirschey University of Kansas Australia • Brazil • Japan • Korea • Mexico • Singapore • Spain • United Kingdom • United States This page intentionally left blank Managerial Economics, 12th Edition © 2009, 2006 South-Western, a part of Cengage Learning Mark Hirschey ALL RIGHTS RESERVED. No part of this work covered by the copyright herein may be reproduced, transmitted, stored or used in any form VP/Editorial Director: Jack W. Calhoun or by any means graphic, electronic, or mechanical, including but not limited to photocopying, recording, scanning, digitizing, taping, Web Acquisitions Editor: Mike Roche distribution, information networks, or information storage and retrieval Developmental Editor: Amy Ray systems, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without the prior written permission of Editorial Assistant: Laura Cothran the publisher. Marketing Manager: Brian Joyner Content Project Manager: Lysa Oeters For product information and technology assistance, contact us at Sr. Manufacturing Coordinator: Sandee Cengage Learning Academic Resource Center, 1-800-423-0563 Milewski For permission to use material from this text or product, Production Service: Integra submit all requests online at www.cengage.com/permissions Sr. Art Director: Michelle Kunkler Further permissions questions can be emailed to Cover and Internal Designer: Diane Gliebe/ [email protected] Design Matters Cover Image: © iStockphoto.com © 2009 Cengage Learning. All Rights Reserved. Library of Congress Control Number: 2007941977 Student Edition ISBN 13: 978-0-324-58886-6 ISBN 10: 0-324-58886-0 Student Edition with PAC ISBN 13: 978-0-324-58484-4 ISBN 10: 0-324-58484-9 South-Western Cengage Learning 5191 Natorp Boulevard Mason, OH 45040 USA Cengage Learning products are represented in Canada by Nelson Education, Ltd.