Grief Monologue
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Netflix and the Development of the Internet Television Network
Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation. -
Teaching the Short Story: a Guide to Using Stories from Around the World. INSTITUTION National Council of Teachers of English, Urbana
DOCUMENT RESUME ED 397 453 CS 215 435 AUTHOR Neumann, Bonnie H., Ed.; McDonnell, Helen M., Ed. TITLE Teaching the Short Story: A Guide to Using Stories from around the World. INSTITUTION National Council of Teachers of English, Urbana, REPORT NO ISBN-0-8141-1947-6 PUB DATE 96 NOTE 311p. AVAILABLE FROM National Council of Teachers of English, 1111 W. Kenyon Road, Urbana, IL 61801-1096 (Stock No. 19476: $15.95 members, $21.95 nonmembers). PUB 'TYPE Guides Classroom Use Teaching Guides (For Teacher) (052) Collected Works General (020) Books (010) EDRS PRICE MF01/PC13 Plus Postage. DESCRIPTORS Authors; Higher Education; High Schools; *Literary Criticism; Literary Devices; *Literature Appreciation; Multicultural Education; *Short Stories; *World Literature IDENTIFIERS *Comparative Literature; *Literature in Translation; Response to Literature ABSTRACT An innovative and practical resource for teachers looking to move beyond English and American works, this book explores 175 highly teachable short stories from nearly 50 countries, highlighting the work of recognized authors from practically every continent, authors such as Chinua Achebe, Anita Desai, Nadine Gordimer, Milan Kundera, Isak Dinesen, Octavio Paz, Jorge Amado, and Yukio Mishima. The stories in the book were selected and annotated by experienced teachers, and include information about the author, a synopsis of the story, and comparisons to frequently anthologized stories and readily available literary and artistic works. Also provided are six practical indexes, including those'that help teachers select short stories by title, country of origin, English-languag- source, comparison by themes, or comparison by literary devices. The final index, the cross-reference index, summarizes all the comparative material cited within the book,with the titles of annotated books appearing in capital letters. -
(2016) When Breath Becomes Air Paul Kalanithi
When Breath Becomes Air Paul Kalanithi When Breath Becomes Air Paul Kalanithi Random House Publishing Group (2016) http://ikindlebooks.com When Breath Becomes Air Paul Kalanithi http://ikindlebooks.com When Breath Becomes Air Paul Kalanithi Copyright © 2016 by Corcovado, Inc. Foreword copyright © 2016 by Abraham Verghese All rights reserved. Published in the United States by Random House, an imprint and division of Penguin Random House LLC, New York. RANDOM HOUSE and the HOUSE colophon are registered trademarks of Penguin Random House LLC. Library of Congress Cataloging-in-Publication Data Names: Kalanithi, Paul, author. Title: When breath becomes air / Paul Kalanithi ; foreword by Abraham Verghese. Description: New York : Random House, 2016. Identifiers: LCCN 2015023815 | ISBN 9780812988406 (hardback) | ISBN 9780812988413 (ebook) Subjects: LCSH: Kalanithi, Paul—Health. | Lungs—Cancer—Patients—United States—Biography. | Neurosurgeons—Biography. | Husband and wife. | BISAC: BIOGRAPHY & AUTOBIOGRAPHY / Personal Memoirs. | MEDICAL / General. | SOCIAL SCIENCE / Death & Dying. Classification: LCC RC280.L8 K35 2016 | DDC 616.99/424—dc23 LC record available at http://lccn.loc.gov/2015023815 eBook ISBN 9780812988413 randomhousebooks.com Book design by Liz Cosgrove, adapted for eBook Cover design: Rachel Ake v4.1 ep http://ikindlebooks.com When Breath Becomes Air Paul Kalanithi Contents Cover Title Page Copyright Editor's Note Epigraph Foreword by Abraham Verghese Prologue Part I: In Perfect Health I Begin Part II: Cease Not till Death Epilogue by Lucy Kalanithi Dedication Acknowledgments About the Author http://ikindlebooks.com When Breath Becomes Air Paul Kalanithi EVENTS DESCRIBED ARE BASED on Dr. Kalanithi’s memory of real-world situations. However, the names of all patients discussed in this book—if given at all—have been changed. -
Universidade Federal Da Bahia That's What She Said
1 UNIVERSIDADE FEDERAL DA BAHIA FACULDADE DE COMUNICAÇÃO FABIANE ANDRADE OITICICA MAÍRA BORGES ARAÚJO THAT’S WHAT SHE SAID: A CONSTRUÇÃO DO RISO EM THE OFFICE Salvador 2009 2 FABIANE ANDRADE OITICICA MAÍRA BORGES ARAÚJO THAT’S WHAT SHE SAID: A CONSTRUÇÃO DO RISO EM THE OFFICE Monografia apresentada ao curso de graduação em Comunicação Social com Habilitação em Produção em Comunicação e Cultura da Faculdade de Comunicação, Universidade Federal da Bahia, como requisito parcial para obtenção do grau de Bacharel em Comunicação. Orientador: Profª. Drª. Maria Carmem Jacob Souza Salvador 2009 3 Sorte de hoje: a vida é um drama para quem vive e uma comédia para quem pensa. 4 AGRADECIMENTOS Escrever uma monografia a quatro mãos é uma tarefa complicada, portanto gostaríamos de começar agradecendo uma à outra. Pela paciência, compreensão e apoio nos momentos de desespero. Pelos anos comentando os episódios semanais de The Office religiosamente e pelo respeito aos spoilers quando uma assistiu antes da outra. Fazer pesquisa sobre uma série querida e com uma amiga foi um aprendizado e um prazer. Voltando a lista, é imprescidível agradecer imensamente a Ian Fraser por ser nosso maior patrocinador e fã, além de suportar a invasão de um ser estranho bagunçando sua rotina com discussões longas, maratonas de episódios e de escrita. Às nossas mães e famílias que, apesar de não fazerem ideia do que estávamos fazendo e porque estávamos tão ocupadas e ranzinzas, tentaram ajudar da forma que podiam. À Carmem, que mesmo ainda não tendo se rendido ao humor tanto nos inspirou e já ganhou mais duas fãs. -
Volume 8, Number 1
POPULAR CULTURE STUDIES JOURNAL VOLUME 8 NUMBER 1 2020 Editor Lead Copy Editor CARRIELYNN D. REINHARD AMY DREES Dominican University Northwest State Community College Managing Editor Associate Copy Editor JULIA LARGENT AMANDA KONKLE McPherson College Georgia Southern University Associate Editor Associate Copy Editor GARRET L. CASTLEBERRY PETER CULLEN BRYAN Mid-America Christian University The Pennsylvania State University Associate Editor Reviews Editor MALYNNDA JOHNSON CHRISTOPHER J. OLSON Indiana State University University of Wisconsin-Milwaukee Associate Editor Assistant Reviews Editor KATHLEEN TURNER LEDGERWOOD SARAH PAWLAK STANLEY Lincoln University Marquette University Associate Editor Graphics Editor RUTH ANN JONES ETHAN CHITTY Michigan State University Purdue University Please visit the PCSJ at: mpcaaca.org/the-popular-culture-studies-journal. Popular Culture Studies Journal is the official journal of the Midwest Popular Culture Association and American Culture Association (MPCA/ACA), ISSN 2691-8617. Copyright © 2020 MPCA. All rights reserved. MPCA/ACA, 421 W. Huron St Unit 1304, Chicago, IL 60654 EDITORIAL BOARD CORTNEY BARKO KATIE WILSON PAUL BOOTH West Virginia University University of Louisville DePaul University AMANDA PICHE CARYN NEUMANN ALLISON R. LEVIN Ryerson University Miami University Webster University ZACHARY MATUSHESKI BRADY SIMENSON CARLOS MORRISON Ohio State University Northern Illinois University Alabama State University KATHLEEN KOLLMAN RAYMOND SCHUCK ROBIN HERSHKOWITZ Bowling Green State Bowling Green State -
Nomination Press Release
Brian Boyle, Supervising Producer Outstanding Voice-Over Nahnatchka Khan, Supervising Producer Performance Kara Vallow, Producer American Masters • Jerome Robbins: Diana Ritchey, Animation Producer Something To Dance About • PBS • Caleb Meurer, Director Thirteen/WNET American Masters Ron Hughart, Supervising Director Ron Rifkin as Narrator Anthony Lioi, Supervising Director Family Guy • I Dream of Jesus • FOX • Fox Mike Mayfield, Assistant Director/Timer Television Animation Seth MacFarlane as Peter Griffin Robot Chicken • Robot Chicken: Star Wars Episode II • Cartoon Network • Robot Chicken • Robot Chicken: Star Wars ShadowMachine Episode II • Cartoon Network • Seth Green, Executive Producer/Written ShadowMachine by/Directed by Seth Green as Robot Chicken Nerd, Bob Matthew Senreich, Executive Producer/Written by Goldstein, Ponda Baba, Anakin Skywalker, Keith Crofford, Executive Producer Imperial Officer Mike Lazzo, Executive Producer The Simpsons • Eeny Teeny Maya, Moe • Alex Bulkley, Producer FOX • Gracie Films in Association with 20th Corey Campodonico, Producer Century Fox Television Hank Azaria as Moe Syzlak Ollie Green, Producer Douglas Goldstein, Head Writer The Simpsons • The Burns And The Bees • Tom Root, Head Writer FOX • Gracie Films in Association with 20th Hugh Davidson, Written by Century Fox Television Harry Shearer as Mr. Burns, Smithers, Kent Mike Fasolo, Written by Brockman, Lenny Breckin Meyer, Written by Dan Milano, Written by The Simpsons • Father Knows Worst • FOX • Gracie Films in Association with 20th Kevin Shinick, -
Cedars, October 2020
Cedarville University DigitalCommons@Cedarville Cedars 10-19-2020 Cedars, October 2020 Cedarville University Follow this and additional works at: https://digitalcommons.cedarville.edu/cedars Part of the Journalism Studies Commons, and the Organizational Communication Commons DigitalCommons@Cedarville provides a platform for archiving the scholarly, creative, and historical record of Cedarville University. The views, opinions, and sentiments expressed in the articles published in the university’s student newspaper, Cedars (formerly Whispering Cedars), do not necessarily indicate the endorsement or reflect the views of DigitalCommons@Cedarville, the Centennial Library, or Cedarville University and its employees. The authors of, and those interviewed for, the articles in this paper are solely responsible for the content of those articles. Please address questions to [email protected]. This Issue is brought to you for free and open access by DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in Cedars by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. Cedarville University Student Magazine Fall 2020 HOW TO BE A CHRISTIAN IN AN ELECTION SEASON ALSO INSIDE KINGDOM HOPE IN THE COVID-19 DIVERSITY WRECKAGE CONSPIRACIES Justice and Tornado Destroys Student’s Do You Inclusion at CU Home During Quarantine Know the Truth? FROM THE COVER MORE STORIES Fall 2020 / Vol. 72, No. 1 Cover design / Lydia Lyons COVID-19 Conspiracies 8 Hope in the Wreckage: Tornado 10 Recovery How to be a Christian in an 13 Election Season Kingdom Diversity 16 CEDARS STAFF Breanna Beers Lydia Wolterman Nicholas Baldwin Editor-in-Chief Photo Editor Lead Designer Ben Hiett Lauren Ryan Abigail Hintz Hannah Deane Arts and Campus News Sports, Digital Off-Campus News Entertainment Editor 2 Fall 2020 FROM THE COVER MORE STORIES Fall 2020 / Vol. -
Download Free Zip Inner Monologue Part 1 Download Free Zip Inner Monologue Part 1
download free zip inner monologue part 1 Download free zip inner monologue part 1. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 67a1ee67bbc116f0 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Inner monologue examples: Characters’ hidden lives. Internal or inner monologue is a useful literary device. Dialogue reveals character relationships, their converging or competing goals. Inner monologue gives readers more private feelings and dilemmas. Learn more on how to use inner monologue effectively: First, what is ‘inner monologue’? A ‘monologue’ literally means ‘speaking alone’, if we go back to the word’s roots. In a play, especially in Shakespeare, a monologue (such as when the villain Iago in Othello expresses his wicked plans) is often used to reveal a character’s secret thoughts or intentions. In prose, inner monologue typically reveals a character’s private impressions, desires, frustrations or dilemmas. How and why might you use internal monologue? How to use inner monologue in stories: Use inner monologue to reveal unspoken thoughts Describe others from a specific POV Show private dilemmas Reveal self-perception and mentality Show personal associations. -
TV Finales and the Meaning of Endings Casey J. Mccormick
TV Finales and the Meaning of Endings Casey J. McCormick Department of English McGill University, Montréal A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy © Casey J. McCormick Table of Contents Abstract ………………………………………………………………………….…………. iii Résumé …………………………………………………………………..………..………… v Acknowledgements ………………………………………………………….……...…. vii Chapter One: Introducing Finales ………………………………………….……... 1 Chapter Two: Anticipating Closure in the Planned Finale ……….……… 36 Chapter Three: Binge-Viewing and Netflix Poetics …………………….….. 72 Chapter Four: Resisting Finality through Active Fandom ……………... 116 Chapter Five: Many Worlds, Many Endings ……………………….………… 152 Epilogue: The Dying Leader and the Harbinger of Death ……...………. 195 Bibliography ……………………………………………………………………………... 199 Primary Media Sources ………………………………………………………………. 211 iii Abstract What do we want to feel when we reach the end of a television series? Whether we spend years of our lives tuning in every week, or a few days bingeing through a storyworld, TV finales act as sites of negotiation between the forces of media production and consumption. By tracing a history of finales from the first Golden Age of American television to our contemporary era of complex TV, my project provides the first book- length study of TV finales as a distinct category of narrative media. This dissertation uses finales to understand how tensions between the emotional and economic imperatives of participatory culture complicate our experiences of television. The opening chapter contextualizes TV finales in relation to existing ideas about narrative closure, examines historically significant finales, and describes the ways that TV endings create meaning in popular culture. Chapter two looks at how narrative anticipation motivates audiences to engage communally in paratextual spaces and share processes of closure. -
Applying a Rhizomatic Lens to Television Genres
A THOUSAND TV SHOWS: APPLYING A RHIZOMATIC LENS TO TELEVISION GENRES _______________________________________ A Dissertation presented to the Faculty of the Graduate School at the University of Missouri-Columbia _______________________________________________________ In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy _____________________________________________________ by NETTIE BROCK Dr. Ben Warner, Dissertation Supervisor May 2018 The undersigned, appointed by the dean of the Graduate School, have examined the Dissertation entitled A Thousand TV Shows: Applying A Rhizomatic Lens To Television Genres presented by Nettie Brock A candidate for the degree of Doctor of Philosophy And hereby certify that, in their opinion, it is worthy of acceptance. ________________________________________________________ Ben Warner ________________________________________________________ Elizabeth Behm-Morawitz ________________________________________________________ Stephen Klien ________________________________________________________ Cristina Mislan ________________________________________________________ Julie Elman ACKNOWLEDGEMENTS Someone recently asked me what High School Nettie would think about having written a 300+ page document about television shows. I responded quite honestly: “High School Nettie wouldn’t have been surprised. She knew where we were heading.” She absolutely did. I have always been pretty sure I would end up with an advanced degree and I have always known what that would involve. The only question was one of how I was going to get here, but my favorite thing has always been watching television and movies. Once I learned that a job existed where I could watch television and, more or less, get paid for it, I threw myself wholeheartedly into pursuing that job. I get to watch television and talk to other people about it. That’s simply heaven for me. A lot of people helped me get here. -
Adernos a TRADUÇÃO DO HUMOR NAS LEGENDAS DE the OFFICE
adernos C2º Semestreespuc de 2017 - n. 31 A TRADUÇÃO DO HUMOR NAS LEGENDAS DE THE OFFICE Nathalia Cristina de Freitas Campos* Resumo Este artigo analisa como é feita a tradução do humor por meio das legendas em português da série The Office e como a revisão pode ajudar para que a legenda capte o máximo possível do contexto de cada cena. Foram feitas análises sobre caracterizações de tradução, humor e revisão, apenas para esboçar o assunto rapidamente e introduzir como o humor é abordado em The Office e mais especificamente, como ele é abordado através das legendas dos DVDs brasileiros da série. Por fim, foi feita uma análise de cenas específicas, observando se as legendas conseguem ou não transmitir sua mensagem para o telespectador em um curto espaço de tempo e sugestões de maneiras que possam melhorar, para mostrar como a revisão pode ajudar nesse aspecto específico, de modo a manter a fidelidade de significado entre a tradução e o diálogo original. Palavras-chave: Legendagem. Revisão. Humor. Séries de TV. The Office. THE TRANSLATION OF HUMOR IN THE SUBTITLES OF THE OFFICE Abstract This article aims to analyze how the translation of humor was done through the Portuguese subtitles of the series The Office and how proofreading can help in a way that makes the subtitles capture the maximum amount of context possible in each scene. Characterizations about the nature of translation, humor and proofreading were analyzed, just to quickly outline the subject and introduce how humor is approached in The Office and, more specifically, how it is approached through the subtitles of the Brazilian DVDs of the series. -
TV Technoculture: the Representation of Technology in Digital Age Television Narratives Valerie Puiattiy
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2014 TV Technoculture: The Representation of Technology in Digital Age Television Narratives Valerie Puiattiy Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES TV TECHNOCULTURE: THE REPRESENTATION OF TECHNOLOGY IN DIGITAL AGE TELEVISION NARRATIVES By VALERIE PUIATTI A Dissertation submitted to the Program in Interdisciplinary Humanities in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2014 Valerie Puiatti defended this dissertation on February 3, 2014. The members of the supervisory committee were: Leigh H. Edwards Professor Directing Dissertation Kathleen M. Erndl University Representative Jennifer Proffitt Committee Member Kathleen Yancey Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii This dissertation is dedicated to my parents, Laura and Allen, my husband, Sandro, and to our son, Emilio. iii ACKNOWLEDGMENTS This dissertation could not have been completed without the support of many people. First, I would like to thank my advisor, Leigh H. Edwards, for her encouragement and for the thoughtful comments she provided on my chapter drafts. I would also like to thank the other committee members, Kathleen M. Erndl, Jennifer Proffitt, and Kathleen Yancey, for their participation and feedback. To the many friends who were truly supportive throughout this process, I cannot begin to say thank you enough. This dissertation would not have been written if not for Katheryn Wright and Erika Johnson-Lewis, who helped me realize on the way to New Orleans together for the PCA Conference that my presentation paper should be my dissertation topic.