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Monster Central User Guide
USER GUIDE Monster ® Home Theater Controller AV 100 Monster Home Theater and Lighting Controller AVL 300 ® Monster Central OmniLink™ A NOTE FROM THE HEAD MONSTER Dear Enthusiast, THANK YOU for purchasing your Monster Central® Control product. Monster Central Control opens up a whole new world where you command your home entertainment and environment—from operating audio/video components across your entire home, to accessing and distributing media libraries, to commanding lighting with the touch of a button, and more. User-friendly and future-ready, Monster Central Control products enhance your lifestyle at home today and tomorrow: Monster® HomeHome TheaterTheater ControllerController AVAV 100—100—Activity-Based Controller with easy, online setup lets you command home A/V components with the touch of a button. Monster Home Theater and Lighting Controller AVL 300—Activity-Based Controller with easy, online setup lets you command all of your A/V components, even all the lights in your home, with a touch of a button. Monster Central OmniLink™ (for AVL300 only)—included—RF-to-IR bridge and IR signal blaster/extender transmits Controller commands through cabinet doors, walls, ceilings and fl oors—even from different rooms. i Monster Central Wireless PC Link (for AVL300 only)—optional— Enables your Controller 300 to control your PC from remote locations, and wirelessly transmits new component confi gurations, name changes, customized titles, music playlists, and even the latest fi rmware from your PC to your Controller. llluminEssence™ Lighting Systems—not included—To enhance your home environment. These easy-to-install lighting modules can be controlled using the same Monster Central Controller you use to command your home A/V from any room in the house. -
José Carlos Felix Caos Controlado: a Tensão Entre Controle Técnico E Liberdade Criativa Em Mistérios E Paixões E Cidade De
JOSÉ CARLOS FELIX CAOS CONTROLADO: A TENSÃO ENTRE CONTROLE TÉCNICO E LIBERDADE CRIATIVA EM MISTÉRIOS E PAIXÕES E CIDADE DE DEUS CAMPINAS, 2013 i ii UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE ESTUDOS DA LINGUAGEM JOSÉ CARLOS FELIX CAOS CONTROLADO: A TENSÃO ENTRE CONTROLE TÉCNICO E LIBERDADE CRIATIVA EM MISTÉRIOS E PAIXÕES E CIDADE DE DEUS Orientador: Prof. Dr. Fabio Akcelrud Durão Tese de doutorado apresentada ao Instituto de Estudos da Linguagem da Universidade Estadual de Campinas para obtenção do título de doutor em Teoria e História Literária, na área de: Teoria e Crítica Literária. CAMPINAS, 2013 iii FICHA CATALOGRÁFICA ELABORADA POR CRISLLENE QUEIROZ CUSTODIO – CRB8/8624 - BIBLIOTECA DO INSTITUTO DE ESTUDOS DA LINGUAGEM - UNICAMP Felix, José Carlos, 1974- F335c Caos controlado: a tensão entre controle técnico e liberdade criativa em Mistérios e paixões e Cidade de Deus / José Carlos Felix. -- Campinas, SP : [s.n.], 2013. Orientador : Fabio Akcelrud Durão. Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem. 1. Mistérios e paixões (Filme). 2. Cidade de Deus (Filme). 3. Cinema - Estética - Técnica. 4. Indústria cultural. 5. Liberdade na arte. I. Durão, Fábio Akcelrud, 1969-. II. Universidade Estadual de Campinas. Instituto de Estudos da Linguagem. III. Título. Informações para Biblioteca Digital Título em inglês: Controlled chaos: the tension between technical control and artistic freedom in Naked Lunch and City of God. Palavras-chave em inglês: Naked lunch (Motion picture) Cidade de Deus (Motion picture) Moving-pictures - Aesthetics - Technique Cultural industry Liberty in art Área de concentração: Teoria e Crítica Literária. Titulação: Doutor em Teoria e História Literária. Banca examinadora: Fabio Akcelrud Durão [Orientador] Ravel Giordano Paz Washington Luis Lima Drummond Danielle dos Santos Corpas Robson Loureiro Data da defesa: 14-03-2013. -
Museum of Science Fiction Escape Velocity Prospectus and Program Guide
Washington DC USA: Earth / Sol: Milky Way M U S E U M O F S C I E N C E F I C T I O N 2019 Museum of Science Fiction Escape Velocity Prospectus and Program Guide Contact Any questions regarding this document should be directed to: Greg Viggiano Executive Director Museum of Science Fiction PO Box 88 Alexandria, VA 22314 USA EARTH: SOL: MILKY WAY Statement Regarding Future Events This document is a prospectus and contains forward-looking statements within the same meaning of the U.S. Private Securities Litigation Reform Act of 1995. Forward-looking statements include any statement regarding future events or the future financial performance of the Museum of Science Fiction that involves risks or uncertainties. In evaluating these statements, readers should specifically consider various factors that could cause actual events or results to differ materially from those indicated, including without limitation: changing economic conditions, visitor demand, competition, funding projections, and other important factors as described in this document. Cover art: Staring into the glowing blue exhaust of a mercury-ion thruster, February 1980; James L. Long and Associates (photo). 2019 MUSEUM PROSPECTUS | ESCAPE VELOCITY SHOW PROGRAM GUIDE MUSEUM OF SCIENCE FICTION Contents 4 Acknowledgements 5 Welcome 6 Event Theme: Technology 6 Museum Status 6 Commitment to Education 7 Creating Awareness: Visitor Experience 8 Leadership 12 Key Partners and Sponsors 13 About Escape Velocity FAQs Weapons and Safety Anti-harassment Policy 18 The Floor Exhibit Hall Map Exhibitors Museum Gallery Hotel Floor Maps 23 Programming Guests Friday Programming and Panels Saturday Programming and Panels Sunday Programming and Panels 71 Advertisers and Sponsors 2019 MUSEUM PROSPECTUS | ESCAPE VELOCITY SHOW PROGRAM GUIDE 3 Acknowledgements The Museum of Science Fiction would like to acknowledge and thank the individuals and organizations for their generous support and dedication to making Escape Velocity 2019 a major success. -
Master Class with Douglas Trumbull: Selected Filmography 1 the Higher Learning Staff Curate Digital Resource Packages to Complem
Master Class with Douglas Trumbull: Selected Filmography The Higher Learning staff curate digital resource packages to complement and offer further context to the topics and themes discussed during the various Higher Learning events held at TIFF Bell Lightbox. These filmographies, bibliographies, and additional resources include works directly related to guest speakers’ work and careers, and provide additional inspirations and topics to consider; these materials are meant to serve as a jumping-off point for further research. Please refer to the event video to see how topics and themes relate to the Higher Learning event. * mentioned or discussed during the master class ^ special effects by Douglas Trumbull Early Special Effects Films (Pre-1968) The Execution of Mary, Queen of Scots. Dir. Alfred Clark, 1895, U.S.A. 1 min. Production Co.: Edison Manufacturing Company. The Vanishing Lady (Escamotage d’une dame au théâtre Robert Houdin). Dir. Georges Méliès, 1896, France. 1 min. Production Co.: Théâtre Robert-Houdin. A Railway Collision. Dir. Walter R. Booth, 1900, U.K. 1 mins. Production Co.: Robert W. Paul. A Trip to the Moon (Le voyage dans la lune). Dir. Georges Méliès, 1902, France. 14 mins. Production Co.: Star-Film. A Trip to Mars. Dir. Ashley Miller, 1910, U.S.A. 5 mins. Production Co.: Edison Manufacturing Company. The Conquest of the Pole (À la conquête de pôle). Dir. Georges Méliès, 1912, France. 33 mins. Production Co.: Star-Film. *Intolerance: Love’s Struggle Throughout the Ages. Dir. D.W. Griffith, 1916, U.S.A. 197 mins. Production Co.: Triangle Film Corporation / Wark Producing. The Ten Commandments. -
LA HISTORIA DE BLADE RUNNER PARTE 3: La Legenda Continúa (Versión Completa) Por Paul M
LA HISTORIA DE BLADE RUNNER PARTE 3: La legenda continúa (versión completa) por Paul M. Sammon El período de preproducción de Blade Runner fue testigo del descontento que el autor original, Philip K. Dick, sentía respecto del proyecto. La etapa de producción de BR se vio entorpecida por la fricción financiera, los conflictos interpersonales y el rodaje agotador y extenuante. Durante la postproducción, Harrison Ford grabó una narración que no le agradaba, mientras que dos preestrenos de BR redundaron en la adición a último momento de un final feliz, rodado de manera apresurada. Todas estas complicaciones, sin embargo, se habrían olvidado rápidamente si Blade Runner hubiese sido un éxito. Desafortunadamente, cuando la película se estrenó el 25 de junio de 1982, rápidamente quedó en evidencia que BR sería todo, menos un éxito. Durante su permanencia inicial en cartelera, Blade Runner se vio, en general, como un fracaso de taquilla con una venta de entradas decepcionante. Por consiguiente, cuando la película desapareció de los cines después de su aparición original en cartelera, era predecible que BR había llegado al final de su camino. ¿Qué había sucedido? Se han publicado varias teorías para explicar el fracaso inicial de BR. Una teoría sostiene que el público de 1982, atraída por la presencia de Harrison Ford, fue a ver BR con la expectativa de encontrarse con el tipo de historia de aventuras agitadas y alegres que habían hecho famoso a Ford en ese entonces. Pero BR estaba lejos de ser rápida y alegre. En realidad, los espectadores se encontraron con una película oscura y desafiante. -
Star Wars Episode Tunes: Live Performances Attack on the Score Around the Globe
v7n4cov 5/31/02 11:44 AM Page c1 ORIGINAL MUSIC SOUNDTRACKS FOR MOTION PICTURES AND TV VOLUME 7, NUMBER 4 TV Music page 10 SUMMER MOVIESHOWDOWN THEAMAZING ELF-MAN Our friendly neighborhood super-scorer ATTACK ON THE CLONES John Williams’ score goes BOOM! LEGEND-ARY GOLDSMITH The lost fantasy returns on DVD ARTISTIC DEVOLUTION The indie life of Mark Mothersbaugh PLUS Lots of the latest CDs reviewed 04> 7225274 93704 $4.95 U.S. • $5.95 Canada v7n4cov 5/31/02 11:44 AM Page c2 The Symphony had almost no budget to design and produce a newsletter, but we thought it was important to publish one for subscribers and donors. Joe set up an attractive, versatile template for us and provided basic trainingFSMCD in Vol. Quark 5, No.and 7newsletter • Golden designAge Classics so that now we're able to produce a quarterly newsletter in-house.We get lots of compliments on our newsletter,On The and we Beach/The love having the tools Secret to do it ourselves. of Santa Vittoria by Ernest Gold FSM presents a film composer gravely unrepresented on CD with a doubleheader by Ernest Gold: On the Beach (1959) and The Secret of Santa Vittoria (1969), both films directed by Stanley Kramer, with whom Gold shared his most fruitful collaboration. On the Beach is an “event” picture dealing with the deadly aftermath of a nuclear war: Gregory Peck, Ava Gardner, Anthony Perkins and Fred Astaire star as among the last survivors of humanity, waiting for a radioactive cloud to engulf them on the Southern coast of Australia. -
Estta625827 09/08/2014 in the United States Patent And
Trademark Trial and Appeal Board Electronic Filing System. http://estta.uspto.gov ESTTA Tracking number: ESTTA625827 Filing date: 09/08/2014 IN THE UNITED STATES PATENT AND TRADEMARK OFFICE BEFORE THE TRADEMARK TRIAL AND APPEAL BOARD Proceeding 91205893 Party Defendant Li-Wei Chih Correspondence EVE BROWN Address SUFFOLK UNIVERSITY LAW SCHOOL 120 TREMONT STREET BOSTON, MA 02108 UNITED STATES [email protected] Submission Defendant's Notice of Reliance Filer's Name Eve Brown Filer's e-mail [email protected] Signature /Eve Brown/ Date 09/08/2014 Attachments Monster NOR 4.pdf(1169079 bytes ) http://www.change.org/p/monster-energy-company-stop-trademark-bullying- monsterfishkeepers-com Petition Closed with 8,875 supporters 8,875 signatures Stop Trademark Bullying MonsterFishKeepers.com! Petition by Nicole Putnam Ocala, FL Monster Aquaria Network is made up of three aquarium hobby sites and their respective forums: MonsterFishKeepers.com, AquariaCentral.com, and Aquatic-Photography.com. The Monster Fish Keepers™ Class 38 trademark "M" has been registered with the U.S. Patent and Trademark Office since October of 2007. On February 24th, Monster Energy Company sent a cease and desist letter asking that the "M" logo be dropped from clothing, accessories and stickers. Along with advertising, this merchandise is a source of revenue for Monster Aquaria Network which defrays the cost of maintaining the sites. Monster Energy Company feels that the "M" logo constitutes trademark infringement and would cause customers confusion with their own MONSTER™, MONSTER ENERGY®, and MONSTER “Claw M®” registered trademarks. (It is unlikely that consumers would mistake a brand marketed to the keepers of large fish in specialty online sites and aquarium stores, for a brand marketed to regular customers in sports facilities and typical grocery and retail establishments.) The cease and desist letter was in response to MFK filing for a Class 25 trademark (clothing, footwear, and headgear). -
851 Burlway Rd
KAHALA TOWER PRIME BAY AREA OFFICE BUILDING 851 BURLWAY ROAD BURLINGAME, CA HWY 101 FRONTAGE MARY ALAM, MBA CJ BRILL Senior Vice President Investment Advisor LOCATED IN THE O: 415.358.2111 O: 415.349.0147 HEART OF NEW TECH M: 415.297.5586 M: 310.793.6069 [email protected] [email protected] PRIME PENINSULA CalDRE #01927340 CalDRE #02073511 LOCATION 851 BURLWAY ROAD BURLINGAME, CA CONFIDENTIALITY & DISCLOSURE AGREEMENT The information contained in the following Investment Summary is proprietary and strictly confidential. It is intended to be reviewed only by the party receiving it from NAI Northern California Investment Real Estate Brokerage and should not be made available to any other person or entity without the written consent of Broker. This Investment Summary has been prepared to provide summary, unverified information to prospective purchasers, and to establish only a preliminary level of interest in the subject property. The information contained herein is not a substitute for a thorough due diligence investigation. Broker has not made any investigation, and makes no warranty or representation, with respect to the income or expenses for the subject property, the future projected financial performance of the property, the size and square footage of the property and improvements, the presence or absence of contaminating substances, PCB’s or asbestos, the compliance with State and Federal regulations, the physical condition of improvements thereon, or the financial condition or business prospects of any tenant, or any tenant’s plans or intentions to continue occupancy of the subject property. The information contained in the Marketing Brochure has been obtained from sources we believe to be reliable; however, Broker has not verified, and will not verify, any of the in- formation contained herein, nor has Broker conducted any investigation regarding these matters and makes no warranty or representation whatsoever regarding the accuracy or completeness of the information provided. -
Shauna R. Madison Cotchett, Pitre & Mccarthy
JOSEPH W. COTCHETT (SBN 36324; [email protected]) PHILIP L. GREGORY (SBN 95217; [email protected]) 2 NANCIE. NISHIMURA (SBN 152621; [email protected]) 3 CAMILO ARTIGA-PURCELL (SBN 273229; [email protected]) SHAUNA R. MADISON (SBN 299585; [email protected]) 4 COTCHETT, PITRE & MCCARTHY, LLP 840 Malcolm Road, Suite 200 5 Burlingame, CA 94010 Telephone: (650) 697-6000 6 Facsimile: (650) 697-0577 7 Attorneys for Plaintiffs 8 SUPERIOR COURT FOR THE STATE OF CALIFORNIA 9 IN THE COUNTY OF SAN MATEO 10 11 MONSTER, LLC, a Nevada limited liability Case No. C\" S!.\ qq 1 corporation; and 12 COMPLAINT FOR: NOEL LEE, individually and as TRUSTEE 13 OF THE NOEL LEE LIVING TRUST, 1. FRAUD AND DECEIT; 14 Plaintiffs, 2. AIDING AND ABETTING FRAUD AND 15 DECEIT; v. 16 3. BREACH OF DUTY OF TRUST AND BEATS ELECTRONICS LLC, a Delaware CONFIDENCE; 17 corporation; 4. AIDING AND ABETTING BREACH OF 18 ANDRE YOUNG a/k/a Dr. DRE; DUTY OF TRUST AND CONFIDENCE; 19 JIMMY IOVINE; 5. BREACH OF FIDUCIARY DUTY; 20 PAUL D. WACHTER; 6. AIDING AND ABETTING BREACH OF 21 FIDUCIARY DUTY; HTC AMERICA HOLDING, INC., a 22 Washington corporation; and 7. UNFAIR COMPETITION; and DOES 1-25, 8. VIOLATIONS OF THE CALIFORNIA 24 CORPORATIONS CODE. Defendants. 25 DEMAND FOR JURY TRIAL 26 27 28 L.\ \\' Cffl,IC:FS Crnci11rr, PITRE COMPLAINT & i\lc:C\l\THY, LLP 1 TABLE OF CONTENTS 2 Page 3 I. INTRODUCTION.................................................................................................................. 1 4 A. BACKGROUND ON LEE AND MONSTER ....................................................................... 3 5 6 B. LEE AND MONSTER ENGINEER THE “B EATS BY DR. -
Mécanismes De Reproduction Extraterrestre
UNIVERSITÉ DU QUÉBEC À MONTRÉAL MÉCANJSMES DE REPRODUCTION EXTRATERRESTRE ÉTUDE DES DYNAMlQUES D'EXP AN SION TRANSMÉDIATIQUE ET TRANSFICTIONNELLE DE LA FRANCHISE ALlEN MÉMOIRE PRÉSENTÉ COMME EXJGENCEPARTIELLE DE LA MAÎTRISE EN ÉTUDES LITTÉRAIRES PAR MEGAN BÉDARD OCTOBRE 2017 UNIVERSITÉ DU QUÉBEC À MONTRÉAL Service des bibliothèques Avertissement La diffusion de ce mémoire se fait dans le respect des droits de son auteur, qui a signé le formulaire Autorisation de reproduire et de diffuser un travail de recherche de cycles supérieurs (SDU-522 - Rév.0?-2011 ). Cette autorisation stipule que «conformément à l'article 11 du Règlement no 8 des études de cycles supérieurs, [l 'auteur] concède à l'Université du Québec à Montréal une licence non exclusive d'utilisation et de publication de la totalité ou d'une partie importante de [son] travail de recherche pour des fins pédagogiques et non commerciales. Plus précisément, [l'auteur] autorise l'Université du Québec à Montréal à reproduire, diffuser, prêter, distribuer ou vendre des copies de [son] travail de recherche à des fins non commerciales sur quelque support que ce soit, y compris l'Internet. Cette licence et cette autorisation n'entraînent pas une renonciation de [la] part [de l'auteur] à [ses] droits moraux ni à [ses] droits de propriété intellectuelle. Sauf entente contraire, [l'auteur] conserve la liberté de diffuser et de commercialiser ou non ce travail dont [il] possède un exemplaire. » REMERCIEMENTS Ce projet n'aurait jamais pu se concrétiser sans l'aide de mes parents, qui m'appuient depuis toujours dans mes idées folles et mes ambitions, sans l'amour et les encouragements de mes ami-es et de ma famille. -
A Case Study on Film Authorship: Exploring the Theoretical and Practical Sides in Film Production
A Case Study on Film Authorship by David Tregde — 5 A Case Study on Film Authorship: Exploring the Theoretical and Practical Sides in Film Production David Tregde* Media Arts and Entertainment Elon University Abstract Film authorship has been a topic of debate in film theory since the Cahiers du Cinema critics first birthed auteur theory. Andrew Sarris used this theory to categorize directors based on their level of artistic au- thorship, solidifying the idea that a director is the sole author of a film. In The Schreiber Theory, David Kipen argues that a writer is responsible for creating the world of the movie and should be considered the author of a film. However, collaborative theories, such as those proposed by Paul Sellors, provide a more practical framework for studying film authorship. Rarely are any film authorship theories compared with specific exam- ples. To compare theory to practice, this research took a two-fold approach. First, theory is explored through primary and secondary sources to give a background and understanding of the main arguments in authorship. Second, this research documents the production of two feature films (Blade Runner & The Man Who Killed Don Quixote) as case studies through analysis of in-depth documentaries. By examining these productions, this study observes theory in practice rather than studying the finished products. I. The Problem of Authorship “Authorship does matter,” says Janet Staiger, because it addresses the issue of acknowledging credit behind a motion picture (Gerstner and Staiger 27). When addressing the responsible parties for a film, it is important to know why such analysis is needed. -
Attendee List CONNECTIONS™: the Digital Home Conference and Showcase
Attendee List CONNECTIONS™: The Digital Home Conference and Showcase May 11-13, 2005 © 2005 CONNECTIONS™ CONNECTIONS™ 2005 Attendee List Aaron Bernstein QUALCOMM Inc Aaron Feen AMD Aaron Lee NETGEAR Abbey Flores CNET Adam Burg Mediabolic, Inc. Adam Mayer Scientific-Atlanta Adi Lavi Serconet Aditi Joshi AOL Alain Fernando-Santana NetCentrex Inc Alan Bittancourt Seagate Alan Snodgrass Intel Corporation Alexander Marquez Intel Capital Alfonso Rubio DS2 Alicia Nieva-Woodgate Mediabolic, Inc. Alison Murdock IBDNetwork Allen Huotari MoCA Alvin Lau Digital 5 Ameer Navidi LIVEdigitally Ami Wright Universal Electronics Amy Deveau Andrea Sorace Digital 5 Andreas Kluth The Economist Andreas Wuerfel Deutsche Telekom USA Andrew Bovingdon ANT Limited Andrew Hartsfield WiLife, Inc. Andrew Lindsay-Stewart Vodafone Andrew Steele Terayon Andy Llana Canadian Telecom Andy Melder Intellon Corporation Angelo Ugge BridgeCo Aniraj K R Wipro Technologies Ann McArtor Cisco Anne Marie Biernacki The Digiticians LLC Antone Gonsalves TechWeb Antonia Washington Pioneer Electronics (USA) Inc. Ariane Zander Messe Berlin GmbH Arnon Catalan Gteko Art Rangel Apple Computer Ashish Tomar Nokia Ashley Hannant CE Lifestyles Atif Rafiq Avishai Eliash Gteko Avner Matmor Yitran Communications Ltd. Azadeh Jaffari Seagate Babak Rezvani Xanboo Barbara Dwyer PRIMEDIA Bard Richmond Streamzap Barry Solomon Devicescape Software Barry Willis Absolute Multimedia www.connectionsconference.com CONNECTIONS™ 2005 Attendee List Bart Sattler TWA-nieuws Benjamin Grimley Exent Technologies Bennett Norell Sereniti Inc. Benny Evangelista San Francisco Chronicle Benson Chao Digital Video Multimedia News Bernadete Hill DynamicCity Bernard Gander Logitech Europe SA Bill Ablondi Parks Associates Bill Boyle Intel Corporation Bill Diamond Xanboo Bill McFarland Atheros Bill Scheffler Zensys Bill Schilit Intel Bill Selph Hewlett Packard Bob Gregory Intel Corporation Bob Harris Bob King Vulcan Inc.