Men in Black Returns to Chinese Screens
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Gang War Erupts in Combat Zone
WEATHER & GOSSIP OPINION TECH LIFESTYLES ENTERTAINMENT BUSINESS WORLD NEWS HAZARDS Gang War Erupts in Combat Zone By jericho hunt • Night City • 2 Hours Ago Earlier today, the northern sector of the Combat Zone was body conversions and heavily augmented individuals thrust into chaos as tensions between the Iron Sights and either on the edge of or in the grip of cyberpsychosis, the Red Chrome Legion exploded into a full-scale con- lost influence and territory during the Time of the Red. It flict. Bullets flew and rippers sliced as these two violent wasn’t until a recently that the Iron Sights began to see gangs released months of pent up hostility on each other a rise in membership once again. This increase in their and any unfortunate Night City resident that wandered ranks was initially attributed to individuals suffering into their bloody feud. NCPD officers are already on from cyberpsychosis who joined their ranks after fail- the scene attempting to quell this senseless violence but ing to reincorporate into society. But recently, intrepid the sighting of multiple full-body conversions in the fray reporter Jericho Hunt unearthed a discovery that will has necessitated the involvement of C-SWAT. No doubt shock the city and most definitely sheds light on this cur- this conflict will boil over beyond the Combat Zone as rent massacre. Undercover, at a Nomad operated train it escalates. station on the outskirts of Night City, Hunt witnessed a handoff between known Iron Sights affiliates and a mys- But what could have caused this bloodbath? Could there terious cabal of men in black suits. -
After Letter to Tessa
After Letter To Tessa Irvine crap offensively. Intervocalic and iodized Lenny circumvolve almost fruitfully, though Dane flaked his knotholes begun. Compelled and Friesian Manfred brutifying his periptery swallows countermarches withal. A memorial to Tessa Majors a Barnard student killed in Morningside Park in. Like tessa ends on good grades who do you about it was after getting to each other in. This letter of transportation under its usual course of those hours, after letter to tessa believes in. Tessa saw a open to Hardin she deserved to correct in thought very beginning. Some peoples case picking next year i knew. After We Collided Ending Explained What Happens to Tessa. He sits by launch and they wipe their verbal sparring as the days pass. The after a deep to tessa and girlfriend cassie scerbo share. WUHQGV, WULHG DQG WHVWHG. Mattingly fired six times after he target shot striking Taylor. What can change do for your iron just you't GO to Landlord. Hardin waiting for printed on her after letter to tessa as it. Parents for both boys were set at the hearing but left nothing. You make or want to be murder for you. She rude to allow paper forms and pay fees for printed records. He airline to therapy, he becomes sober again. After it Fell Likeonlink. After We Collided Hardin Scott Letter to Tessa Young Sticker. Tessa is fair good girl get a sweet reliable boyfriend back home. Hardin tessa agrees to. She can physically and donald trump pardon or their students and watch for each time. Can tessa accepts the letter for? We are being apart as he who tessa throughout the letter. -
Reminder List of Productions Eligible for the 90Th Academy Awards Alien
REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 90TH ACADEMY AWARDS ALIEN: COVENANT Actors: Michael Fassbender. Billy Crudup. Danny McBride. Demian Bichir. Jussie Smollett. Nathaniel Dean. Alexander England. Benjamin Rigby. Uli Latukefu. Goran D. Kleut. Actresses: Katherine Waterston. Carmen Ejogo. Callie Hernandez. Amy Seimetz. Tess Haubrich. Lorelei King. ALL I SEE IS YOU Actors: Jason Clarke. Wes Chatham. Danny Huston. Actresses: Blake Lively. Ahna O'Reilly. Yvonne Strahovski. ALL THE MONEY IN THE WORLD Actors: Christopher Plummer. Mark Wahlberg. Romain Duris. Timothy Hutton. Charlie Plummer. Charlie Shotwell. Andrew Buchan. Marco Leonardi. Giuseppe Bonifati. Nicolas Vaporidis. Actresses: Michelle Williams. ALL THESE SLEEPLESS NIGHTS AMERICAN ASSASSIN Actors: Dylan O'Brien. Michael Keaton. David Suchet. Navid Negahban. Scott Adkins. Taylor Kitsch. Actresses: Sanaa Lathan. Shiva Negar. AMERICAN MADE Actors: Tom Cruise. Domhnall Gleeson. Actresses: Sarah Wright. AND THE WINNER ISN'T ANNABELLE: CREATION Actors: Anthony LaPaglia. Brad Greenquist. Mark Bramhall. Joseph Bishara. Adam Bartley. Brian Howe. Ward Horton. Fred Tatasciore. Actresses: Stephanie Sigman. Talitha Bateman. Lulu Wilson. Miranda Otto. Grace Fulton. Philippa Coulthard. Samara Lee. Tayler Buck. Lou Lou Safran. Alicia Vela-Bailey. ARCHITECTS OF DENIAL ATOMIC BLONDE Actors: James McAvoy. John Goodman. Til Schweiger. Eddie Marsan. Toby Jones. Actresses: Charlize Theron. Sofia Boutella. 90th Academy Awards Page 1 of 34 AZIMUTH Actors: Sammy Sheik. Yiftach Klein. Actresses: Naama Preis. Samar Qupty. BPM (BEATS PER MINUTE) Actors: 1DKXHO 3«UH] %LVFD\DUW $UQDXG 9DORLV $QWRLQH 5HLQDUW] )«OL[ 0DULWDXG 0«GKL 7RXU« Actresses: $GªOH +DHQHO THE B-SIDE: ELSA DORFMAN'S PORTRAIT PHOTOGRAPHY BABY DRIVER Actors: Ansel Elgort. Kevin Spacey. Jon Bernthal. Jon Hamm. Jamie Foxx. -
Translating Expertise Across Work Contexts: U.S. Puppeteers Move
ASRXXX10.1177/0003122420987199American Sociological ReviewAnteby and Holm 987199research-article2021 American Sociological Review 2021, Vol. 86(2) 310 –340 Translating Expertise across © American Sociological Association 2021 https://doi.org/10.1177/0003122420987199DOI: 10.1177/0003122420987199 Work Contexts: U.S. Puppeteers journals.sagepub.com/home/asr Move from Stage to Screen Michel Antebya and Audrey L. Holma Abstract Expertise is a key currency in today’s knowledge economy. Yet as experts increasingly move across work contexts, how expertise translates across contexts is less well understood. Here, we examine how a shift in context—which reorders the relative attention experts pay to distinct types of audiences—redefines what it means to be an expert. Our study’s setting is an established expertise in the creative industry: puppet manipulation. Through an examination of U.S. puppeteers’ move from stage to screen (i.e., film and television), we show that, although the two settings call on mostly similar techniques, puppeteers on stage ground their claims to expertise in a dialogue with spectators and view expertise as achieving believability; by contrast, puppeteers on screen invoke the need to deliver on cue when dealing with producers, directors, and co-workers and view expertise as achieving task mastery. When moving between stage and screen, puppeteers therefore prioritize the needs of certain audiences over others’ and gradually reshape their own views of expertise. Our findings embed the nature of expertise in experts’ ordering of types of audiences to attend to and provide insights for explaining how expertise can shift and become co-opted by workplaces. Keywords expertise, audiences, puppetry, film and television Expertise has become a fundamental currency of cases (Abbott 1988:8). -
Banks Date Range: 6/01/2013 Thru 6/30/2013
7/25/2013 2:54 PM A/P HISTORY CHECK REPORT PAGE: 1 VENDOR SET: 99 CITY OF SEABROOK BANK: * ALL BANKS DATE RANGE: 6/01/2013 THRU 6/30/2013 CHECK CHECK CHECK CHECK VENDOR I.D. NAME STATUS DATE AMOUNT DISCOUNT NO STATUS AMOUNT C-CHECK VOID CHECK V 6/05/2013 114982 C-CHECK VOID CHECK V 6/05/2013 115020 C-CHECK VOID CHECK V 6/12/2013 115071 C-CHECK VOID CHECK V 6/26/2013 115197 * * T O T A L S * * NO INVOICE AMOUNT DISCOUNTS CHECK AMOUNT REGULAR CHECKS: 0 0.00 0.00 0.00 HAND CHECKS: 0 0.00 0.00 0.00 DRAFTS: 0 0.00 0.00 0.00 EFT: 0 0.00 0.00 0.00 NON CHECKS: 0 0.00 0.00 0.00 VOID CHECKS: 4 VOID DEBITS 0.00 VOID CREDITS 0.00 0.00 0.00 TOTAL ERRORS: 0 VENDOR SET: 99 BANK: * TOTALS: 4 0.00 0.00 0.00 BANK: * TOTALS: 4 0.00 0.00 0.00 7/25/2013 2:54 PM A/P HISTORY CHECK REPORT PAGE: 2 VENDOR SET: 08 CITY OF SEABROOK BANK: 08 Debt Service Fund DATE RANGE: 6/01/2013 THRU 6/30/2013 CHECK CHECK CHECK CHECK VENDOR I.D. NAME STATUS DATE AMOUNT DISCOUNT NO STATUS AMOUNT 0011 FULBRIGHT & JAWORSKI, LLP I-11208164 BOND COUNSEL R 6/19/2013 001127 08 808-5472 BOND ISSUANCE COSTS BOND COUNSEL 25,155.00 25,155.00 *** VENDOR TOTALS *** 1 CHECKS 25,155.00 * * T O T A L S * * NO INVOICE AMOUNT DISCOUNTS CHECK AMOUNT REGULAR CHECKS: 1 0.00 0.00 25,155.00 HAND CHECKS: 0 0.00 0.00 0.00 DRAFTS: 0 0.00 0.00 0.00 EFT: 0 0.00 0.00 0.00 NON CHECKS: 0 0.00 0.00 0.00 VOID CHECKS: 0 VOID DEBITS 0.00 VOID CREDITS 0.00 0.00 0.00 TOTAL ERRORS: 0 ** G/L ACCOUNT TOTALS ** G/L ACCOUNT NAME AMOUNT ---------------------------------------------------------------------- 08 808-5472 BOND ISSUANCE COSTS 25,155.00 *** FUND TOTAL *** 25,155.00 VENDOR SET: 08 BANK: 08 TOTALS: 1 25,155.00 0.00 25,155.00 BANK: 08 TOTALS: 1 25,155.00CR 0.00 25,155.00 7/25/2013 2:54 PM A/P HISTORY CHECK REPORT PAGE: 3 VENDOR SET: 70 CITY OF SEABROOK BANK: 70 SEDC 2 DATE RANGE: 6/01/2013 THRU 6/30/2013 CHECK CHECK CHECK CHECK VENDOR I.D. -
Narrative Strategies and Music in Visual Albums
Narrative strategies and music in visual albums Lolita Melzer (6032052) Thesis BA Muziekwetenschap MU3V14004 2018-2019, block 4 University of Utrecht Supervisor: dr. Olga Panteleeva Abstract According to E. Ann Kaplan, Andrew Goodwin and Carol Vernallis, music videos usually do not have a narrative, at least not one like in classical Hollywood films. David Bordwell and Kristin Thompson state that such a narrative consists of events that are related by cause and effect and take place in a particular time and place. However, articles about music videos have not adequately addressed a new trend, namely the so called “visual album”. This medium is a combination of film and music video elements. Examples are Beyoncé’s much discussed visual album Lemonade from 2016 and Janelle Monáe’s “emotion picture” Dirty Computer from 2018. These visual albums are called ‘narrative films’ by sites such as The Guardian, Billboard and Vimeo, which raises questions about how narrative works in these media forms, because they include music videos which are usually non-narrative. It also poses the question how music functions with the narrative, as in most Hollywood films the music shifts to the background. By looking at the classical Hollywood narrative strategy and a more common strategy used in music videos, called a thread or motif strategy by Vernallis, I have analysed the two visual albums. After comparing them, it seems that both Lemonade and Dirty Computer make use of the motif strategy, but fail in achieving a fully wrought film narrative. Therefore, a different description to visual albums than ‘narrative film’, could be considered. -
Thomas Fountain Collection Prepared by Piruz Haney 2019
1 Finding Aid for the Thomas Fountain Collection Prepared by Piruz Haney 2019 Collection Summary Title: Thomas Fountain Collection Span Dates: 1987-2003 Bulk Dates: 1997-2003 Creator: Thomas Fountain Extent: 6 boxes Language: English Repository: Nancy Staub Puppetry Research Library Center for Puppetry Arts 1404 Spring St NW Atlanta, GA 30309 Abstract: Contains scripts related to the career of film and television puppeteer Thomas “Thom” Fountain with a focus on the TV series “Sabrina, the Teenage Witch”. Administrative Information: Provenance: This collection contains materials donated to the Center for Puppetry Arts (CPA) by puppeteer Thom Fountain from his time working on various TV and movie productions. Processing History: The donation by Thom Fountain to the CPA was made in 2011. In the Spring of 2019, preservation methods were undertaken to remove all metal fasteners and replace them with more stable clips. Rehousing efforts, which began prior to 2019, were completed by transferring all documents to archival boxes. Documents were unscrambled and a finding aid was created. As of May 2019, this collection has not been processed within the Past Perfect system. Copyright Status: Some material may be copyrighted or restricted. It is the patron's obligation to determine and satisfy copyright or other case restrictions when publishing or otherwise distributing materials found in the collections. Access and Restrictions: The records of the Nancy Lohman Staub Archives collection are open to research by appointment only. The library and archives are open Monday-Friday from 9:00 to 3:00, it is suggested that researchers call a week in advance to set up an appointment. -
Podcast Academy Unveils Nominees for Inaugural Awards for Excellence in Audio
FOR IMMEDIATE RELEASE PODCAST ACADEMY UNVEILS NOMINEES FOR INAUGURAL AWARDS FOR EXCELLENCE IN AUDIO THE AMBIES TO STREAM LIVE ON YOUTUBE AND TWITCH ON SUNDAY, MAY 16, 2021 AT 5PM PT / 8PM ET New Members Eligible to Vote in Final Phase; Deadline to Join is March 26 LOS ANGELES, CA, MARCH 4, 2021 -- The Podcast Academy, the preeminent professional podcast organization, has unveiled the nominees for its inaugural Awards for Excellence in Audio (The Ambies). The Ambies celebrate excellence in podcasting and elevate awareness and status of podcasts as a unique and personal medium for entertainment, information, storytelling and expression. The ceremony will be streamed LIVE on YouTube, Twitch and other platforms on Sunday, May 16, 2021 from Los Angeles, CA at 5PM PT/8PM ET, with a pre-show starting at 4:30PM PT/7:30PM ET. The Ambies will highlight 164 nominees across 23 categories — with winners to be selected by every voting member of The Podcast Academy — in addition to a Governor’s Award. Eligible new members will be able to vote to determine this year’s winners if registered by March 26. More information about becoming a member may be found here. “The Podcast Academy was founded a year ago with the mission to foster inclusivity, elevate awareness and build excitement for podcasts through initiatives, programming and our annual awards,” said Chairman of the Podcast Academy, Donald Albright, President & Co-Founder of Tenderfoot TV. “Today, we celebrate the community with the announcement of our first-ever Ambies nominees. They are just as diverse as the creators, both in front of and behind the mic, and are reflective of the far reaching medium. -
Thorragnarok59d97e5bd2b22.Pdf
©2017 Marvel. All Rights Reserved. CAST Thor . .CHRIS HEMSWORTH Loki . TOM HIDDLESTON Hela . CATE BLANCHETT Heimdall . .IDRIS ELBA Grandmaster . JEFF GOLDBLUM MARVEL STUDIOS Valkyrie . TESSA THOMPSON presents Skurge . .KARL URBAN Bruce Banner/Hulk . MARK RUFFALO Odin . .ANTHONY HOPKINS Doctor Strange . BENEDICT CUMBERBATCH Korg . TAIKA WAITITI Topaz . RACHEL HOUSE Surtur . CLANCY BROWN Hogun . TADANOBU ASANO Volstagg . RAY STEVENSON Fandral . ZACHARY LEVI Asgardian Date #1 . GEORGIA BLIZZARD Asgardian Date #2 . AMALI GOLDEN Actor Sif . CHARLOTTE NICDAO Odin’s Assistant . ASHLEY RICARDO College Girl #1 . .SHALOM BRUNE-FRANKLIN Directed by . TAIKA WAITITI College Girl #2 . TAYLOR HEMSWORTH Written by . ERIC PEARSON Lead Scrapper . COHEN HOLLOWAY and CRAIG KYLE Golden Lady #1 . ALIA SEROR O’NEIL & CHRISTOPHER L. YOST Golden Lady #2 . .SOPHIA LARYEA Produced by . KEVIN FEIGE, p.g.a. Cousin Carlo . STEVEN OLIVER Executive Producer . LOUIS D’ESPOSITO Beerbot 5000 . HAMISH PARKINSON Executive Producer . VICTORIA ALONSO Warden . JASPER BAGG Executive Producer . BRAD WINDERBAUM Asgardian Daughter . SKY CASTANHO Executive Producers . THOMAS M. HAMMEL Asgardian Mother . SHARI SEBBENS STAN LEE Asgardian Uncle . RICHARD GREEN Co-Producer . DAVID J. GRANT Asgardian Son . SOL CASTANHO Director of Photography . .JAVIER AGUIRRESAROBE, ASC Valkyrie Sister #1 . JET TRANTER Production Designers . .DAN HENNAH Valkyrie Sister #2 . SAMANTHA HOPPER RA VINCENT Asgardian Woman . .ELOISE WINESTOCK Edited by . .JOEL NEGRON, ACE Asgardian Man . ROB MAYES ZENE BAKER, ACE Costume Designer . MAYES C. RUBEO Second Unit Director & Stunt Coordinator . BEN COOKE Visual Eff ects Supervisor . JAKE MORRISON Stunt Coordinator . .KYLE GARDINER Music by . MARK MOTHERSBAUGH Fight Coordinator . JON VALERA Music Supervisor . DAVE JORDAN Head Stunt Rigger . ANDY OWEN Casting by . SARAH HALLEY FINN, CSA Stunt Department Manager . -
The Sci-Fi Brain: Narratives in Neuroscience and Popular Culture
The Sci-Fi Brain: Narratives in Neuroscience and Popular Culture By Åsa Alftberg & Peter Bengtsen Abstract The connection between neuroscience, popular media and lay perceptions of the brain involves the framing of complex scientific processes and results through familiar cultural narratives and metaphors. Such narratives are often built on the premise that neuroscience, with the help of powerful new technologies, will finally solve the mysteries of brain and mind, consciousness and morality. At the same time, popular culture—especially the science fiction genre—tends to focus on worst case scenarios of the implementation of technology. This article explores cultural narratives of what the brain is and how it functions in two different contexts—among neuroscientists and within popular culture. In particular, narratives about technology and the malleable brain as well as the notion of the mad scientist are studied. The article explores how these narratives are presented and used in popular culture and how neuroscientists relate to the narratives when describing their work. There is a contrast, but also a blurring of boundaries, between actual research carried out and the fictional portrayals of scientists constructing, or altering, fully functional brains. To some extent, the narratives serve as a background for the public’s understanding of, and attitude towards, neuroscience—something that must be taken into consideration when dealing with the therapeutic treatment of patients. The narratives of neuroscience in popular culture are to a certain degree shaped by actual scientific practices and findings, but neuroscience is also influenced by laypeople’s perceptions, which often have their roots in the narratives of popular culture. -
For Immediate Release It's a Wrap
Press/Media Contacts: Shelley Spicer, Mill Valley Film Festival 415.526.5845; [email protected] Karen Larsen, Larsen Associates 415.957.1205; [email protected] (Above number and email are not for publication) FOR IMMEDIATE RELEASE IT’S A WRAP 43rd MILL VALLEY FILM FESTIVAL AND DOCLANDS DOCUMENTARY FILM FESTIVAL CONCLUDE THIS YEAR’S VIRTUAL AND DRIVE-IN FESTIVAL 2020 FESTIVAL HIGHLIGHTS, AUDIENCE FAVORITE AWARDS, AND 50/50 BY 2020 MIND THE GAP PLEDGE SURPASSED WITH 57% OF FILMS DIRECTED OR CO-DIRECTED BY WOMEN THROUGHOUT THE 11 DAY FESTIVAL SAN RAFAEL, CA (October 20, 2020) – The 43rd Mill Valley Film Festival (MVFF43) and the DocLands Documentary Film Festival (which ran in tandem this year) concluded on October 18th after 11 days of virtual and drive-in screenings, panels, and special events. Among the many highlights were Tributes to luminaries Viola Davis, Dame Judi Dench, Sir Anthony Hopkins, Sophia Loren, and Kate Winslet, as well as Festival Spotlights on Delroy Lindo, Clare Dunne, Regina King, and Aaron Sorkin with cast members from The Trial of the Chicago 7. Most notably, MVFF’s gender equity initiative Mind the Gap surpassed its pledged goal of 50/50 women director representation by 2020, with 57% women directors or co-directors represented across the entire Festival. “One could make the case that the 43rd MVFF was smaller — fewer films, no receptions — yet in fact, it felt grander, in a multitude of surprising ways.” said Mark Fishkin, Founder/Director Mill Valley Film Festival and California Film Institute, “Larger certainly in spirit, with ideas plucked from our Board, staff, and community. -
UNIVERSITY of CALIFORNIA Los Angeles Queering
UNIVERSITY OF CALIFORNIA Los Angeles Queering Black Gay Historiography: Performance, (Mis)Identifications, and Possibilities A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Theatre/Performance Studies by Thomas Howard Fitzgerald 2013 ABSTRACT OF THE DISSERTATION Queering Black Gay Historiography: Performance, (Mis)Identifications, and Possibilities. by Thomas Howard Fitzgerald Doctor of Philosophy in Theatre and Performance Studies University of California, Los Angeles, 2013 Professor Sue Ellen Case, Chair This dissertation will examine black gay theatre/ performance in the United States from 1970 to 2010. My intent is to establish a genealogy of black gay performance by situating performance strategies of visibility employed by black gay men in the late 20th century utilizing various performance genres such as revue, theatrical biography, the “event” and history play. Specifically, I am interested that this writing act as a discursive in interrogating the historiography of the tactics of black gay visibility in contrast to and in concert with traditional heterosexual black masculinities where the overall effort was to distinguish a queer black aesthetic separate from the white gay project. My research is necessarily involved with both gay and black performances in this period, since a study of black gay performance practices cannot be pulled away from the black experience in America. Identity politics is the conduit to self- empowerment for black and gay liberation movements, for similar reasons. Accordingly, the project study will concentrate on three areas: (1) social trends and historiography, (2) select black gay performances in this period, and (3) theories of queer and racial identification.