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L'équipe Des Scénaristes De Lost Comme Un Auteur Pluriel Ou Quelques Propositions Méthodologiques Pour Analyser L'auctorialité Des Séries Télévisées
Lost in serial television authorship : l’équipe des scénaristes de Lost comme un auteur pluriel ou quelques propositions méthodologiques pour analyser l’auctorialité des séries télévisées Quentin Fischer To cite this version: Quentin Fischer. Lost in serial television authorship : l’équipe des scénaristes de Lost comme un auteur pluriel ou quelques propositions méthodologiques pour analyser l’auctorialité des séries télévisées. Sciences de l’Homme et Société. 2017. dumas-02368575 HAL Id: dumas-02368575 https://dumas.ccsd.cnrs.fr/dumas-02368575 Submitted on 18 Nov 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution - NonCommercial - NoDerivatives| 4.0 International License UNIVERSITÉ RENNES 2 Master Recherche ELECTRA – CELLAM Lost in serial television authorship : L'équipe des scénaristes de Lost comme un auteur pluriel ou quelques propositions méthodologiques pour analyser l'auctorialité des séries télévisées Mémoire de Recherche Discipline : Littératures comparées Présenté et soutenu par Quentin FISCHER en septembre 2017 Directeurs de recherche : Jean Cléder et Charline Pluvinet 1 « Créer une série, c'est d'abord imaginer son histoire, se réunir avec des auteurs, la coucher sur le papier. Puis accepter de lâcher prise, de la laisser vivre une deuxième vie. -
04.19.20-COVID19-Briefing-Deck
Today is Sunday. Everyone is entitled to his own opinion, but not his own facts. Senator Daniel Patrick Moynihan Total Hospitalizations 18,279 18,654 18,825 18,335 18,569 18,707 18,697 18,079 17,735 17,493 17,316 16,837 16,967 16,479 16,213 15,905 14,810 13,383 12,226 10,929 9,517 8,503 7,328 6,481 5,327 4,079 3,343 2,629 2,043 1,406 1,042 617 326 496 March 16 April 18 Total Hospitalizations Past the Apex? March 16 April 18 Net Change in Total Hospitalizations 1,412 1,427 1,297 1,248 1,154 1,175 1,157 1,014 1,095 847 714 736 637 656 586 574 586 425 364 358 290 200 170 53 121 118 91 85 -128 -362 -349 -419 -600 -754 March 16 April 18 Net Change in Hospitalizations (3-Day Average) 1,289 1,294 1,226 1,200 1,214 1,083 1,046 1,059 1,012 1,032 899 679 676 646 529 529 533 475 481 359 303 239 192 131 127 143 91 85 14 -124 -363 -460 -456 -507 March 16 April 18 Net Change in Intubations 351 313 316 303 290 295 291 260 222 200 192 165 132 124 116 121 94 109 110 93 88 69 69 43 27 -14 -21 -26 -7 -40 -73 -48 -112 March 17 April 18 STAY HOME. STOP THE SPREAD. SAVE LIVES. New COVID Hospitalizations Per Day Gross change in hospitalizations 3,413 3,261 3,034 2,882 2,844 2,857 2,821 2,848 2,538 2,553 2,507 2,486 2,241 2,253 2,082 1,974 1,915 1,883 1,958 1,996 1,796 1,813 1,722 1,649 1,384 1,084 909 823 776 489 March 20 April 18 Total Hospitalized By Region Rest of State 7% Westchester and Rockland 8% NYC Long Island 63% 21% STAY HOME. -
An Analysis of Hegemonic Social Structures in "Friends"
"I'LL BE THERE FOR YOU" IF YOU ARE JUST LIKE ME: AN ANALYSIS OF HEGEMONIC SOCIAL STRUCTURES IN "FRIENDS" Lisa Marie Marshall A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2007 Committee: Katherine A. Bradshaw, Advisor Audrey E. Ellenwood Graduate Faculty Representative James C. Foust Lynda Dee Dixon © 2007 Lisa Marshall All Rights Reserved iii ABSTRACT Katherine A. Bradshaw, Advisor The purpose of this dissertation is to analyze the dominant ideologies and hegemonic social constructs the television series Friends communicates in regard to friendship practices, gender roles, racial representations, and social class in order to suggest relationships between the series and social patterns in the broader culture. This dissertation describes the importance of studying television content and its relationship to media culture and social influence. The analysis included a quantitative content analysis of friendship maintenance, and a qualitative textual analysis of alternative families, gender, race, and class representations. The analysis found the characters displayed actions of selectivity, only accepting a small group of friends in their social circle based on friendship, gender, race, and social class distinctions as the six characters formed a culture that no one else was allowed to enter. iv ACKNOWLEDGMENTS This project stems from countless years of watching and appreciating television. When I was in college, a good friend told me about a series that featured six young people who discussed their lives over countless cups of coffee. Even though the series was in its seventh year at the time, I did not start to watch the show until that season. -
Chapter 8 Abandoned, Derelict Vehicles
Municipal Code – Village of Pingree Grove __________________________________________________________________________________ Title 7: Motor Vehicles and Traffic Chapter 8 – ABANDONED, DERELICT VEHICLES1 SECTIONS: 7-8-1: LEGISLATIVE FINDINGS AND DETERMINATIONS. 7-8-2: DEFINITIONS. 7-8-3: ABANDONMENT OF VEHICLE OR RETENTION OF DERELICT VEHICLE PROHIBITED. 7-8-4: PRESUMPTIONS. 7-8-5: REMOVAL OF VEHICLES; COSTS. 7-8-6: RECORDS OF TOWS. 7-8-7: RECORDS SEARCHES FOR OWNER. 7-8-8: RECLAMATION OF VEHICLE. 7-8-9: SALE OF VEHICLE. 7-8-10: OLDER VEHICLES. 7-8-11: ALTERNATE PROCEDURES. 7-8-12: RECORDS KEPT. 7-8-13: DISPOSITION OF PROCEEDS. 7-8-14: NONLIABILITY OF VILLAGE OR TOWING SERVICE. 7-8-1: LEGISLATIVE FINDINGS AND DETERMINATIONS: The village board members, in keeping with the policy of the Illinois general assembly, as found in section 5/4-301 of the Illinois vehicle code, finds and determines that: abandoned and derelict vehicles constitute a safety hazard and a public nuisance; are detrimental to the health, safety and welfare of the general public by harboring disease, providing breeding places for vermin, inviting plundering, creating fire hazards and presenting physical dangers to children and others; produce scenic blights which degrade the environment and adversely affect land values and the proper maintenance and continuing development of the state of Illinois and all of its subdivisions; represent a resource out of place and an energy loss to the Illinois economy and require state and local governmental attention, in conjunction with any federal governmental attention, in order to assure the expeditious removal and recycling of these abandoned and derelict vehicles. -
Sawbones 322: Cabin Fever Published on May 8Th, 2020 Listen Here on Themcelroy.Family
Sawbones 322: Cabin Fever Published on May 8th, 2020 Listen here on themcelroy.family Intro (Clint McElroy): Sawbones is a show about medical history, and nothing the hosts say should be taken as medical advice or opinion. It's for fun. Can't you just have fun for an hour and not try to diagnose you mystery boil? We think you've earned it. Just sit back, relax, and enjoy a moment of distraction from that weird growth. You're worth it. [theme music plays] Justin: Hello everybody, and welcome to Sawbones: a marital tour of misguided medicine. I'm your cohost, Justin McElroy. Sydnee: And I'm Sydnee McElroy. [pauses] You're just looking at me. Justin: Mm-hmm. Sydnee: You look disappointed! Justin: Do I look disappointed? Sydnee: Yeah. Justin: I don't mean to have that. Sydnee: You had a—you had a disappointed look on your face. Justin: I was going for very neutral. Sydnee: Oh. I thought that—I thought that was intentional. The disappointed look. Justin: No, I wanna be open to whatever you got for me. I don't know what sort of, um, uh, uh... challenging new information about the coronavirus I'm gonna be asked to process today— Sydnee: Well— Justin: —and so I just want to be a blank canvas on which you can paint your masterpiece. Sydnee: No. I—I thought maybe you saw the first line of my outline, my first order of business before I get into— Justin: Oh, yeah. Before we started recording Sydnee said, uh—I said, "How do you wanna, um, lead into this episode?" She said, "Well, first I have to apologize to Sweden." So, Sydnee? Sydnee: And the first line of my outline says [through laughter] "First apologize to Sweden." Just—I wasn't gonna forget, but I like to.. -
ANDREW MASULLO on APRIL DAWN ALISON November 15, 2019 • the Artist Explains How He Recovered a Photographer’S Lifework
INTERVIEWS ANDREW MASULLO ON APRIL DAWN ALISON November 15, 2019 • The artist explains how he recovered a photographer’s lifework April Dawn Alison, Untitled, n.d. Photo: San Francisco Museum of Modern Art, gift of Andrew Masullo. For many years, a commercial photographer named Alan Schaefer (1941–2008) privately created an extraordinary body of work: a series of over 9,000 Polaroid self-portraits of an exuberant woman known as April Dawn Alison. While little is known of Alan—neighbors recalled he loved jazz and baseball—April Dawn is well documented in many and various domestic performances: as a French maid, bikini model, bondage partner, and more. Several hundred of these Polaroids are being presented publicly for the first time in an exhibition at the San Francisco Museum of Modern Art, organized by curator Erin O’Toole, who also edited a related monograph with contributions by Hilton Als and Zackary Drucker (MACK, 2019). “This was a lifelong artistic endeavor,” notes O’Toole, explaining both the stakes of the practice and the museum’s decision to display the images posthumously. “The act of photography is part of the pictures, too,” she observes, “a working photographer thinking about photography.” But April Dawn would very likely have been lost to history were it not for Andrew Masullo, a San Francisco–based artist and collector with a keen eye and sensitive instincts. Here, he shares a personal reflection of finding, holding, and ultimately letting go of the complete known works of April Dawn Alison. —Jordan Stein APRIL, DAWN, ALISON. Separately, these three names are quite meaningless to me. -
Caring Matters
PAID US Postage US Postage Inc. Rochester, NY Rochester, NY Permit No. 4061 Permit No. 4061 NON PROFIT ORG. WE DO THAT! CARING MATTERS March 2010 - Vol. 28 Issue 3 Building Children’s Brains through Neurokinesiologist Jean Blaydes Madigan believes the best way to nourish children's brainpower is to get them up and moving. Cost Diplomat Banquet Center Now through April 9 1956 Lyell Avenue Rochester, NY 14606 Council Members $55.00 Current Resident or: or: Resident Current Non-Members $75.00 Registration: 8:00 am April 10 Conference 8:30 am — 2:30 pm Lunch: 11:00 am-12:00 pm All $150.00 Call 585-654-4720 for Scholarship funding to participate in registration information this training may be available through the NYS Educational Incentive Program (EIP), Apply Now! Free Parking & Free Lunch *Receive 5 hours of NYS accepted training* (.5 CEU) Covers NYS Licensing Training Categories 1 & 3( $150.00 Value) President Amy Fici * CEO Barbara-Ann Mattle * Editor Jennifer Weykman * * * * * LOCATIONS * * * * * Main Office Wayne County Branch Office Livingston County Branch Office 595 Blossom Rd. Suite 120 1173 East Union St. 3513 Thomas Dr. Suite 4 Rochester, NY 14610-1825 Newark, NY 14513-9201 Lakeville, NY 14480-0670 Phone: (585) 654-4720 Phone: (315) 331-5443 Phone: (585) 346-6050 Fax: (585) 654-4721 Fax: (315) 331-5271 Fax: (585) 346-6058 595 Blossom Road, Suite 120 120 Road, Suite 595 Blossom Rochester, NY 14610-1825 CCC Membership Benefits and Application Individual Membership—$35.00/yr › Loan privileges at the Early Childhood Professional Libraries -
Application Instructions
APPLICATION INSTRUCTIONS Please read this document entirely before starting an application. Application Tips and Best Practices: Use these instructions throughout the process. Instructions are best viewed on screens, not on paper, so that applicants can zoom in on screenshots (and save paper!). Please review the instructions in full before beginning the application. Please use Chrome or Firefox as the browser to complete the application. Complete the Project Title field immediately upon entering the application and click Save. This will create a request in the system and enable applicants to return to complete the application for three months. Please do not edit this field once it has been populated with the internal nomenclature. Bookmark the Dashboard page to return directly to the application portal: https://hearstfoundations.force.com/grants/ Review the application in its entirety before starting to complete the fields. This will help applicants strategize how best to proceed. Work in intervals. The Save button is provided such that applicants do not need to complete the application in one sitting. Avoid using browser navigation buttons as they will exit applicants from the application and grant applications will be lost. Please use the navigation buttons at the top and bottom of the application page to advance in the application. Applicants may need to save the application for these buttons to appear. Be sure to read Help Text that appears below each header for guidance on the requested information. Enter numbers only in fields requesting a dollar amount or fiscal year. Please do not include any non‐numeric characters. Please review Help Text for clarity on what is needed in a specific field. -
LOST "Raised by Another" (YELLOW) 9/23/04
LOST “Raised by Another” CAST LIST BOONE................................Ian Somerhalder CHARLIE..............................Dominic Monaghan CLAIRE...............................Emilie de Ravin HURLEY...............................Jorge Garcia JACK.................................Matthew Fox JIN..................................Daniel Dae Kim KATE.................................Evangeline Lilly LOCKE................................Terry O’Quinn MICHAEL..............................Harold Perrineau SAWYER...............................Josh Holloway SAYID................................Naveen Andrews SHANNON..............................Maggie Grace SUN..................................Yunjin Kim WALT.................................Malcolm David Kelley THOMAS............................... RACHEL............................... MALKIN............................... ETHAN................................ SLAVITT.............................. ARLENE............................... SCOTT................................ * STEVE................................ * www.pressexecute.com LOST "Raised by Another" (YELLOW) 9/23/04 LOST “Raised by Another” SET LIST INTERIORS THE VALLEY - Late Afternoon/Sunset CLAIRE’S CUBBY - Night/Dusk/Day ENTRANCE * ROCK WALL - Dusk/Night/Day * INFIRMARY CAVE - Morning JACK’S CAVE - Night * LOFT - Day - FLASHBACK MALKIN’S HOUSE - Day - FLASHBACK BEDROOM - Night - FLASHBACK LAW OFFICES CONFERENCE ROOM - Day - FLASHBACK EXTERIORS JUNGLE - Night/Day ELSEWHERE - Day CLEARING - Day BEACH - Day OPEN JUNGLE - Morning * SAWYER’S -
The Expression of Orientations in Time and Space With
The Expression of Orientations in Time and Space with Flashbacks and Flash-forwards in the Series "Lost" Promotor: Auteur: Prof. Dr. S. Slembrouck Olga Berendeeva Master in de Taal- en Letterkunde Afstudeerrichting: Master Engels Academiejaar 2008-2009 2e examenperiode For My Parents Who are so far But always so close to me Мои родителям, Которые так далеко, Но всегда рядом ii Acknowledgments First of all, I would like to thank Professor Dr. Stefaan Slembrouck for his interest in my work. I am grateful for all the encouragement, help and ideas he gave me throughout the writing. He was the one who helped me to figure out the subject of my work which I am especially thankful for as it has been such a pleasure working on it! Secondly, I want to thank my boyfriend Patrick who shared enthusiasm for my subject, inspired me, and always encouraged me to keep up even when my mood was down. Also my friend Sarah who gave me a feedback on my thesis was a very big help and I am grateful. A special thank you goes to my parents who always believed in me and supported me. Thanks to all the teachers and professors who provided me with the necessary baggage of knowledge which I will now proudly carry through life. iii Foreword In my previous research paper I wrote about film discourse, thus, this time I wanted to continue with it but have something new, some kind of challenge which would interest me. After a conversation with my thesis guide, Professor Slembrouck, we decided to stick on to film discourse but to expand it. -
Copyrighted Material
PART ON E F IS FOR FORTUNE COPYRIGHTED MATERIAL CCH001.inddH001.indd 7 99/18/10/18/10 77:13:28:13:28 AAMM CCH001.inddH001.indd 8 99/18/10/18/10 77:13:28:13:28 AAMM LOST IN LOST ’ S TIMES Richard Davies Lost and Losties have a pretty bad reputation: they seem to get too much fun out of telling and talking about stories that everyone else fi nds just irritating. Even the Onion treats us like a bunch of fanatics. Is this fair? I want to argue that it isn ’ t. Even if there are serious problems with some of the plot devices that Lost makes use of, these needn ’ t spoil the enjoyment of anyone who fi nds the series fascinating. Losing the Plot After airing only a few episodes of the third season of Lost in late 2007, the Italian TV channel Rai Due canceled the show. Apparently, ratings were falling because viewers were having diffi culty following the plot. Rai Due eventually resumed broadcasting, but only after airing The Lost Survivor Guide , which recounts the key moments of the fi rst two seasons and gives a bit of background on the making of the series. Even though I was an enthusiastic Lostie from the start, I was grateful for the Guide , if only because it reassured me 9 CCH001.inddH001.indd 9 99/18/10/18/10 77:13:28:13:28 AAMM 10 RICHARD DAVIES that I wasn’ t the only one having trouble keeping track of who was who and who had done what. -
Valis Free Ebook
FREEVALIS EBOOK Philip K. Dick | 272 pages | 12 Jul 2001 | Orion Publishing Co | 9781857983395 | English | London, United Kingdom Valis (novel) - Wikipedia Dickit is one book of a three part series. The book features heavy auto-biographical elements, and draws inspiration from Dick's own religious experiences over the Valis decade. The planned third novel, The Valis in Daylighthad not yet taken definite shape Valis the time of the author's death. Pike and Valis, while Valis referencing VALIS directly, is thematically similar; Valis wrote: "the three do form a trilogy constellating around a basic theme. Dick experiences visions of a pink beam of light that he calls Zebra Valis interprets as a theophany exposing hidden facts about the reality of our universe, and a group of others join him in researching these matters. One of their theories is that there is some kind of alien Valis probe in orbit around Earth, and that it is aiding them in their quest; it also aided Valis United States in disclosing the Watergate scandal and the resignation of Richard Nixon in August, Kevin turns his friends on to a film called Valis that contains obvious references to revelations identical to those Valis Horselover Valis has experienced, including what appears to be time dysfunction. The film is itself a fictional account of an Valis version of Nixon "Ferris F. In seeking the film's makers, Kevin, Phil, Fat, and David—now calling themselves the Rhipidon Society—head to an estate owned by popular musician Valis Lampton and his wife Linda. They decide Valis goal that they have been led toward is Sophia Lampton, who is two-years old and the Messiah or incarnation of Holy Wisdom Pistis Sophia anticipated by some variants of Gnostic Christianity.