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Download the Word Farm 2016 Program
Word Farm 2016 Students Aubrie Amstutz Phalguni Laishram Joe Arciniega Gustavo Melo December Brown Claudia Niles Charlotte Burns Mia Roncati Derek Buss Melvin Singh Isabelle Carasso Corine Toren Christopher Connor Mel Weisberger Brendan Dassey Sydney Wiklund Phoebe DeLeon Dwight Yao Phi Do Julia Dumas Sylvia Garcia Gustavo A. Gonzalez Christine Hwynh Jae Hwan Kim Class Schedule Friday, January 29 9:00 Coffee & Snacks Sign-In 10:00-12:00 Session 1 Bryce & Jackie Zabel Tom Lazarus 12:00-1:00 Lunch 1:00-3:00 Session 2 David Gerrold Mitchell Kreigman Saturday, January 24 9:00 Coffee & Snacks 10:00-12:00 Session 3 Cheri Steinkellner J Kahn 12:00-1:00 Lunch 1:00-3:00 Session 4 Matt Allen & Lisa Mathis Dean Pitchford 3:00-3:30 Snacks 3:30-5:30 Session 5 Anne Cofell Saunders Toni Graphia 6:30 Dinner Annenberg Conference Room - 4315 SSMS Sunday, January 25 9:00 Coffee & Snacks 10:00-12:00 Session 6 Glenn Leopold Kevin McKiernan 12:00-1:00 Lunch 1:00-3:00 Session 7 Amy Pocha Allison Anders 3:00-3:30 Snacks 3:30-5:00 Session 8 Omar Najam & Mia Resella Word Farm Bios Allison Anders Allison Anders is an award-winning film and television writer and director. She attended UCLA film school and in 1984 had her first professional break working for her film mentor Wim Wenders on his movie Paris, Texas (1984). After graduation, Anders had her first film debut,Border Radio (1987), which she co-wrote and co-directed with Kurt Voss. -
A Producer's Handbook
DEVELOPMENT AND OTHER CHALLENGES A PRODUCER’S HANDBOOK by Kathy Avrich-Johnson Edited by Daphne Park Rehdner Summer 2002 Introduction and Disclaimer This handbook addresses business issues and considerations related to certain aspects of the production process, namely development and the acquisition of rights, producer relationships and low budget production. There is no neat title that encompasses these topics but what ties them together is that they are all areas that present particular challenges to emerging producers. In the course of researching this book, the issues that came up repeatedly are those that arise at the earlier stages of the production process or at the earlier stages of the producer’s career. If not properly addressed these will be certain to bite you in the end. There is more discussion of various considerations than in Canadian Production Finance: A Producer’s Handbook due to the nature of the topics. I have sought not to replicate any of the material covered in that book. What I have sought to provide is practical guidance through some tricky territory. There are often as many different agreements and approaches to many of the topics discussed as there are producers and no two productions are the same. The content of this handbook is designed for informational purposes only. It is by no means a comprehensive statement of available options, information, resources or alternatives related to Canadian development and production. The content does not purport to provide legal or accounting advice and must not be construed as doing so. The information contained in this handbook is not intended to substitute for informed, specific professional advice. -
Bob Sarles Resume
Bob Sarles [email protected] (415) 305-5757 Documentary I Got A Monster Editor. True crime feature documentary. Directed by Kevin Abrams. Alpine Labs. The Nine Lives of Ozzy Osbourne Producer, editor. An A&E documentary special. Osbourne Media. Born In Chicago Co-director, Editor. Feature documentary. Shout! Factory/Out The Box Records. Mata Hari The Naked Spy Editor. Post Production Producer. Feature documentary. Red Spoke Films. BANG! The Bert Berns Story Co-director (with Brett Berns), editor. Theatrically released feature documentary. Sweet Blues: A Film About Mike Bloomfield Director, Editor. Produced by Ravin’ Films for Sony Legacy. Moon Shot Editor. Documentary series produced for Turner Original Productions and aired on TBS. Peabody Award recipient. Two Primetime Emmy nominations: editing and outstanding documentary. The Story of Fathers & Sons Editor. ABC documentary produced by Luna Productions. Unsung Editor. Documentary television series produced by A.Smith & Company for TV One. Behind The Music Producer and Editor. Documentary television series produced by VH1. Digital Divide Series Editor. PBS documentary series produced by Studio Miramar. The True Adventures of The Real Beverly Hillbillies Editor. Feature documentary. Ruckus Films. Wrestling With Satan Co-Producer, editor. Feature documentary. Wandering Eye Productions. Feed Your Head Director, editor. Documentary film produced for the Rock and Roll Hall of Fame, Cleveland. Yo Cip! Director, Editor. Documentary short. A Ravin’ Film for Cipricious Productions. Produced by Joel Peskin. Coldplay Live! At The Fillmore Director, editor. Television series episode produced by BGP/SFX. Take Joy! The Magical World of Tasha Tudor Editor. Documentary. Aired on PBS. Spellbound Prods. Teen People Presents 21 Stars Under 21 Editor. -
Sunshine State
SUNSHINE STATE A FILM BY JOHN SAYLES A Sony Pictures Classics Release 141 Minutes. Rated PG-13 by the MPAA East Coast East Coast West Coast Distributor Falco Ink. Bazan Entertainment Block-Korenbrot Sony Pictures Classics Shannon Treusch Evelyn Santana Melody Korenbrot Carmelo Pirrone Erin Bruce Jackie Bazan Ziggy Kozlowski Marissa Manne 850 Seventh Avenue 110 Thorn Street 8271 Melrose Avenue 550 Madison Avenue Suite 1005 Suite 200 8 th Floor New York, NY 10019 Jersey City, NJ 07307 Los Angeles, CA 9004 New York, NY 10022 Tel: 212-445-7100 Tel: 201 656 0529 Tel: 323-655-0593 Tel: 212-833-8833 Fax: 212-445-0623 Fax: 201 653 3197 Fax: 323-655-7302 Fax: 212-833-8844 Visit the Sony Pictures Classics Internet site at: http:/www.sonyclassics.com CAST MARLY TEMPLE................................................................EDIE FALCO DELIA TEMPLE...................................................................JANE ALEXANDER FURMAN TEMPLE.............................................................RALPH WAITE DESIREE PERRY..................................................................ANGELA BASSETT REGGIE PERRY...................................................................JAMES MCDANIEL EUNICE STOKES.................................................................MARY ALICE DR. LLOYD...........................................................................BILL COBBS EARL PICKNEY...................................................................GORDON CLAPP FRANCINE PICKNEY.........................................................MARY -
The Narrative Functions of Television Dreams by Cynthia A. Burkhead A
Dancing Dwarfs and Talking Fish: The Narrative Functions of Television Dreams By Cynthia A. Burkhead A Dissertation Submitted in Partial Fulfillment of the Requirements for the Ph.D. Department of English Middle Tennessee State University December, 2010 UMI Number: 3459290 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT Dissertation Publishing UMI 3459290 Copyright 2011 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 DANCING DWARFS AND TALKING FISH: THE NARRATIVE FUNCTIONS OF TELEVISION DREAMS CYNTHIA BURKHEAD Approved: jr^QL^^lAo Qjrg/XA ^ Dr. David Lavery, Committee Chair c^&^^Ce~y Dr. Linda Badley, Reader A>& l-Lr 7i Dr./ Jill Hague, Rea J <7VM Dr. Tom Strawman, Chair, English Department Dr. Michael D. Allen, Dean, College of Graduate Studies DEDICATION First and foremost, I dedicate this work to my husband, John Burkhead, who lovingly carved for me the space and time that made this dissertation possible and then protected that space and time as fiercely as if it were his own. I dedicate this project also to my children, Joshua Scanlan, Daniel Scanlan, Stephen Burkhead, and Juliette Van Hoff, my son-in-law and daughter-in-law, and my grandchildren, Johnathan Burkhead and Olivia Van Hoff, who have all been so impressively patient during this process. -
Application of Computer 3D Technology in the Modern Film and Television Post-Production
[Type text] ISSN : [Type0974 -text] 7435 Volume 10[Type Issue text] 15 2014 BioTechnology An Indian Journal FULL PAPER BTAIJ, 10(15), 2014 [8672-8677] Application of computer 3d technology in the modern film and television post-production Gang Su, Xuefei Hong Huaian College of Information Technology, Jiangsu Huaian 223003, (CHINA) ABSTRACT In recent years, the film and television industry develops in our country, and the film and television has become the essential part in people's life. Development steps have been quicker, making people's life more colourful. Along with the computer 3D technology application in aspects of film and television special effects and animation, computer 3D technology for the influence of film and television works is becoming more and more big. Computer 3D technology began to appear in the film and television, which plays a prominent role in animation and video effects. A lot of film and television works began to join computer 3D technology, which increased the quantity of film and television works and had big influence in the film and television industry. The technology can make the camera movement that traditional methods can not get, some amazing visual effects of character animation or fantasy scenes, the movement of virtual camera for short periods, the fantasy scenes, character animation and some amazing visual effects, making science and technology perfect union. It opened up a new heaven and earth for creative play. How to effectively use computer 3D graphics technology into film and television works has become one of the most attention topic today. KEYWORDS Computer 3 d technology; The film and television post-production; Application; Design. -
Annual Report
ANNUAL REPORT 2013 Archive Name ATAS14_Corp_140003273 MECH SIZE 100% PRINT SIZE Description ATAS Annual Report 2014 Bleed: 8.625” x 11.1875” Bleed: 8.625” x 11.1875” Posting Date May 2014 Trim: 8.375” x 10.875” Trim: 8.375” x 10.875” Unit # Live: 7.5” x 10” LIve: 7.5” x 10” message from THE CHAIRMAN AND CHIEF EXECUTIVE OFFICER At the end of 2013, as I reflected on my first term as Television Academy chairman and prepared to begin my second, it was hard to believe that two years had passed. It seemed more like two months. At times, even two weeks. Why? Because even though I have worked in TV for more than three decades, I have never seen our industry undergo such extraordinary — and extraordinarily exciting — changes as it has in recent years. Everywhere you turn, the vanguard is disrupting the old guard with an astonishing new technology, an amazing new show, an inspired new way to structure a business deal. This is not to imply that the more established segments of our industry have been pushed aside. On the contrary, the broadcast and cable networks continue to produce terrific work that is heralded by critics and rewarded each year at the Emmys. And broadcast networks still command the largest viewing audience across all of their platforms. With our medium thriving as never before, this is a great time to work in television, and a great time to be part of the Television Academy. Consider the 65th Emmy Awards. The CBS telecast, hosted by the always-entertaining Neil Patrick Harris, drew our largest audience since 2005. -
Um14n [FREE] Being Audrey Hepburn: a Novel Online
Um14n [FREE] Being Audrey Hepburn: A Novel Online [Um14n.ebook] Being Audrey Hepburn: A Novel Pdf Free Mitchell Kriegman *Download PDF | ePub | DOC | audiobook | ebooks Download Now Free Download Here Download eBook #797272 in eBooks 2014-09-16 2014-09-16File Name: B00IQNYV2Q | File size: 32.Mb Mitchell Kriegman : Being Audrey Hepburn: A Novel before purchasing it in order to gage whether or not it would be worth my time, and all praised Being Audrey Hepburn: A Novel: 0 of 0 people found the following review helpful. More lively and entertaining than a John Green novel!By ETsaysIts chapters are short but intensely engaging,not just about teenage angst or high fashion, there are amusing anecdotal side stories (shopping tactics, glimpses of the lifestyles of the decadent and indulgent in Manhattan and the Hamptons) for a wider audience. The content is well researched, substantive without being overly obsessive. Movie buffs will enjoy the rare nuggets of Audrey Hepburn history; mothers can relate to "Argumageddon" conflicts and ignored texts with daughters; romance readers will get brief, titillating doses of relationship trysts and of course, fashionistas get their fittings of designer names.Writing language is contemporary, sometimes salty but necessary to keep to its storyline. I don't agree with the earlier review of suspension of disbelief; the plots and subplots are credible; precedents are mentioned. I had trouble with the names of the characters - "Tabitha" may be an upper crust English name but it conjures an image of a regal cat, not a pop princess and the last "Dahlia" I heard of was a tragic victim, not an evil supervillain.The author's work in "Clarissa" entertained and raised an entire generation of millennials. -
Wonderful! 143: Rare, Exclusive Gak Published July 29Th, 2020 Listen on Themcelroy.Family
Wonderful! 143: Rare, Exclusive Gak Published July 29th, 2020 Listen on TheMcElroy.family [theme music plays] Rachel: I'm gonna get so sweaty in here. Griffin: Are you? Rachel: It is… hotototot. Griffin: Okay. Is this the show? Are we in it? Rachel: Hi, this is Rachel McElroy! Griffin: Hi, this is Griffin McElroy. Rachel: And this is Wonderful! Griffin: It‘s gettin‘ sweaaatyyy! Rachel: [laughs] Griffin: It‘s not—it doesn‘t feel that bad to me. Rachel: See, you're used to it. Griffin: Y'know what it was? Mm, I had my big fat gaming rig pumping out pixels and frames. Comin‘ at me hot and heavy. Master Chief was there. Just so fuckin‘—just poundin‘ out the bad guys, and it was getting hot and sweaty in here. So I apologize. Rachel: Griffin has a very sparse office that has 700 pieces of electronic equipment in it. Griffin: True. So then, one might actually argue it‘s not sparse at all. In fact, it is filled with electronic equipment. Yeah, that‘s true. I imagine if I get the PC running, I imagine if I get the 3D printer running, all at the same time, it‘s just gonna—it could be a sweat lodge. I could go on a real journey in here. But I don‘t think it‘s that bad, and we‘re only in here for a little bit, so let‘s… Rachel: And I will also say that a lot of these electronics help you make a better podcast, which… is a timely thing. -
Will Forego Millage Increase
25^ Volume 17, Issue 34 Lowell Area Readers Since 1893 Wednesday, July 7,1993 Along Main Street Performance Plus Oil School Board to seek Change Center site plan Headlee; will forego application approved millage increase by Marc Poptalek Contributing Writer were voiced by the Com- By Thad Kraus fed up with (axes," Esch said. mission, one was delivery Lowell Ledger Editor if the Headke is passed in Lowell's City Planning truck traffic and the other Cuts in staff and programs August, teachers, but not their Commisson approved a site was what will be done in have become as much a part support staffs, would be plan application for a Per- case of possible oil spills. of Lowell Schools over the brought back for the 1993-94 formance Plus Oil Change Dean Lonick, from the past two years as pop quizzes school year, class loads would BIMINI BROTHERS BASH IN HONOR OF Center at West Main St. PlanningCommission, was and the first day. be increased, transportation SUSANNE TIMPSON-WITTENBACH The Commission concerned that "this stretch It's a hat trick of sorts (three services would be reduced by In honor of Sue Timpson-Witlcnbach, Club Eastbrook unanimously approved the of road is infamous for ac- straight years of cuts), Lowell 20 percent (students would be presents a Bimini Brothers Bash, Friday night July 16,1993. plan as presented by Ray cidents, nearly 100 a year, Superintendent Fritz Esch asked to walk further to bus A five dollar donation will go towards supporting Silent DeMeester and Kim how will the trucks coming wishes the school district slops); parents would be asked Observer. -
HBO: Brand Management and Subscriber Aggregation: 1972-2007
1 HBO: Brand Management and Subscriber Aggregation: 1972-2007 Submitted by Gareth Andrew James to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English, January 2011. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. ........................................ 2 Abstract The thesis offers a revised institutional history of US cable network Home Box Office that expands on its under-examined identity as a monthly subscriber service from 1972 to 1994. This is used to better explain extensive discussions of HBO‟s rebranding from 1995 to 2007 around high-quality original content and experimentation with new media platforms. The first half of the thesis particularly expands on HBO‟s origins and early identity as part of publisher Time Inc. from 1972 to 1988, before examining how this affected the network‟s programming strategies as part of global conglomerate Time Warner from 1989 to 1994. Within this, evidence of ongoing processes for aggregating subscribers, or packaging multiple entertainment attractions around stable production cycles, are identified as defining HBO‟s promotion of general monthly value over rivals. Arguing that these specific exhibition and production strategies are glossed over in existing HBO scholarship as a result of an over-valuing of post-1995 examples of „quality‟ television, their ongoing importance to the network‟s contemporary management of its brand across media platforms is mapped over distinctions from rivals to 2007. -
Pacing in Children's Television Programming
DOCUMENT RESUME ED 434 364 CS 510 117 AUTHOR McCollum, James F., Jr.; Bryant, Jennings TITLE Pacing in Children's Television Programming. PUB DATE 1999-03-00 NOTE 42p.; Paper presented at the Annual Meeting of the Association for Education in Journalism and Mass Communication (82nd, New Orleans, LA, August 4-7, 1999). PUB TYPE Reports Research (143) Speeches/Meeting Papers (150) EDRS PRICE MF01/PCO2 Plus Postage. DESCRIPTORS *Childrens Television; Content Analysis; Preschool Education; *Programming (Broadcast); Television Research IDENTIFIERS Sesame Street ABSTRACT Following a content analysis, 85 children's programs were assigned a pacing index derived from the following criteria:(1) frequency of camera cuts;(2) frequency of related scene changes;(3) frequency of unrelated scene changes;(4) frequency of auditory changes;(5) percentage of active motion;(6) percentage of active talking; and (7) percentage of active music. Results indicated significant differences in networks' pacing overall and in the individual criteria: the commercial networks present the bulk of the very rapidly paced programming (much of it in the form of cartoons), and those networks devoted primarily to educational programming--PBS and The Learning Channel--present very slow-paced programs. (Contains 26 references, and 12 tables and a figure of data.) (RS) ******************************************************************************** * Reproductions supplied by EDRS are the best that can be made * * from the original document. * ******************************************************************************** Pacing in Children's Television Programming James F. McCollum Jr. Assistant Professor Department of Communication Lipscomb University Nashville, TN 37204-3951 (615) 279-5788 [email protected] Jennings Bryant Professor Department of Telecommunication and Film Director Institute for Communication Research College of Communication Box 870172 University of Alabama Tuscaloosa, AL 35487-0172 (205) 348-1235 PERMISSION TO REPRODUCE AND OF EDUCATION [email protected] U.S.