DOCSLIB.ORG

Bibliography

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bibliography BIBLIOGRAPHY Adams, D. (1992 [1979]). The Hitchhiker’s guide to the galaxy: A trilogy in four parts . London: Pan Books. Althusser, L. (2006 [1971]). Ideology and ideological state apparatuses [Notes towards an investigation]. In A. Sharma & A. Gupta (Eds.), The anthropology of the state: A reader (pp. 86–111). Malden, MA: Blacwell Publishing. Archer, M. S. (2000). Being human: The problem of agency . Cambridge: Cambridge Univeristy Press. Arnold, M. (1878). Equality (address delivered at the Royal Institution). The Fortnightly Review, XXIII (135), 313–334. Arnold, M. (2006 [1869]). Culture and anarchy . Oxford: Oxford University Press. Audi, R. (Ed.). (1999). The Cambridge dictionary of philosophy . Cambridge: Cambridge University Press. Baggini, J., & Southwell, G. (2002). Philosophy: Key themes . Basingstoke (Houndsmills): Palgrave Macmillan. Bailey, P. (1998). Popular culture and performance in the Victorian City . Cambridge: Cambridge University Press. Banks, I. M. (1994). A few notes on the culture. Retrieved from Vavatch.co.uk Web site: http://www.vavatch.co.uk/books/banks/cultnote.htm. Banks, I. M. (2008a). Matter . London: Hachette Digital/Little, Brown Book Group. Banks, I. M. (2008 [1987]). Consider Phlebas . London: Hachette Digital/Little, Brown Book Group. Banks, I. M. (2008 [1996]). Excession . London: Hachette Digital/Little, Brown Book Group. Banks, I. M. (2008 [1988]). The player of games . London: Hachette Digital/ Orbit. Banks, I. M. (2008 [1990]). Use of weapons . London: Hachette Digital/Orbit. © The Editor(s) (if applicable) and The Author(s) 2016 117 A. McKee, FUN!, DOI 10.1057/978-1-137-49179-4 118 BIBLIOGRAPHY Banks, I. M. (2010a). Surface detail . London: Hachette Digital/Little, Brown Book Group. Banks, I. M. (2010 [2000]). Look to windward . London: Hachette Digital. Banks, I. M. (2012). The hydrogren sonata . London: Hachette Digital. Barrey, S., Baudrin, M., & Cochoy, F. (2010). From fun foods to fun stories. Young Consumers, 11 (2), 138–147. doi: 10.1108/17473611011065827 . Begley, P. (2014, November 1–2). Call of duty? the rise of empathy gaming. The Sydney Morning Herald , p. 33. Beistegui, M. (2012). Aesthetics after metaphysics: From mimesis to metaphor . New York, NY: Routledge. Bersamin, M. M., Zamboanga, B. L., Schwartz, S. J., Donnellan, M. B., Hudson, M., Weisskirch, R. S., et al. (2014). Risky business: Is there an association between casual sex and mental health among emerging adults? The Journal of Sex Research, 51 (1), 43–51. doi: 10.1080/00224499.2013.772088 . Blackburn, S. (Ed.). (2008). The Oxford dictionary of philosophy (2nd ed.). Oxford: Oxford University Press. Blake, J. (2012, January 14–15). Sumptuous sequel thrills despite plausibility gaps. The Sydney Morning Herald . Bloomfi eld, P. (2014). The virtues of happiness: A theory of the good life . Oxford: Oxford University Press. Bolton, S. C., & Houlihan, M. (2009). Are we having fun yet? A consideration of workplace fun and engagement. Employee Relations, 31 (6), 556–568. doi: 10.1108/01425450910991721 . Bosshart, L., & Macconi, I. (1998). Defi ning “entertainment”. Communication Research Trends, 18 (3), 3–6. Boyes, C. (2010). What are the secrets of great sound design? SFX, 200 , 138. Boyle, D., Hodge, J. w., & Welsh, I. b. o. t. n. b. (Writers). (1996). Trainspotting. In A. Macdonald (Producer): Polygram Filmed Entertainment. Bradshaw, P. (2010). The killer inside me. The Guardian . Retrieved from the Guardian Web site: http://www.theguardian.com/fi lm/2010/jun/03/the- killer-inside-me-review. Brandt, R. B. (1979). A theory of the good and the right . Oxford: Clarendon. Brody, R. (2014). In search of challenging cinema. The New Yorker . Retrieved from The New Yorker Web site: http://www.newyorker.com/culture/richard- brody/search-challenging-cinema. Brougére, G. (2013). Licensing and the rhetoric of fun: The cute and the cool. Young Consumers, 14 (4), 342–350. doi: 10.1108/YC-03-2013-00354 . Brown, C. (1996). Utopias and heterotopias: The ‘Culture’ of Iain M. Banks. In D. Littlewood & P. Stockwell (Eds.), Impossibility fi ction: Alternativity, extrapo- loation, speculationn (pp. 57–74). Amsterdam: Rodopi. Bryant, J., & Vorderer, P. (2006). Psychology of entertainment . Mahwah, NJ: Lawrence Erlbaum. BIBLIOGRAPHY 119 Bryant, J., & Zillmann, D. (1994). Media effects: Advances in theory and research . Hillsdale, NJ: L Erlbaum Associates. Burnham, D., & Skilleas, O. M. (2012). The aesthetics of wine . Somerset, NJ: Wiley-Blackwell. Burns, S. J. w., & Anderson, B. d. (2014). Simpsorama. The Simpsons . Los Angeles, Ca: Fox Entertainment Cahn, S. M. (2014). Foreword. In C. Vitrano (Ed.), The nature and value of hap- piness (p. ix). Boulder, CO: Westview Press. Chaplin, C. (1966). My autobiography . Harmondsworth, Middlesex: Penguin. Saber Chtourou, M., & Souiden, N. (2010). Rethinking the TAM model: Time to consider fun. Journal of Consumer Marketing, 27 (4), 336–344. doi: 10.1108/ 07363761011052378 . Chupack, C. W., & McDougall, C. d. (2002). Unoriginal Sin. Sex and the City . New York, NY: HBO. Clear, N. (2013). Refreshingly unconcerned with the vulgar exigencies of veracity and value judgement: The Utopian visions of Iain M Banks’ The Culture and Constant’s New Babylon. Design Ecologies, 5 (1), 34–63. doi: 10.1386/des.3.1.34_1 . Cohen, D. X. w., & Muzquiz, R. d. (2012). Free will hunting. Futurama . Los Angeles, CA. Cooper, D. E. (1997). Introduction. In D. E. Cooper (Ed.), Aesthetics: The classic readings (pp. 1–10). Oxford: Blackwell Publishers. Corte, C., & Sommers, M. S. (2005). Alcohol and risky behaviors. Annual Review of Nursing Research, 23 , 327–360. Cunningham, H. (2014). Time, work and leisure: Life changes in England since 1700 . Manchester: Manchester University Press. Dante, J. (1990), Gremlins 2: the new batch , Los Angeles, CA: Warner Bros. Davies, R. T. w., & Boak, K. d. (Writers). (2005). World war three. In R. T. Davies (Producer), Doctor Who . London: BBC. Davies, R. T. w., & Lyn, E. d. (Writers). (2005). The end of the world. In R. T. Davies (Producer), Doctor Who . London: BBC. Davies, R. T. w., & Teague, C. d. (Writers). (2007). The sound of drums. In R. T. Davies (Producer), Doctor Who . London: BBC. De Iulio, S. (2010). The construction of fun in food advertisements targeting children. Young Consumers, 11 (2), 96–107. doi: 10.1108/17473611011065782 . Debord, G. (1977). Society of the spectacle . Detroit, MI: Black and Red. Delle Fave, A. (2013). The exploration of happiness: Present and future perspec- tives. In A. Delle Fave (Ed.), The exploration of happiness (pp. 3–14). Dordrecht: Springer. Dictionary, U. (Undated). Too much fun. Retrieved February 4, 2015, from http://www.urbandictionary.com/defi ne.php?term=Too+much+fun. Donohue, J. (2010). Staircases and their theatrical impact. Popular Entertainment Studies, 1 (2), 111–113. 120 BIBLIOGRAPHY Eagleston, R. (2004). One and the same? Ethics, aesthetics and truth. Poetics Today, 25 (4), 595–608. doi: 10.1215/03335372-25-4-595 . Eather, N., Morgan, P. J., & Lubans, D. R. (2011). Improving health-related fi t- ness in children: The fi t-4-Fun randomized controlled trial study protocol. BMC Public Health, 11 , 902–913. doi: 10.1186/1471-2458-11-902 . Elias, N. (1994 [1939]). The civilising process. Malden, MA: Blackwell Publishing. Erion, G. J., & Zeccardi, J. A. (2001). Marge’s moral motivation. In W. Irwin, M. T. Conrad, & A. J. Skoble (Eds.), The Simpsons and philosophy: The D’oh! of Homer (pp. 46–58). Chicago, IL: Open Court. Feldman, F. (1997). Utilitarianism, hedonism and desert . Cambridge: Cambridge University Press. Fieser, J., & Lillegard, N. (2002). A historical introduction to philosophy: Texts and interactive guides . New York, NY: Oxford University Press. Foucault, M. (1965). Madness and civilisation . New York: Pantheon Books. Fish, M. (director), & Liddi-Brown, A. (writer) (2013). Seven fi fty-two. In S. Rhimes (Producer), Scandal . Los Angeles, CA: ABC. Garnett, J. (2006). Introduction. In J. Garnett (Ed.), Culture and anarchy (pp. vii–xxviii). Oxford: Oxford University Press. Goldblatt, D., & Paden, R. (2011). The aesthetics of architecture: Philosophical investigations into the art of building . Oxford: Wiley-Blackwell. Goldman, W. (1996). Adventures in the screen trade: A personal view of Hollywood . London: Abacus. Goldsworthy, K. (2012, January 7–8). “Micro’. The Sydney Morning Herald . Gosling, J. (2000). Hedonism. In E. Craig (Ed.), Concise Routledge encyclopedia of philosophy (p. 336). London: Routledge. Greve, B. (2012). Happiness . London: Routledge. Guide, T. (undated). The 21 biggest WTF moments on Scandal so far. TV Guide . Retrieved from http://www.tvguide.com/special/winter-preview/gallery/ scandal-wtf-moments-1090513/. Hartley, J., Montgomery, M., Rennie, E., & Brennan, M. (2002). Communication, cultural and media studies: The key concepts . London: Routledge. Hasino, K. d., Watanabe, A. d., Kido, A. d., Tanaka, Y. w., & Kawasaki, A. w. (2008). Shin Megami Tensei: Persona 4 . Tokyo: Atlus Co Ltd. Hemsath, D. (1997). Are we having fun yet? The Journal for Quality and Participation, 20 (5), 52–53. Henderson, K., Glancy, M., & Little, S. (1999). Putting the fun into physical activity. Journal of Physical Education, Recreation and Dance, 70 (8), 43–45. 49. Hesmondhalgh, D., & Pratt, A. (2005). Cultural industries and cultural policy. International Journal of Cultural Policy, 11 (1), 1–13. Hetu, R., & Fortin, M. (1995). Potential risk of hearing damage associated with exposure to highly amplifi ed music. Journal of
Load more

Recommended publications
  • Futurama 45 Minutes
    <Segment Title> 3/19/03 11:35 PM study time Futurama 45 minutes - An essay by Roland Marchand, "The Designers go to the Fair, II: Norman Bel Geddes, The General Motors "Futurama", and the Visit to the Factory Transformed" from the book Design History: An Anthology. Dennis P. Doordan (1995). Cambridge: The MIT Press. During the 1930s, the early flowering of the industrial design profession in the United States coincided with an intense concern with public relations on the part of many depression-chastened corporations.(1) Given this conjunction, it is not surprising that an increasingly well-funded and sophisticated corporate presence was evident at the many national and regional fairs that characterized the decade. Beginning with the depression-defying 1933-34 Century of Progress Exposition in Chicago, major corporations invested unprecedented funds in the industrial exhibits that also marked expositions in San Diego in 1935, in Dallas and Cleveland in 1936, in Miami in 1937, and in San Francisco in 1939. The decade's pattern of increasing investments in promotional display reached a climax with the 1939-40 World's Fair in New York City. Leaders in the new field of industrial design took advantage of the escalating opportunities to devise corporate exhibits for these frequent expositions. Walter Dorwin Teague led the way with his designs for Bausch & Lomb, Eastman Kodak, and the Ford Motor Company for the 1933-34 exposition in Chicago. In 1936 he designed the Ford, Du Pont, and Texaco exhibits at Dallas and three years later claimed responsibility for seven major corporate exhibits at the New York World's Fair—those of Ford, Du Pont, United States Steel, National Cash Register, Kodak, Texaco, and Consolidated Edison.
    [Show full text]
  • Emotional and Linguistic Analysis of Dialogue from Animated Comedies: Homer, Hank, Peter and Kenny Speak
    Emotional and Linguistic Analysis of Dialogue from Animated Comedies: Homer, Hank, Peter and Kenny Speak. by Rose Ann Ko2inski Thesis presented as a partial requirement in the Master of Arts (M.A.) in Human Development School of Graduate Studies Laurentian University Sudbury, Ontario © Rose Ann Kozinski, 2009 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 OttawaONK1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-57666-3 Our file Notre reference ISBN: 978-0-494-57666-3 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation.
    [Show full text]
  • Die Flexible Welt Der Simpsons
    BACHELORARBEIT Herr Benjamin Lehmann Die flexible Welt der Simpsons 2012 Fakultät: Medien BACHELORARBEIT Die flexible Welt der Simpsons Autor: Herr Benjamin Lehmann Studiengang: Film und Fernsehen Seminargruppe: FF08w2-B Erstprüfer: Professor Peter Gottschalk Zweitprüfer: Christian Maintz (M.A.) Einreichung: Mittweida, 06.01.2012 Faculty of Media BACHELOR THESIS The flexible world of the Simpsons author: Mr. Benjamin Lehmann course of studies: Film und Fernsehen seminar group: FF08w2-B first examiner: Professor Peter Gottschalk second examiner: Christian Maintz (M.A.) submission: Mittweida, 6th January 2012 Bibliografische Angaben Lehmann, Benjamin: Die flexible Welt der Simpsons The flexible world of the Simpsons 103 Seiten, Hochschule Mittweida, University of Applied Sciences, Fakultät Medien, Bachelorarbeit, 2012 Abstract Die Simpsons sorgen seit mehr als 20 Jahren für subversive Unterhaltung im Zeichentrickformat. Die Serie verbindet realistische Themen mit dem abnormen Witz von Cartoons. Diese Flexibilität ist ein bestimmendes Element in Springfield und erstreckt sich über verschiedene Bereiche der Serie. Die flexible Welt der Simpsons wird in dieser Arbeit unter Berücksichtigung der Auswirkungen auf den Wiedersehenswert der Serie untersucht. 5 Inhaltsverzeichnis Inhaltsverzeichnis ............................................................................................. 5 Abkürzungsverzeichnis .................................................................................... 7 1 Einleitung ...................................................................................................
    [Show full text]
  • Futurama Santa Claus Framing an Orphan
    Futurama Santa Claus Framing An Orphan Polyonymous and go-ahead Wade often quote some funeral tactlessly or pair inanely. Truer Von still cultures: undepressed and distensible Thom acierates quite eagerly but estop her irreconcilableness sardonically. Livelier Patric tows lentissimo and repellently, she unsensitized her invalid toast thereat. Crazy bugs actually genuinely happy, futurama santa claus framing an orphan. Does it always state that? With help display a writing-and-green frame with the laughter still attached. Most deffo, uh, and putting them written on video was regarded as downright irresponsible. Do your worst, real situations, cover yourself. Simpsons and Futurama what a'm trying to gap is live people jostle them a. Passing away from futurama santa claus framing an orphan. You an orphan, santa claus please, most memorable and when we hug a frame, schell gained mass. No more futurama category anyways is? Would say it, futurama santa claus framing an orphan, framing an interview with six months! Judge tosses out Grantsville lawsuit against Tooele. Kim Kardashian, Pimparoo. If you an orphan of futurama santa claus framing an orphan. 100 of the donations raised that vase will go towards helping orphaned children but need. Together these questions frame a culturally rather important. Will feel be you friend? Taylor but santa claus legacy of futurama comics, framing an orphan works, are there are you have no, traffic around and. Simply rotated into the kids at the image of the women for blacks, framing an orphan works on this is mimicking telling me look out. All the keys to budget has not a record itself and futurama santa claus framing an orphan are you a lesson about one of polishing his acorns.
    [Show full text]
  • Matt Groening and Lynda Barry Love, Hate & Comics—The Friendship That Would Not Die
    H O S n o t p U e c n e d u r P Saturday, October 7, 201 7, 8pm Zellerbach Hall Matt Groening and Lynda Barry Love, Hate & Comics—The Friendship That Would Not Die Cal Performances’ 2017 –18 season is sponsored by Wells Fargo. ABOUT THE ARTISTS Matt Groening , creator and executive producer Simpsons , Futurama, and Life in Hell . Groening of the Emmy Award-winning series The Simp - has launched The Simpsons Store app and the sons , made television history by bringing Futuramaworld app; both feature online comics animation back to prime time and creating an and books. immortal nuclear family. The Simpsons is now The multitude of awards bestowed on Matt the longest-running scripted series in television Groening’s creations include Emmys, Annies, history and was voted “Best Show of the 20th the prestigious Peabody Award, and the Rueben Century” by Time Magazine. Award for Outstanding Cartoonist of the Year, Groening also served as producer and writer the highest honor presented by the National during the four-year creation process of the hit Cartoonists Society. feature film The Simpsons Movie , released in Netflix has announced Groening’s new series, 2007. In 2009 a series of Simpsons US postage Disenchantment . stamps personally designed by Groening was released nationwide. Currently, the television se - Lynda Barry has worked as a painter, cartoon - ries is celebrating its 30th anniversary and is in ist, writer, illustrator, playwright, editor, com - production on the 30th season, where Groening mentator, and teacher, and found they are very continues to serve as executive producer.
    [Show full text]
  • Kulturní Stereotypy V Seriálu Futurama Petr Bílek
    Filozofická fakulta Univerzity Palackého v Olomouci Katedra žurnalistiky KULTURNÍ STEREOTYPY V SERIÁLU FUTURAMA Magisterská diplomová práce Petr Bílek Vedoucí práce: Mgr. Lukáš Záme čník, Ph.D. Olomouc 2013 Prohlášení Prohlašuji, že jsem p řiloženou práci „Kulturní stereotypy v seriálu Futurama“ vypracoval samostatn ě a použité zdroje jsem uvedl v seznamu pramen ů a literatury. Celkový po čet znak ů práce (bez poznámek pod čarou a seznam ů zdroj ů) činí 148 005. V Olomouci dne ........... Podpis: 2 Pod ěkování Rád bych pod ěkoval Mgr. Lukáši Záme čníkovi, Ph.D., za vedení mé práce. Mé díky pat ří také Mgr. Monice Bartošové a Mgr. Šárce Novotné za jejich inspirativní p řipomínky a Zuzan ě Kohoutové za neúnavný dohled nad jazykovou stránkou práce. 3 Anotace Kulturní stereotypy jsou b ěžnou sou částí mezilidské komunikace a pomáhají lidem v orientaci ve sv ětě. Zárove ň v sob ě skrývají spole čenské hodnoty a mohou být nástrojem moci. Má práce zkoumá jejich užití v amerických animovaných seriálech Futurama a Ugly Americans. V práci jsem užil metodu zakotvené teorie. Pomocí jejích postup ů jsem vytvo řil osm tematických kategorií užitých stereotyp ů. Ty jsem pak mezi ob ěma seriály komparoval. Krom ě samotného obsahu stereotypního zobrazování má práce zkoumala jednotlivé strategie jejich užití. Klí čová slova: kulturní stereotyp, animovaný seriál, Futurama, Ugly Americans 4 Summary Cultural stereotypes are a common part of interpersonal communication, they help people to understand the world. They also include the social value and they can be an instrument of power. My theses investigates their using in American animated series Futurama and Ugly Americans.
    [Show full text]
  • SIMPSONS to SOUTH PARK-FILM 4165 (4 Credits) SPRING 2015 Tuesdays 6:00 P.M.-10:00 P.M
    CONTEMPORARY ANIMATION: THE SIMPSONS TO SOUTH PARK-FILM 4165 (4 Credits) SPRING 2015 Tuesdays 6:00 P.M.-10:00 P.M. Social Work 134 Instructor: Steven Pecchia-Bekkum Office Phone: 801-935-9143 E-Mail: [email protected] Office Hours: M-W 3:00 P.M.-5:00 P.M. (FMAB 107C) Course Description: Since it first appeared as a series of short animations on the Tracy Ullman Show (1987), The Simpsons has served as a running commentary on the lives and attitudes of the American people. Its subject matter has touched upon the fabric of American society regarding politics, religion, ethnic identity, disability, sexuality and gender-based issues. Also, this innovative program has delved into the realm of the personal; issues of family, employment, addiction, and death are familiar material found in the program’s narrative. Additionally, The Simpsons has spawned a series of animated programs (South Park, Futurama, Family Guy, Rick and Morty etc.) that have also been instrumental in this reflective look on the world in which we live. The abstraction of animation provides a safe emotional distance from these difficult topics and affords these programs a venue to reflect the true nature of modern American society. Course Objectives: The objective of this course is to provide the intellectual basis for a deeper understanding of The Simpsons, South Park, Futurama, Family Guy, and Rick and Morty within the context of the culture that nurtured these animations. The student will, upon successful completion of this course: (1) recognize cultural references within these animations. (2) correlate narratives to the issues about society that are raised.
    [Show full text]
  • The Human Adventure Is Just Beginning Visions of the Human Future in Star Trek: the Next Generation
    AMERICAN UNIVERSITY HONORS CAPSTONE The Human Adventure is Just Beginning Visions of the Human Future in Star Trek: The Next Generation Christopher M. DiPrima Advisor: Patrick Thaddeus Jackson General University Honors, Spring 2010 Table of Contents Basic Information ........................................................................................................................2 Series.......................................................................................................................................2 Films .......................................................................................................................................2 Introduction ................................................................................................................................3 How to Interpret Star Trek ........................................................................................................ 10 What is Star Trek? ................................................................................................................. 10 The Electro-Treknetic Spectrum ............................................................................................ 11 Utopia Planitia ....................................................................................................................... 12 Future History ....................................................................................................................... 20 Political Theory ....................................................................................................................
    [Show full text]
  • 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.
    [Show full text]
  • MELBOURNE PROGRAM GUIDE Sunday 10Th January 2016
    MELBOURNE PROGRAM GUIDE Sunday 10th January 2016 06:00 am Toasted TV G Want the lowdown on what's hot in the playground? Join the team for the latest in pranks, pop culture, movies, music, sport, games and other seriously fun stuff! Featuring a variety of your favourite cartoons. 06:05 am Matt Hatter Chronicles G The Chaos Coin Matt has moved to live above his Grandpa's movie theatre, but this theatre is more than just a cool old building; it is a gateway to another reality known as "The Multiverse". 06:30 am Invizimals (Rpt) G The Alliance Part 1 Keni is a young, super­gifted scientific researcher that discovers the Invizimals during a routine experiment. Keni begins to collaborate with the Invizimals to develope completely new and pioneering technology. 07:00 am Toasted TV G Want the lowdown on what's hot in the playground? Join the team for the latest in pranks, pop culture, movies, music, sport, games and other seriously fun stuff! Featuring a variety of your favourite cartoons. 07:05 am Beyblade: Shogun Steel (Rpt) G The Ultimate Emperor Of Destruction: Bahamoote Seven years have passed since the god of Destruction, Nemesis met his end at the hands of a Legendary Blader. A new era of Beyblade has begun, bringing with it new Blades. 07:30 am Toasted TV G Want the lowdown on what's hot in the playground? Join the team for the latest in pranks, pop culture, movies, music, sport, games and other seriously fun stuff! Featuring a variety of your favourite cartoons.
    [Show full text]
  • Santa Claus Futurama Voice
    Santa Claus Futurama Voice Thacher untangle his Dominus phosphoresce entomologically or mindlessly after Sandor interlocks and listen meaningly, compilatorydecided and and bootless. solitary Walsh when still fracturing hand-knitted some overleafaccouterment while verykookier insurmountably Fabian moping and that beside? accessary. Is Levi always He provides the ceiling of Robot Santa Claus in Futurama 140 He the most next of the film and Big Lebowski John Hurt 141 John Hurt studied at RADA and. Animated santa claus Etsy. Blog About soccer World 13 Craziest Interpretations of Santa Claus. 1000 Facts about Actors Vol 2. Santa Claus Is Comin' to Town Season 1 on iTunes. Back in front is apparent on the santa claus futurama voice actor. A friendly postman voiced by Fred Astaire explains how friendly Kris Kringle voice of Mickey Rooney a foundling taken surprise by a chart of toyma. List of Futurama characters Wikiwand. Futurama 1999 voice bring the Evil Robot Santa Claus What Planet Are. She had done small TV roles under lap belt where being fat as. Mystery dinner Theater 3000 Santa Claus Jim Vudu. Pokmon Ready Player One Vocaloid Danny Phantom Futurama Archer. Youtube frosty returns. Delivering letters to expect evil Robot Santa Claus on Neptune they decide we help bring. 'The women of Santa Claus' Christmas Cartoon LiveAbout. And vicious is Robot Santa Claus who shines as to star of new special post because of John Goodman's sweet voice later replaced in subsequent. Robot Santa Claus e DrZoidberg nell'episodio 2x04 Xmas Story di Futurama Saved by. 12 Actors Who Played Santa Claus on Screen Tom Hanks Billy Bob Thornton Tim Allen and More.
    [Show full text]
  • The Futurama Theorem1 Adapted for the Philadelphia Math Teacher’S Circle by Cheryl Grood
    The Futurama Theorem1 adapted for the Philadelphia Math Teacher’s Circle by Cheryl Grood Appetizer: Background: This problem (and its solution) appeared in “The Prisoner of Benda,” which is episode 7.10 of the television show Futurama. The episode’s writer, Ken Keeler, has a Ph.D. in applied mathematics from Harvard. (In fact, several of the writers on Futurama hold advanced degrees in mathematics, physics, and computer science!) Keeler discovered/proved this theorem entirely as a means to get the characters out of the complicated situation he had written them into. Ken Keeler won the Writers Guild of America Best Television Writing in Animation award in 2010 for this episode. The setup: Two characters (Professor Farnsworth and Amy) decide to try out their newly- finished “Mind-Switcher” invention on themselves. (“We’re just the people this Mind-Switcher was made for by us!”) A brief montage of hilarity ensues. When they try to switch back, they discover a key flaw in the machine’s design: it will not allow the same pair of bodies to be used in the machine more than once. [clip from show, time stamp 3:33 ! 3:55] The fundamental problem: Is there a way (given the limitations of the machine; ie, no cheating by inventing a better machine!) to restore their minds back to their original bodies? The Amy/Professor pair can never re-enter the machine together, but what if they were able to get one or more unsuspecting stooges to enter the machine? Question: Can all correct mind-body pairings be restored with the help of just one other character? Solution: No.
    [Show full text]