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On the Ball! One of the Most Recognizable Stars on the U.S
TVhome The Daily Home June 7 - 13, 2015 On the Ball! One of the most recognizable stars on the U.S. Women’s World Cup roster, Hope Solo tends the goal as the U.S. 000208858R1 Women’s National Team takes on Sweden in the “2015 FIFA Women’s World Cup,” airing Friday at 7 p.m. on FOX. The Future of Banking? We’ve Got A 167 Year Head Start. You can now deposit checks directly from your smartphone by using FNB’s Mobile App for iPhones and Android devices. No more hurrying to the bank; handle your deposits from virtually anywhere with the Mobile Remote Deposit option available in our Mobile App today. (256) 362-2334 | www.fnbtalladega.com Some products or services have a fee or require enrollment and approval. Some restrictions may apply. Please visit your nearest branch for details. 000209980r1 2 THE DAILY HOME / TV HOME Sun., June 7, 2015 — Sat., June 13, 2015 DISH AT&T CABLE DIRECTV CHARTER CHARTER PELL CITY PELL ANNISTON CABLE ONE CABLE TALLADEGA SYLACAUGA SPORTS BIRMINGHAM BIRMINGHAM BIRMINGHAM CONVERSION CABLE COOSA WBRC 6 6 7 7 6 6 6 6 AUTO RACING 5 p.m. ESPN2 2015 NCAA Baseball WBIQ 10 4 10 10 10 10 Championship Super Regionals: Drag Racing Site 7, Game 2 (Live) WCIQ 7 10 4 WVTM 13 13 5 5 13 13 13 13 Sunday Monday WTTO 21 8 9 9 8 21 21 21 8 p.m. ESPN2 Toyota NHRA Sum- 12 p.m. ESPN2 2015 NCAA Baseball WUOA 23 14 6 6 23 23 23 mernationals from Old Bridge Championship Super Regionals Township Race. -
1 Expressive Utterance on Trolls Movie Skripsi
EXPRESSIVE UTTERANCE ON TROLLS MOVIE SKRIPSI Submitted in Partial Fulfillment of the Requirements For the Degree of Sarjana Pendidikan (S.Pd) Study Program of English Department By ROSA YUWANDA NPM. 1402050104 FACULTY OF TEACHERS TRAINING AND EDUCATION UNIVERSITY OF MUHAMMADIYAH SUMATERA UTARA MEDAN 2018 1 ABSTRACT Yuwanda, Rosa. 1402050104. Expressive Utterance on Trolls Movie. Skripsi. English Education Program of Faculty of Teacher Training and Education, University of Muhammadi yah Sumatera Utara. Medan. 2018. This study deals with the study of Expressive Utterance on Trolls Movie. The objestives of this study were to find out types expressive utterances used in Trolls movie. To reveal the use of expressive utterance in Trolls movie. To figure out the reason of the use type of expressive utterance dominantly in Trolls movie. Descriptive qualitative method was used in this study. Source of data was obtained from the script of Trolls movie. In collecting the data, the researcher Downloading the script of Trolls movie from internet, Watching Trolls movie, Reading and observing the dialogue from the script of Trolls movie, Identifying the sentences to find out types expressive utterances used in Trolls movie. The data were analyzed in some steps, Classifying the sentences of expressive utterances into its types, Finding out the use of expressive utterances that used by the characters of Trolls movie, Finding out the reason type of expressive utterance which dominantly used in Trolls movie. The finding showed the occurrences seven from nine types of expressive utterances on Trolls movie, they were 5 utterances of apologizing or 8.63%, 6 utterances of thanking or 10.34%, 26 utterances of deploring/censoring or 44.83%, 7 utterances of lamenting or 12.07%, 3 utterances of welcoming or 5.17%, 2 utterances of forgiving or 3.45%,9 utterances of boasting or 15.51%. -
MARCHÉ DU FILM 2011 FOCUS World Film Market Trends Tendances Du Marché Mondial Du fi Lm
MARCHÉ DU FILM 2011 FOCUS World Film Market Trends Tendances du marché mondial du fi lm FOCUS-COVER-FINAL.indd 1 13/04/11 19:30 focus 2011 World Film Market Trends Tendances du marché mondial du film focus_2011.indd 1 26/04/11 19:11 Pages Pub int Focus 2010:Pub Focus 29/04/10 10:54 Page 1 Lay-out: Acom*Europe | © 2011, Marché du Film | Printed: Global Rouge, Les Deux-Ponts Imprimé sur papier labélisé issu de forêts gérées durablement. Printed on paper from sustainably managed forests. focus_2011.indd 2 26/04/11 19:11 Editorial We now find ourselves in an era where all chan- À l’heure où toute la filière cinématographique nels of cinematography are undergoing a transfor- poursuit sa mutation, où la VoD se positionne mation: VoD has become a realistic medium, the comme un écran crédible, où le passage au tout switch to all-digital is simply a matter of time and numérique n’est plus qu’une question de calen- 3D is becoming more and more ubiquitous. As drier, où la 3D commence à se banaliser, il est such, it is more crucial than ever for us, as profes- plus que jamais nécessaire, pour les profession- sionals, to identify major industry tendencies. nels que nous sommes, d’appréhender les grands I hope that Focus, now in its 14th year, will indicateurs du secteur. serve as an indispensable tool for you in analyzing Je souhaite que Focus, qui fête son 14e anni- and anticipating the challenges of tomorrow. versaire, vous apporte les clefs indispensables pour analyser et anticiper les enjeux de demain. -
Press Contacts for the Television Academy: 818-264
FOR IMMEDIATE RELEASE Post-awards presentation (approximately 7:00PM, PDT) September 11, 2016 WINNERS OF THE 68th CREATIVE ARTS EMMY® AWARDS ANNOUNCED (Los Angeles, Calif. - September 11, 2016) The Television Academy tonight presented the second of 2016 Creative Arts Emmy® Awards ceremonies for programs and individual achievements at the Microsoft Theater in Los Angeles and honored variety, reality and documentary programs, as well as the many talented artists and craftspeople behind the scenes who create television excellence. Executive produced by Bob Bain, this year’s Creative Arts Awards featured an array of notable presenters, among them Derek and Julianne Hough, Heidi Klum, Jane Lynch, Ryan Seacrest, Gloria Steinem and Neil deGrasse Tyson. In recognition of its game-changing impact on the medium, American Idol received the prestigious 2016 Governors Award. The award was accepted by Idol creator Simon Fuller, FOX and FremantleMedia North America. The Governors Award recipient is chosen by the Television Academy’s board of governors and is bestowed upon an individual, organization or project for outstanding cumulative or singular achievement in the television industry. For more information, visit Emmys.com PRESS CONTACTS FOR THE TELEVISION ACADEMY: Jim Yeager breakwhitelight public relations [email protected] 818-264-6812 Stephanie Goodell breakwhitelight public relations [email protected] 818-462-1150 TELEVISION ACADEMY 2016 CREATIVE ARTS EMMY AWARDS – SUNDAY The awards for both ceremonies, as tabulated by the independent -
Chapter Fourteen Men Into Space: the Space Race and Entertainment Television Margaret A. Weitekamp
CHAPTER FOURTEEN MEN INTO SPACE: THE SPACE RACE AND ENTERTAINMENT TELEVISION MARGARET A. WEITEKAMP The origins of the Cold War space race were not only political and technological, but also cultural.1 On American television, the drama, Men into Space (CBS, 1959-60), illustrated one way that entertainment television shaped the United States’ entry into the Cold War space race in the 1950s. By examining the program’s relationship to previous space operas and spaceflight advocacy, a close reading of the 38 episodes reveals how gender roles, the dangers of spaceflight, and the realities of the Moon as a place were depicted. By doing so, this article seeks to build upon and develop the recent scholarly investigations into cultural aspects of the Cold War. The space age began with the launch of the first artificial satellite, Sputnik, by the Soviet Union on October 4, 1957. But the space race that followed was not a foregone conclusion. When examining the United States, scholars have examined all of the factors that led to the space technology competition that emerged.2 Notably, Howard McCurdy has argued in Space and the American Imagination (1997) that proponents of human spaceflight 1 Notably, Asif A. Siddiqi, The Rocket’s Red Glare: Spaceflight and the Soviet Imagination, 1857-1957, Cambridge Centennial of Flight (Cambridge: Cambridge University Press, 2010) offers the first history of the social and cultural contexts of Soviet science and the military rocket program. Alexander C. T. Geppert, ed., Imagining Outer Space: European Astroculture in the Twentieth Century (New York: Palgrave Macmillan, 2012) resulted from a conference examining the intersections of the social, cultural, and political histories of spaceflight in the Western European context. -
Sarah A. Tejeda (951) 233-9185 [email protected]
Sarah A. Tejeda www.sarahtejeda.com (951) 233-9185 [email protected] PROFILE A creative and enthusiastic animator, with experience in various forms of animation. A quick-thinking, problem solver who gives 100% to all projects. Adept in written and oral communication, and works well independently or with a team. Thrives in fast-paced environments, and can adapt to meet deadlines and handle multiple tasks. EDUCATION University of Southern California Los Angeles, CA BA Animation and Digital Arts 2014 EXPERIENCE Animator Stoopid Buddy Stoodios July 2017-Sept 2018 Robot Chicken Season 9, Supermansion Season 3 ● Animated various characters, props, and cameras while perfecting the animation styles of various shows. Lead Animation Assistant/Track Reader/ Jr. Animator Stoopid Buddy Stoodios May 2015-June 2017 Supermansion Seasons 1 & 2, Buddy Thunderstruck, Robot Chicken Seasons 8 & 9, Verizon Bumpers ● Acted as a fill-in animator for studio projects. Supported and assisted animators and crews by helping with rigging, anticipating and solving problems, and keeping areas and materials well-stocked and organized. Proficient track reader for all studio projects. Animation Assistant Hello! & Company November 2014 McDonald’s Spot: Morning Song ● Provided support to director and animators for a location shoot. Assisted with the preparation of sets and props. Senior Thesis Film USC Jan 2013-May 2014 Expiration Date ● Created original concept art through extensive pre-production. Developed script, hired and directed voice-over talent. Molded, fabricated, and painted over 30 puppets, including facial expressions. Fabricated multiple props and sets. Animation Intern Shadow Machine Jan -May 2012 Hell and Back ● Supported animation, puppet, and art departments through the building of sets and props. -
Retrofuture Hauntings on the Jetsons
City University of New York (CUNY) CUNY Academic Works Publications and Research Queens College 2020 No Longer, Not Yet: Retrofuture Hauntings on The Jetsons Stefano Morello CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/qc_pubs/446 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] de genere Rivista di studi letterari, postcoloniali e di genere Journal of Literary, Postcolonial and Gender Studies http://www.degenere-journal.it/ @ Edizioni Labrys -- all rights reserved ISSN 2465-2415 No Longer, Not Yet: Retrofuture Hauntings on The Jetsons Stefano Morello The Graduate Center, City University of New York [email protected] From Back to the Future to The Wonder Years, from Peggy Sue Got Married to The Stray Cats’ records – 1980s youth culture abounds with what Michael D. Dwyer has called “pop nostalgia,” a set of critical affective responses to representations of previous eras used to remake the present or to imagine corrective alternatives to it. Longings for the Fifties, Dwyer observes, were especially key to America’s self-fashioning during the Reagan era (2015). Moving from these premises, I turn to anachronisms, aesthetic resonances, and intertextual references that point to, as Mark Fisher would have it, both a lost past and lost futures (Fisher 2014, 2-29) in the episodes of the Hanna-Barbera animated series The Jetsons produced for syndication between 1985 and 1987. A product of Cold War discourse and the early days of the Space Age, the series is characterized by a bidirectional rhetoric: if its setting emphasizes the empowering and alienating effects of technological advancement, its characters and its retrofuture aesthetics root the show in a recognizable and desirable all-American past. -
Theescapist 067.Pdf
communication device or the programming, music, storytelling, voice characters in games where they don’t communication, itself; art allows us acting and interactivity. For a videogame speak. Where I have to put my own another avenue to share points of view, to be considered art, do each of these story in where one doesn’t exist. to help us empathize with others. Art can have to follow the rules for art? Just a Have you ever drawn/painted/sketched a also help us better understand ourselves few, maybe? Even, perhaps, only one? It also reminds me of how I end up still life in a group? While everyone in as we look at another’s interpretation of getting attached to the individual units in the group was looking at the same a subject and contrast how ours are This week, The Escapist focuses on just a game. I might really try hard to create subject, more than likely each person similar or different. one of these many layers of art in a squad of elite rangers in Generals or had a different outcome. One person videogames: visual design. Visual 2-D or keep alive that one marine who got 7 focused on the lighting and shadows; From what I say above about art, one 3-D art is one of the most accessible kills. I think of the first as my elite go-to one person focused on a smaller area of can conclude (correctly) that I have a layers for the general population, as squad, or if I’m playing China, an elite the subject; another focused on rather broad opinion of what constitutes most of us have participated in this art sniping unit. -
Television Academy Awards
2019 Primetime Emmy® Awards Nomination Press Release Outstanding Character Voice-Over Performance F Is For Family • The Stinger • Netflix • Wild West Television in association with Gaumont Television Kevin Michael Richardson as Rosie Family Guy • Con Heiress • FOX • 20th Century Fox Television Seth MacFarlane as Peter Griffin, Stewie Griffin, Brian Griffin, Glenn Quagmire, Tom Tucker, Seamus Family Guy • Throw It Away • FOX • 20th Century Fox Television Alex Borstein as Lois Griffin, Tricia Takanawa The Simpsons • From Russia Without Love • FOX • Gracie Films in association with 20th Century Fox Television Hank Azaria as Moe, Carl, Duffman, Kirk When You Wish Upon A Pickle: A Sesame Street Special • HBO • Sesame Street Workshop Eric Jacobson as Bert, Grover, Oscar Outstanding Animated Program Big Mouth • The Planned Parenthood Show • Netflix • A Netflix Original Production Nick Kroll, Executive Producer Andrew Goldberg, Executive Producer Mark J. Levin, Executive Producer Jennifer Flackett, Executive Producer Joe Wengert, Supervising Producer Ben Kalina, Supervising Producer Chris Prynoski, Supervising Producer Shannon Prynoski, Supervising Producer Anthony Lioi, Supervising Producer Gil Ozeri, Producer Kelly Galuska, Producer Nate Funaro, Produced by Emily Altman, Written by Bryan Francis, Directed by Mike L. Mayfield, Co-Supervising Director Jerilyn Blair, Animation Timer Bill Buchanan, Animation Timer Sean Dempsey, Animation Timer Jamie Huang, Animation Timer Bob's Burgers • Just One Of The Boyz 4 Now For Now • FOXP •a g2e0 t1h Century -
![Archons (Commanders) [NOTICE: They Are NOT Anlien Parasites], and Then, in a Mirror Image of the Great Emanations of the Pleroma, Hundreds of Lesser Angels](https://docslib.b-cdn.net/cover/8862/archons-commanders-notice-they-are-not-anlien-parasites-and-then-in-a-mirror-image-of-the-great-emanations-of-the-pleroma-hundreds-of-lesser-angels-438862.webp)
Archons (Commanders) [NOTICE: They Are NOT Anlien Parasites], and Then, in a Mirror Image of the Great Emanations of the Pleroma, Hundreds of Lesser Angels
A R C H O N S HIDDEN RULERS THROUGH THE AGES A R C H O N S HIDDEN RULERS THROUGH THE AGES WATCH THIS IMPORTANT VIDEO UFOs, Aliens, and the Question of Contact MUST-SEE THE OCCULT REASON FOR PSYCHOPATHY Organic Portals: Aliens and Psychopaths KNOWLEDGE THROUGH GNOSIS Boris Mouravieff - GNOSIS IN THE BEGINNING ...1 The Gnostic core belief was a strong dualism: that the world of matter was deadening and inferior to a remote nonphysical home, to which an interior divine spark in most humans aspired to return after death. This led them to an absorption with the Jewish creation myths in Genesis, which they obsessively reinterpreted to formulate allegorical explanations of how humans ended up trapped in the world of matter. The basic Gnostic story, which varied in details from teacher to teacher, was this: In the beginning there was an unknowable, immaterial, and invisible God, sometimes called the Father of All and sometimes by other names. “He” was neither male nor female, and was composed of an implicitly finite amount of a living nonphysical substance. Surrounding this God was a great empty region called the Pleroma (the fullness). Beyond the Pleroma lay empty space. The God acted to fill the Pleroma through a series of emanations, a squeezing off of small portions of his/its nonphysical energetic divine material. In most accounts there are thirty emanations in fifteen complementary pairs, each getting slightly less of the divine material and therefore being slightly weaker. The emanations are called Aeons (eternities) and are mostly named personifications in Greek of abstract ideas. -
Awards & Nominations
VICKI HIATT MUSIC SUPERVISOR / EDITOR AWARDS & NOMINATIONS GOLDEN REEL AWARD ALI NOMINATION (2001) Best Sound Editing -Music, Feature Film, Domestic and Foreign GOLDEN REEL AWARD THE ROAD TO EL DORADO NOMINATION (2000) Best Sound Editing-Music, Animation FEATURE FILM THE ARK & THE AARDVARK Keith Kjarvak, Kurt Rauer, prod. Unified Pictures John Stevenson, dir. Music Editor HOTEL TRANSYLVANIA 3 Michelle Murdocca, prod. Sony Pictures Animation Gendy Tartakovsy, dir. Music Editor SURF’S UP 2: WAVEMANIA Toby Chu, Composer Sony Pictures Animation Michelle Wong, prod. Music Editor Henry Wu, dir. HALF MAGIC Alex Wurman, Composer Magic Bubble Productions Bill Sheinberg, prod. Music Consultant Heather Graham, dir. HOW TO TRAIN YOUR DRAGON 3 John Powell, Composer DreamWorks Animation Bonnie Arnold, prod. Music Editor Dean DeBlois, dir. LIFE BRIEFLY Tom Howe, Composer Thousand Dream Prods. Erika Armin, James Brubaker, prods. Music Editor Dan Ireland, dir. EMOJI Michelle Raimo, prod. Sony Pictures Animation Anthony Leondis, dir. Music Editor BOSS BABY Denise Nolan Cascino, Ramsey Ann Naito, prods. DreamWorks Animation Tom McGrath, dir. Music Editor The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 1 VICKI HIATT MUSIC SUPERVISOR / EDITOR INDISCRETION Toby Chu, Composer Granfallon Productions Alexandra Baranska, Thomas Beach, Laura Boersma, prods. Music Supervisor John Stewart Muller, dir. SO B. IT Nick Urata, Composer Branded Pictures J. Todd Harris, Orien Richman, prods. Music Supervisor Stephen Gyllenhaal, dir. CAPTAIN UNDERPANTS Teddy Shapiro, Composer DreamWorks Animation Mark Swift, prod. Music Editor David Soren, dir. TROLLS Christophe Beck, Composer DreamWorks Animation Gina Shay, prod. Music Editor Mike Mitchell, dir. FLAWED DOGS Berkeley Breathed, exec. prod. DreamWorks Animation Noah Baumbauch, dir. -
![DMAX Und [Adult Swim] Präsentieren Die Erwachsenen-Cartoons „Rick and Morty“ Und „Robot Chicken“](https://docslib.b-cdn.net/cover/0479/dmax-und-adult-swim-pr%C3%A4sentieren-die-erwachsenen-cartoons-rick-and-morty-und-robot-chicken-560479.webp)
DMAX Und [Adult Swim] Präsentieren Die Erwachsenen-Cartoons „Rick and Morty“ Und „Robot Chicken“
Laut, schrill, durchgeknallt: DMAX und [adult swim] präsentieren die Erwachsenen-Cartoons „Rick and Morty“ und „Robot Chicken“ Discovery Networks Deutschland geht Partnerschaft mit Turner Deutschland ein „Rick and Morty“ ab 12. November und „Robot Chicken“ ab 03. Dezember „Your Pretty Face is going to Hell“ und „China IL“ starten im Frühjahr 2017 München, 07.10.2016 Ab dem 12. November zeigt DMAX Erfolgsformate der Programmmarke [adult swim], die zum Unternehmen Turner gehört. Im Zuge der Zusammenarbeit zwischen Discovery Networks Deutschland und Turner sind im Spätabendprogramm am Samstag im Rahmen eines [adult swim] Blocks zunächst die Animationsserien „Robot Chicken“ und „Rick and Morty“ auf DMAX zu sehen. Im Frühjahr 2017 tauschen sie ihren Sendeplatz mit „Your Pretty Face is going to Hell“ und „China IL“. Mit der Kooperation mit Turner präsentiert DMAX erstmals TV-Inhalte des US-Kabelsenders [adult swim], die im deutschsprachigen Pay-TV auf TNT Comedy, dem Comedy-Sender von Turner Deutschland, zu sehen sind. [adult swim] zeigt überwiegend Zeichentrickserien, die sich an ein erwachsenes Publikum richten. In den USA ist [adult swim] die Heimat von Erfolgsserien wie „American Dad“ und „Family Guy“ und der beliebteste Kabelsender in den Zielgruppen 18 bis 39 und 14 bis 49. Besonderes Highlight der Partnerschaft ist der Cartoon „Rick and Morty“, für dessen Produktion Dan Harmon („Community“) und Justin Roiland („Krampus“) verantwortlich zeichnen. Die Fernsehserie handelt von den Abenteuern des alkoholabhängigen Wissenschaftlers Rick und seinem Enkel Morty in andere Dimensionen, und war ursprünglich als Parodie auf „Zurück in die Zukunft“ konzipiert. „Robot Chicken“ ist eine Puppentrickserie, die bereits mit dem Emmy® ausgezeichnet wurde und aktuelle und gesellschaftlich relevante Geschehnisse und Charaktere parodiert.