Sound Editing for a Comedy Or Drama Series (One Hour)
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John Stamos Helps Inspire Youngsters on WE
August 10 - 16, 2018 2 x 2" ad 2 x 2" ad John Stamos H K M F E D A J O M I Z A G U 2 x 3" ad W I X I D I M A G G I O I R M helps inspire A N B W S F O I L A R B X O M Y G L E H A D R A N X I L E P 2 x 3.5" ad C Z O S X S D A C D O R K N O youngsters I O C T U T B V K R M E A I V J G V Q A J A X E E Y D E N A B A L U C I L Z J N N A C G X on WE Day R L C D D B L A B A T E L F O U M S O R C S C L E B U C R K P G O Z B E J M D F A K R F A F A X O N S A G G B X N L E M L J Z U Q E O P R I N C E S S John Stamos is O M A F R A K N S D R Z N E O A N R D S O R C E R I O V A H the host of the “Disenchantment” on Netflix yearly WE Day Bargain Box (Words in parentheses not in puzzle) Bean (Abbi) Jacobson Princess special, which Classified Merchandise Specials Solution on page 13 Luci (Eric) Andre Dreamland ABC presents Merchandise High-End 2 x 3" ad Elfo (Nat) Faxon Misadventures King Zog (John) DiMaggio Oddballs 1 x 4" ad Friday. -
Patricia Murray Patricia Clum & Patricia M
PATRICIA MURRAY PATRICIA CLUM & PATRICIA M. MAKE-UP DESIGNER CANADIAN CITIZENSHIP & RESIDENCE / US RESIDENCE / IATSE 891 / ACFC HEAD OF DEPARTMENT FEATURE FILMS DIRECTOR/PRODUCER CAST THE ART OF RACING IN THE RAIN D: Simon Curtis Amanda Seyfried Fox 2000 Pictures P: Joannie Burstein, 2nd Unit Make-up Vancouver Patrick Dempsey, Tania Landau, Make-Up FX Artist Neal H. Moritz THE PACKAGE D: Jake Szymanski Daniel Doheny, Luke Spencer Roberts, Netflix EP: Shawn Williamson, Geraldine Viswanathan, Sadie Calvano, Brightlight Pictures & Jamie Goehring, Kevin Leeson, Eduardo Franco Red Hour Productions Haroon Saleem HOD & Make-Up FX Artist P: Ross Dinerstein, Nicky Weinstock, Ben Stiller, Anders Holm, Kyle Newacheck, Blake Anderson, Adam DeVine STATUS UPDATE D: Scott Speer Ross Lynch, Olivia Holt, Netflix P: Jennifer Gibgot, Dominic Rustam, Harvey Guillen, Famke Janssen, Offspring Entertainment & Adam Shankman, Shawn Williamson Wendi McLendon-Covey Brightlight Pictures HOD TOMORROWLAND D: Brad Bird Raffey Cassidy, Kathryn Hahn Walt Disney Pictures P: Damon Lindelof Make-Up Onset FX Supervisor Co-P: Bernie Bellew, Tom Peitzman PERCY JACKSON: D: Thor Freudenthal Missy Pyle, Yvette Nicole Brown, SEA OF MONSTERS P: Chris Columbus, Christopher Redman Fox 2000 Pictures Karen Rosenfelt, Michael Barnathan Make-Up FX Supervisor DAYDREAM NATION D: Michael Goldbach Personal Make-Up Artist to Kat Dennings Screen Siren Pictures EP: Tim Brown, Cameron Lamb HOD P: Trish Dolman, Christine Haebler, Michael Olsen, Simone Urdl THE TWILIGHT SAGA: ECLIPSE D: David Slade Ashley Greene, Bryce Dallas Howard, Summit Entertainment P: Wyck Godfrey, Greg Mooradian, Kellan Lutz Make-Up Artist Main Unit Karen Rosenfelt SLAP SHOT 2 D: Steve Boyum Stephen Baldwin, Gary Busey, Universal Pictures P: Ron French Callum Keith Rennie, Jessica Steen HOD JUST FRIENDS D: Roger Kumble Ryan Reynolds New Line Cinema P: Chris Bender, Bill Johnson, Make-Up FX Artist Michael Ohoven, J.C. -
PAPERS DELIVERED at SHARP CONFERENCES to DATE (Alphabetically by Author; Includes Meeting Year)
PAPERS DELIVERED AT SHARP CONFERENCES TO DATE (alphabetically by author; includes meeting year) Abel, Jonathan. Cutting, molding, covering: media-sensitive suppression in Japan. 2009 Abel, Trudi Johanna. The end of a genre: postal regulations and the dime novel's demise. 1994 ___________________. When the devil came to Washington: Congress, cheap literature, and the struggle to control reading. 1995 Abreu, Márcia Azevedo. Connected by fiction: the presence of the European novel In Brazil. 2013 Absillis, Kevin. Angele Manteau and the Indonesian connection: a remarkable story of Flemish book trade (1958-1962). 2006 ___________. The biggest scam in Flemish literature? On the question of linguistic gatekeeping In literary publishing. 2009 ___________. Pascale Casanova's The World Republic of Letters and the analysis of centre-periphery relations In literary book publishing. 2008 ___________. The printing press and utopia: why imaginary geographies really matter to book history. 2013 Acheson, Katherine O. The Renaissance author in his text. 1994 Acerra, Eleonora. See Louichon, Brigitte (2015) Acres, William. Objet de vertu: Euler's image and the circulation of genius in print, 1740-60. 2011 ____________. A "religious" model for history: John Strype's Reformation, 1660-1735. 2014 ____________, and David Bellhouse. Illustrating Innovation: mathematical books and their frontispieces, 1650-1750. 2009 Aebel, Ian J. Illustrating America: John Ogilby and the geographies of empire in Restoration England. 2013 Agten, Els. Vernacular Bible translation in the Netherlands in the seventeenth century: the debates between Roman Catholic faction and the Jansenists. 2014 Ahokas, Minna. Book history meets history of concepts: approaches to the books of the Enlightenment in eighteenth-century Finland. -
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. -
Father Trumps Fate in Supernatural Lugene Rosen Chapman University, [email protected]
Chapman University Chapman University Digital Commons Library Books and Book Chapters Leatherby Libraries 9-2014 Who's Your Daddy: Father Trumps Fate in Supernatural Lugene Rosen Chapman University, [email protected] Follow this and additional works at: http://digitalcommons.chapman.edu/librarian_books Part of the Family, Life Course, and Society Commons, Gender and Sexuality Commons, and the Television Commons Recommended Citation Rosen, L. (2014). Who's your daddy? Father trumps fate in Supernatural. In S.A. George & R.M. Hansen (Eds.), Supernatural, humanity, and the soul: On the highway to hell and back (pp. 183-196). New York, NY: Palgrave Macmillan. This Book is brought to you for free and open access by the Leatherby Libraries at Chapman University Digital Commons. It has been accepted for inclusion in Library Books and Book Chapters by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. Rosen1 Who's Your Daddy: Father Trumps Fate in Supernatural From the pilot episode, Supernatural has clearly been rooted in family, specifically in a male-only family. The brief glimpse viewers have of the Winchester household together is quickly replaced by a family ravaged by the death of a beloved mother and wife. Following Mary’s death, the family becomes less like kin and more like an elite fighting squad with John as the stern general. John’s shift from loving, nurturing father to disciplinarian will have far- reaching effects on Dean and Sam and the men that they will ultimately become, yet their experiences with John as father are vastly different. -
The Dread Taboo, Human Sacrifice, and Pearl Harbor
The Dread Taboo, Human Sacrifice, and Pearl Harbor RDKHennan The word taboo, or tabu, is well known to everyone, but it is especially interesting that it is one of but two or possibly three words from the Polynesian language to have been adopted by the English-speaking world. While the original meaning of the taboo was "Sacred" or "Set apart," usage has given it a decidedly secular meaning, and it has become a part of everyday speech all over the world. In the Hawaiian lan guage the word is "kapu," and in Honolulu we often see a sign on a newly planted lawn or in a park that reads, not, "Keep off the Grass," but, "Kapu." And to understand the history and character of the Hawaiian people, and be able to interpret many things in our modern life in these islands, one must have some knowledge of the story of the taboo in Hawaii. ANTOINETTE WITHINGTON, "The Dread Taboo," in Hawaiian Tapestry Captain Cook's arrival in the Hawaiian Islands signaled more than just the arrival of western geographical and scientific order; it was the arrival of British social and political order, of British law and order as well. From Cook onward, westerners coming to the islands used their own social civil codes as a basis to judge, interpret, describe, and almost uniformly condemn Hawaiian social and civil codes. With this condemnation, west erners justified the imposition of their own order on the Hawaiians, lead ing to a justification of colonialism and the loss of land and power for the indigenous peoples. -
Reminder List of Productions Eligible for the 90Th Academy Awards Alien
REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 90TH ACADEMY AWARDS ALIEN: COVENANT Actors: Michael Fassbender. Billy Crudup. Danny McBride. Demian Bichir. Jussie Smollett. Nathaniel Dean. Alexander England. Benjamin Rigby. Uli Latukefu. Goran D. Kleut. Actresses: Katherine Waterston. Carmen Ejogo. Callie Hernandez. Amy Seimetz. Tess Haubrich. Lorelei King. ALL I SEE IS YOU Actors: Jason Clarke. Wes Chatham. Danny Huston. Actresses: Blake Lively. Ahna O'Reilly. Yvonne Strahovski. ALL THE MONEY IN THE WORLD Actors: Christopher Plummer. Mark Wahlberg. Romain Duris. Timothy Hutton. Charlie Plummer. Charlie Shotwell. Andrew Buchan. Marco Leonardi. Giuseppe Bonifati. Nicolas Vaporidis. Actresses: Michelle Williams. ALL THESE SLEEPLESS NIGHTS AMERICAN ASSASSIN Actors: Dylan O'Brien. Michael Keaton. David Suchet. Navid Negahban. Scott Adkins. Taylor Kitsch. Actresses: Sanaa Lathan. Shiva Negar. AMERICAN MADE Actors: Tom Cruise. Domhnall Gleeson. Actresses: Sarah Wright. AND THE WINNER ISN'T ANNABELLE: CREATION Actors: Anthony LaPaglia. Brad Greenquist. Mark Bramhall. Joseph Bishara. Adam Bartley. Brian Howe. Ward Horton. Fred Tatasciore. Actresses: Stephanie Sigman. Talitha Bateman. Lulu Wilson. Miranda Otto. Grace Fulton. Philippa Coulthard. Samara Lee. Tayler Buck. Lou Lou Safran. Alicia Vela-Bailey. ARCHITECTS OF DENIAL ATOMIC BLONDE Actors: James McAvoy. John Goodman. Til Schweiger. Eddie Marsan. Toby Jones. Actresses: Charlize Theron. Sofia Boutella. 90th Academy Awards Page 1 of 34 AZIMUTH Actors: Sammy Sheik. Yiftach Klein. Actresses: Naama Preis. Samar Qupty. BPM (BEATS PER MINUTE) Actors: 1DKXHO 3«UH] %LVFD\DUW $UQDXG 9DORLV $QWRLQH 5HLQDUW] )«OL[ 0DULWDXG 0«GKL 7RXU« Actresses: $GªOH +DHQHO THE B-SIDE: ELSA DORFMAN'S PORTRAIT PHOTOGRAPHY BABY DRIVER Actors: Ansel Elgort. Kevin Spacey. Jon Bernthal. Jon Hamm. Jamie Foxx. -
Flying the Line Flying the Line the First Half Century of the Air Line Pilots Association
Flying the Line Flying the Line The First Half Century of the Air Line Pilots Association By George E. Hopkins The Air Line Pilots Association Washington, DC International Standard Book Number: 0-9609708-1-9 Library of Congress Catalog Card Number: 82-073051 © 1982 by The Air Line Pilots Association, Int’l., Washington, DC 20036 All rights reserved Printed in the United States of America First Printing 1982 Second Printing 1986 Third Printing 1991 Fourth Printing 1996 Fifth Printing 2000 Sixth Printing 2007 Seventh Printing 2010 CONTENTS Chapter 1: What’s a Pilot Worth? ............................................................... 1 Chapter 2: Stepping on Toes ...................................................................... 9 Chapter 3: Pilot Pushing .......................................................................... 17 Chapter 4: The Airmail Pilots’ Strike of 1919 ........................................... 23 Chapter 5: The Livermore Affair .............................................................. 30 Chapter 6: The Trouble with E. L. Cord .................................................. 42 Chapter 7: The Perils of Washington ........................................................ 53 Chapter 8: Flying for a Rogue Airline ....................................................... 67 Chapter 9: The Rise and Fall of the TWA Pilots Association .................... 78 Chapter 10: Dave Behncke—An American Success Story ......................... 92 Chapter 11: Wartime............................................................................. -
Delta Flyer 2011
1 Inh^ltsverzeichnis News vom Trekdinner / Impressum Seite 3 - 4 Trekdinner United V – Europapark Rust Seite 5 - 8 Klingolaus meint ... Seite 9 - 11 Bericht: Fedcon XX Seite 12 - 16 Trekkies treffen Winnetou, zum 7. Mal Seite 17 - 19 Captain’s Table 2011 Seite 20 - 22 Leonard Nimoy zum 80. Geburtstag Seite 23 - 32 William Shatner zum 80. Geburtstag Seite 33 - 36 Weihnachtslied Seite 37 - 38 Star Trek Romane aus dem Cross Cult-Verlag Seite 39 - 46 Star Trek Comics in Deutschland Seite 47 - 53 Wild Cards Seite 54 - 58 Grill-Trek 2011 Seite 59 - 61 Klingolausens‘ Lieblings-TV-Serien Seite 62 - 65 Coole neue Serien vom Klingolaus Seite 66 - 71 SPACEDOG´s Filme und DVDs in Kürze Seite 72 - 73 Film-Kritik: Das Kinojahr 2011 Seite 74 - 78 Film-Kritik: Tron & Tron Legacy Seite 79 - 82 Film-Kritik: Sucker Punch Seite 83 - 85 Film-Kritik: Pearl Harbor vs. Tora! Tora! Tora! Seite 86 - 89 DVD-Kritik: Nydenion Seite 90 - 92 Konzert-Kritiken Seite 93 - 94 Jubiläen, Geburtstage etc. Seite 95 2 News vom Trekdinner Mittelhessen Trekdinner Termine für 2012 Die folgenden Trekdinner-Termine sind vorläufig. Bitte achtet auf Änderungen auf unserer Internetseite. Die Trekdinner im Juni und Dezember entfallen zugunsten des Grill-Trek bzw. der X-Mas-Trek-Weihnachtsfeier. 14.01.: Wetzlar – 04.02.: Linden – 03.03.: Wetzlar – 07.04.: Linden – 05.05.: Wetzlar – 02.06.: Grill-Trek / Reinhardshain – 30.06.: Trekkies treffen Winnetou (Tagestermin mit BehindTheScenes) – 04.08.: Linden – 24./25.08.: Trekdinner United / ESA-ESOC Darmstadt / Filmmuseum Frankfurt – 01.09.: Wetzlar – 29.09.: Linden (vorverlegt w/RingCon) – 27.10.: Wetzlar (vorverlegt w/DarksideCon) – 01.12.: X-Mas Trek – 20 Jahre Trekdinner Mittelhessen (Location wird noch festgelegt) Location und Termine können sich im Einzelfall ändern! Änderungsinfos erscheinen auf der Website und ggf. -
Inclusivism and the Atonement
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Asbury Theological Seminary Faith and Philosophy: Journal of the Society of Christian Philosophers Volume 16 Issue 1 Article 3 1-1-1999 Inclusivism and the Atonement Bruce R. Reichenbach Follow this and additional works at: https://place.asburyseminary.edu/faithandphilosophy Recommended Citation Reichenbach, Bruce R. (1999) "Inclusivism and the Atonement," Faith and Philosophy: Journal of the Society of Christian Philosophers: Vol. 16 : Iss. 1 , Article 3. Available at: https://place.asburyseminary.edu/faithandphilosophy/vol16/iss1/3 This Article is brought to you for free and open access by the Journals at ePLACE: preserving, learning, and creative exchange. It has been accepted for inclusion in Faith and Philosophy: Journal of the Society of Christian Philosophers by an authorized editor of ePLACE: preserving, learning, and creative exchange. INCLUSIVISM AND THE ATONEMENT Bruce R. Reichenbach Richard Swinburne claims that Christ's death has no efficacy unless people appropriate it. According to religious inclusivists, God can be encountered and his grace manifested in various ways through diverse religions. Salvation is available for everyone, regardless of whether they have heard about Christ's sacrifice. This poses the question whether Swinburne's view of atonement is available to the inclusivist. T develop an inclusivist interpretation of the atone ment that incorporates his four features of atonement, along with a subjective dimension that need not include specific knowledge of Christ's sacrifice. In what follows I will explore the apparent tension between a particular view of the atonement that requires the subjective element of knowledge of the sacrifice and a Christian inclusivist view of religion, where persons are the recipients of salvific grace quite apart from their knowledge of Christ's death on their behalf. -
The Supernatural World of the Kawaiisu by Maurice Zigmond1
The Supernatural World of the Kawaiisu by Maurice Zigmond1 The most obvious characteristic at the supernatural world of the Kawaiisu is its complexity, which stands in striking contrast to the “simplicity” of the mundane world. Situated on and around the southern end of the Sierra Nevada mountains in south - - central California, the tribe is marginal to both the Great Basin and California culture areas and would probably have been susceptible to the opprobrious nineteenth century term, ‘Diggers’ Yet, if its material culture could be described as “primitive,” ideas about the realm of the unseen were intricate and, in a sense, sophisticated. For the Kawaiisu the invisible domain is tilled with identifiable beings and anonymous non-beings, with people who are half spirits, with mythical giant creatures and great sky images, with “men” and “animals” who are localized in association with natural formations, with dreams, visions, omens, and signs. There is a land of the dead known to have been visited by a few living individuals, and a netherworld which is apparently the abode of the spirits of animals - - at least of some animals animals - - and visited by a man seeking a cure. Depending upon one’s definition, there are apparently four types of shamanism - - and a questionable fifth. In recording this maze of supernatural phenomena over a period of years, one ought not be surprised to find the data both inconsistent and contradictory. By their very nature happenings governed by extraterrestrial fortes cannot be portrayed in clear and precise terms. To those involved, however, the situation presents no problem. Since anything may occur in the unseen world which surrounds us, an attempt at logical explanation is irrelevant. -
ABSTRACT the Women of Supernatural: More Than
ABSTRACT The Women of Supernatural: More than Stereotypes Miranda B. Leddy, M.A. Mentor: Mia Moody-Ramirez, Ph.D. This critical discourse analysis of the American horror television show, Supernatural, uses a gender perspective to assess the stereotypes and female characters in the popular series. As part of this study 34 episodes of Supernatural and 19 female characters were analyzed. Findings indicate that while the target audience for Supernatural is women, the show tends to portray them in traditional, feminine, and horror genre stereotypes. The purpose of this thesis is twofold: 1) to provide a description of the types of female characters prevalent in the early seasons of Supernatural including mother-figures, victims, and monsters, and 2) to describe the changes that take place in the later seasons when the female characters no longer fit into feminine or horror stereotypes. Findings indicate that female characters of Supernatural have evolved throughout the seasons of the show and are more than just background characters in need of rescue. These findings are important because they illustrate that representations of women in television are not always based on stereotypes, and that the horror genre is evolving and beginning to depict strong female characters that are brave, intellectual leaders instead of victims being rescued by men. The female audience will be exposed to a more accurate portrayal of women to which they can relate and be inspired. Copyright © 2014 by Miranda B. Leddy All rights reserved TABLE OF CONTENTS Tables