Animals in Film
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John Savage July 2014
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by CUAL Repository (Connacht Ulster Alliance Libraries) The Effect of Video on Demand Services on the Cinema Industry John Savage July 2014 This dissertation is submitted in partial fulfilment of the requirements for Degree of MSc in Marketing Practice, Letterkenny Institute of Technology. Presented to Kathleen Mc Gettigan Department of Business School of Business Letterkenny Institute of Technology Disclaimer 1 I hereby certify that this material, which I now submit in partial fulfilment of the requirements of the Degree of Masters of Science in Marketing practice, is entirely my own work and has not been obtained from the work of any other, except any work that has been cited and acknowledged within the text. Signed: ii Disclaimer 2 I agree that this thesis may be used by Letterkenny Institute of Technology for teaching purposes on future Masters Programmes. Signed: iii Disclaimer 3 I hereby declare that this dissertation has a work count of 10,146 words. Signed: iv Abstract Background The cinema industry may be showing signs of growth since having to contend with increased competition over the last number of decades from alternate offerings such as radio, TV, computer games & Pay TV (Silver and Mc Donnell 2007). The apparent global box office decline in the last decade had been attributed to a number of factors including cyclical poor movie offerings, total costs associated with going to the cinema from admission price and snacks to parking, failure of new screen technologies to boost box office revenue and the emergence of alternative viewing methods (Silver and Mc Donnell 2007). -
Manifest Destiny
UNLV Retrospective Theses & Dissertations 1-1-2007 Manifest Destiny John Nardone University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Nardone, John, "Manifest Destiny" (2007). UNLV Retrospective Theses & Dissertations. 2132. http://dx.doi.org/10.25669/gi3n-246p This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. MANIFEST DESTINY by John Nardone Bachelor of Arts University of Scranton 1999 A thesis submitted in partial fulfillment of the requirements for the Master of Fine Arts Degree in Creative Writing Department of English College of Liberal Arts Graduate College University of Nevada, Las Vegas December 2007 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 1443780 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. -
A Local Law Raising the Age for the Purchase of Tobacco
Proposed Local Law Number 7 Of 2018 County Of Ulster A Local Law To Reduce Addiction To Tobacco Products By Raising The Minimum Age For Their Purchase To 21 BE IT ENACTED , by the County Legislature of the County of Ulster, New York, as follows: SECTION 1. LEGISLATIVE FINDINGS AND INTENT. The Ulster County Legislature hereby finds and determines that Ulster County has a substantial interest in preventing children and adolescents from becoming addicted adult smokers, and in avoiding the associated serious health consequences and healthcare costs, by increasing the minimum age for the purchase of tobacco products from eighteen (18) to twenty-one (21). In pursuing this Local Law, the Ulster County Legislature is responding to findings by the Institute of Medicine that: A) Adolescent brains are uniquely vulnerable to the effects of nicotine; B) A younger age of initiation is strongly associated with greater nicotine dependence and is also associated with greater intensity and persistence of smoking beyond adolescence and into adulthood; C) Almost one in three high school seniors in Ulster County report having tried cigarettes; D) Underage users rely primarily on social sources to acquire tobacco and most of those sources are likely to be between eighteen (18) and twenty-one (21) years old; E) Raising the minimum legal age to twenty-one (21) will mean that those who can legally obtain tobacco are less likely to be in the same social networks as high school students; F) Raising the minimum legal age will likely immediately improve the health of adolescents and young adults by reducing the number of those with adverse physiological effects. -
Appendix 1: Codebook for “Content Analysis of E-Cigarette Products, Promotions, Prices and Claims on Internet Tobacco Vendor Websites, 2013-2014”
Appendix 1: Codebook for “Content Analysis of E-cigarette Products, Promotions, Prices and Claims on Internet Tobacco Vendor Websites, 2013-2014” (The following is a succinct version of the codebook intended to provide definitions for each variable; the original codebook used for training and reference by coders includes extensive text and graphic examples) Appendix Table 1. Codebook for Products sold by Internet Tobacco Vendors Selling E-Cigarettes Product (Variable) Codebook Definition Disposable e-cigarettes Any e-cigarette intended to be used and disposed of rather than refilled with e- liquids or cartridges. E-cigarette starter kit A kit containing everything needed to start vaping with a refillable e-cigarette, including the vaping device, battery, charger, and e-liquid or refill cartridges. Electronic cigars (e-cigars) An e-cigarette specifically made to resemble a large cigar, must use the term cigar, e.g. e-cigar or electronic cigar. Disposable e-cigars A disposable e-cigarette specifically made to resemble a large cigar (and be disposed of rather than refilled), must use the term cigar, e.g. e-cigar or electronic cigar. Most popular retail store Whether IEVs sold the five most popular e-cigarette brands in retail stores at the e-cigarette brands time of data collection (Blu, Njoy, Mistic, 21st Century Smoke, and Logic) were tracked in 2013. In 2014, Mistic and 21st Century Smoke were dropped because they were not found at all at IEVs in our 2013 sample, and four other brands found to be the most popular in our study of Google Search Trends were added to our brand tracking in 2014 (Joyetech, Ego, Nucig, and V2). -
Evening Filmmaking Workshop
FILMM NG A I K N I E N V G E P R K O O DU BO CTION HAND April 2010 NEW YORK FILM ACADEMY 100 East 17th Street Tel: 212-674-4300 Email: [email protected] New York, NY 10003 Fax: 212-477-1414 www.nyfa.edu CLASSES Direcotr’s Craft Hands-on Camera and Lighting Director’s Craft serves as the spine of the workshop, Beginning on day one, this is a no-nonsense introducing students to the language and practice camera class in which students learn fundamental of filmmaking. Through a combination of hands- skills in the art of cinematography with the 16mm on exercises, screenings, and demonstrations, Arriflex-S, the Lowel VIP Lighting Kit and its students learn the fundamental directing skills accessories. Students shoot and screen tests for needed to create a succinct and moving film. focus, exposure, lens perspective, film latitude, This class prepares students for each of their slow/fast motion, contrast, and lighting during their film projects and is the venue for screening and first week of class. critiquing their work throughout the course. Production Workshop Writing Production Workshop gives students the The writing portion of the filmmaking course opportunity to learn which techniques will help adheres to the philosophy that good directing them express their ideas most effectively. cannot occur without a well-written script. The This class is designed to demystify the craft of course is designed to build a fundamental filmmaking through in-class exercises shot on understanding of dramatic structure, which is film under the supervision of the instructor. -
Illegal File Sharing
ILLEGAL FILE SHARING The sharing of copyright materials such as MUSIC or MOVIES either through P2P (peer-to-peer) file sharing or other means WITHOUT the permission of the copyright owner is ILLEGAL and can have very serious legal repercussions. Those found GUILTY of violating copyrights in this way have been fined ENORMOUS sums of money. Accordingly, the unauthorized distribution of copyrighted materials is PROHIBITED at Bellarmine University. The list of sites below is provided by Educause and some of the sites listed provide some or all content at no charge; they are funded by advertising or represent artists who want their material distributed for free, or for other reasons. Remember that just because content is free doesn't mean it's illegal. On the other hand, you may find websites offering to sell content which are not on the list below. Just because content is not free doesn't mean it's legal. Legal Alternatives for Downloading • ABC.com TV Shows • [adult swim] Video • Amazon MP3 Downloads • Amazon Instant Video • AOL Music • ARTISTdirect Network • AudioCandy • Audio Lunchbox • BearShare • Best Buy • BET Music • BET Shows • Blackberry World • Blip.fm • Blockbuster on Demand • Bravo TV • Buy.com • Cartoon Network Video • Zap2it • Catsmusic • CBS Video • CD Baby • Christian MP Free • CinemaNow • Clicker (formerly Modern Feed) • Comedy Central Video • Crackle • Criterion Online • The CW Video • Dimple Records • DirecTV Watch Online • Disney Videos • Dish Online • Download Fundraiser • DramaFever • The Electric Fetus • eMusic.com -
Directors Tell the Story Master the Craft of Television and Film Directing Directors Tell the Story Master the Craft of Television and Film Directing
Directors Tell the Story Master the Craft of Television and Film Directing Directors Tell the Story Master the Craft of Television and Film Directing Bethany Rooney and Mary Lou Belli AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Focal Press is an imprint of Elsevier 225 Wyman Street, Waltham, MA 02451, USA The Boulevard, Langford Lane, Kidlington, Oxford, OX5 1GB, UK © 2011 Bethany Rooney and Mary Lou Belli. Published by Elsevier Inc. All rights reserved No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. Details on how to seek permission, further information about the Publisher’s permissions policies and our arrangements with organizations such as the Copyright Clearance Center and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/permissions. This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as may be noted herein). Notices Knowledge and best practice in this field are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility. -
List of Non-Exhaustive Crew Titles That Will Be Considered for Funding
List of non-exhaustive crew titles that will be considered for funding: Director Best boy (lighting) Key make-up artist Producer Lighting technician / Electrics Special make-up effects Artist Line producer Grips (SFX makeup) Production assistant Key grip Make-up supervisor Production managements Best boy/Best Babe (grip) Make-up artist Production manager Dolly grip Key hair Assistant production Production sound Hair stylist manager Production sound mixer Special effects Unit manager Boom operator Special effects supervisor Production coordinator Second assistant sound Stunts First assistant director Art department Stunt coordinator Second assistant director Production designer Film editor Accounting Art director Editorial[edit] Production accountant Line Standby art director Negative cutter Producer Assistant art director Colorist Location manager Set designer Telecine colorist Assistant location manager Illustrator Visual effects[edit] Location scout Graphic artist Visual effects Unit publicist Set decorator Visual effects producer System administrator Buyer Visual effects creative Continuity Leadman director Script supervisor Set dresser Visual effects supervisor Script Writers Greensman Visual effects editor Casting Construction Compositor Casting director Construction coordinator Matte painter Cast PA Head carpenter Sound and music Drivers Carpenters Sound designer Camera and lighting Studio hands Dialogue editor Director of photography Propmaker Sound editor Camera Scenic Re-recording mixer Camera operator Key scenic Music supervisor First assistant camera Property Foley artist Second assistant camera Propmaster Conductor/ orchestrator Film loader Weapons master Score recorder/ mixer Digital imaging technician Costume department Music preparation Steadicam operator Costume supervisor Music editor Motion control Key costumer Previs technician/Operator Breakdown artist Animation Lighting Costume buyer Gaffer Cutter . -
The Exploitation of Film Heritage Works in the Digital Era
A publication of the European Audiovisual Observatory A publication of the European Audiovisual Observatory The Exploitation of Film Heritage Works in the Digital Era THE EXPLOITATION OF FILM HERITAGE WORKS IN THE DIGITAL ERA The Exploitation of Film Heritage Works in the Digital Era Director of publication – Susanne Nikoltchev Executive Director, European Audiovisual Observatory Editorial supervision – Gilles Fontaine Head of Department for Information on Markets and Financing, European Audiovisual Observatory Authors Gilles Fontaine, European Audiovisual Observatory Patrizia Simone, European Audiovisual Observatory Contributors Christian Grece, European Audiovisual Observatory Deirdre Kevin, European Audiovisual Observatory Marketing - Markus Booms, [email protected], European Audiovisual Observatory Press and Public Relations - Alison Hindhaugh, [email protected], European Audiovisual Observatory Publisher European Audiovisual Observatory Observatoire européen de l’audiovisuel Europäische Audiovisuelle Informationsstelle 76, allée de la Robertsau F-67000 STRASBOURG http://www.obs.coe.int Tél. : +33 (0)3 90 21 60 00 Fax : +33 (0)3 90 21 60 19 European Audiovisual Observatory, Strasbourg, June 2016 This report was prepared by the European Audiovisual Observatory for the European Commission. The analyses presented in this report cannot in any way be considered as representing the point of view of the members of the European Audiovisual Observatory or of the Council of Europe or of the European Commission. Special thanks to: -
Bachelor's Degree in Filmmaking
BACHELOR’S DEGREE IN FILMMAKING THREE-YEAR ACCELERATED PROGRAM Each Bachelor of Fine Arts student writes, shoots, directs, and his Bachelor of Fine Arts Degree Program in Filmmaking employs a total immersion edits 12 films in the most intensive T approach to the subject where students hands-on program in the world develop a powerful arsenal of skills in directing, and works on the crew of at least screenwriting, cinematography, editing, and 30 additional films. producing. Students work in all formats from 16mm and HD to 35mm and RED Digital, as they write, direct, shoot, and edit their own films. A strong grounding in the liberal arts and sciences serves to inform students work and give them a well-rounded undergraduate education. The New York Film Academy’s Bachelor of Fine Arts in Filmmaking is unlike any other, it is an accelerated intensive degree program that can be completed in three years including summers. AVAILABLE IN One benefit of this is that students may begin internships or professional work a year earlier than they would in a standard bachelor’s program, and LOCATIONS of course save a year of tuition and expenses. UNIVERSAL STUDIOS, hollywood It requires a rigorous schedule whereby students are in class or production for eleven months of TUITION $30,000 PER YEAR** the year with a four week break between each **Additional Equipment Fee: $4,000 per year. Students will of the three years. Vacations are limited to two also incur additional expenses on their own productions. This varies depending on how much film they shoot and scale of weeks during the winter holidays and one week the projects. -
Impact Budgets Classic Engagement Activity Evaluation Toolbox
INDEX INTRODUCTION PLANNING IMPACT IN ACTION IMPACT DISTRIBUTION EVALUATING 1.0 2.0 3.0 4.0 5.0 INTRODUCTION PLANNING IMPACT IMPACT EVALUATING IN ACTION DISTRIBUTION Welcome Why vision & strategy matter Equipping for impact What is impact distribution? We love evaluation The power of film Defining your vision The role of film teams How commercial are impact films? What makes great evaluation Analysing the story environment Developing your strategy Meet the impact producer Types of distribution deals Embracing complexity How change happens Map the issue Consider your subjects Review distribution pathways Making your evaluation plan The challenge for filmmakers The 4 impact dynamics Writing impact budgets Classic engagement activity Evaluation toolbox Know thyself Draft your strategic plan Finding impact funders Impact distribution at work New tools for impact documentary Making impact partners Sign on the dotted line Wrapping up INDEX INTRODUCTION PLANNING IMPACT IN ACTION IMPACT DISTRIBUTION EVALUATING PDF • CL LE ICK AB A K BL IC E L P C Use the top D F • and side • F tabs to navigate D P C through! L E I L C B K A A K B C L I E L C P D F • Please don’t print me! IMPACTGUIDE.ORG Get the printable version INDEX INTRODUCTION PLANNING IMPACT IN ACTION IMPACT DISTRIBUTION EVALUATING A set of tools and guides designed to help all of us who are working with film make even greater impact than we do already. Brought to you by: Made possible by: britdoc.org fordfoundation.org | berthafoundation.org | sundance.org | knightfoundation.org -
Student Handbook &
Student Handbook & Reference Guide Department of Theatre Arts A guide to the policies and procedures used by Utah State University’s Department of Theatre Arts. 1 Table of Contents Caine College of the Arts Mission Statement .......................................................................................... 5 Department of Theatre Arts Mission Statement ...................................................................................... 5 Academic Freedom ................................................................................................................................. 6 II. Degree Programs .............................................................................................................................. 7 III. Academics ......................................................................................................................................... 8 Leaves of Absence .............................................................................................................................. 8 Disability .............................................................................................................................................. 8 Student Grievances ............................................................................................................................. 8 Department Policies ............................................................................................................................... 9 Advising ..................................................................................................................................................