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The Commercial & Artistic Viability of the Fringe Movement
Rowan University Rowan Digital Works Theses and Dissertations 1-13-2013 The commercial & artistic viability of the fringe movement Charles Garrison Follow this and additional works at: https://rdw.rowan.edu/etd Part of the Theatre and Performance Studies Commons Recommended Citation Garrison, Charles, "The commercial & artistic viability of the fringe movement" (2013). Theses and Dissertations. 490. https://rdw.rowan.edu/etd/490 This Thesis is brought to you for free and open access by Rowan Digital Works. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Rowan Digital Works. For more information, please contact [email protected]. THE COMMERCIAL & ARTISTIC VIABLILITY OF THE FRINGE MOVEMENT By Charles J. Garrison A Thesis Submitted to the Department of Theatre & Dance College of Performing Arts In partial fulfillment of the requirement For the degree of Master of Arts At Rowan University December 13, 2012 Thesis Chair: Dr. Elisabeth Hostetter © 2012 Charles J. Garrison Dedication I would like to dedicate this to my drama students at Absegami High School, to my mother, Rosemary who’s wish it was that I finish this work, and to my wife, Lois and daughter, Colleen for pushing me, loving me, putting up with me through it all. Acknowledgements I would like to express my appreciation to Jason Bruffy and John Clancy for the inspiration as artists and theatrical visionaries, to the staff of the American High School Theatre Festival for opening the door to the Fringe experience for me in Edinburgh, and to Dr. Elisabeth Hostetter, without whose patience and guidance this thesis would ever have been written. -
2011Tribute Journal.Pdf
New York in Hollywood Tribute Journal - 2 New York in Hollywood Tribute Journal - 3 New York in Hollywood Tribute Journal - 4 New York in Hollywood Tribute Journal - 5 New York in Hollywood Tribute Journal - 6 TABLE OF CONTENTS Welcome Letter 3 Letter from Congressman Howard L. Berman 4 Letter from AFM President Ray Hair 5 Schedule of Events 8 NY Street Map 9 The Stars 10 Music Matters: The CSUN Music Therapy Wellness Clinic 17 The Sunshine Singers 20 Music 21 Thanks and Acknowledgements 23 The Environment of People Foundation 24 New York in Hollywood Tribute Journal - 7 New York in Hollywood Tribute Journal - 8 SCHEDULE OF EVENTS 2:00 pm Gates Open 2:00 – 5:00pm Celebrity Red Carpet 2:00 Drum Circle* 2:25 Sunshine Choir* 2:50 Judy Tenuta* 3:00 Raffle 1* 3:00 Speakers: Howard Berman, Laura San Giacomo* 3:15 Fallen Rain* 3:45 Raffle 2* 3:50 Announcement of Auction Winners* 4:00 Open Hands* 5:00 Closing *main stage New York in Hollywood Tribute Journal - 9 New York in Hollywood Tribute Journal - 10 THE STARS Laura San Giacomo Laura San Giacomo has achieved tremendous success in film, television and in theater. She received the independent Spirit Award for her work in Steven Soderbergh‟s Sex, Lies and Videotape, which also earned her nominations for a BAFTA Film Award and a Golden Globe. Other film credits include Pretty Woman, Quigley Down Under, Under Suspicion, Nina Takes A Lover and Once Around, the latter playing Holly Hunter‟s sister. On television, San Giacomo received a second Golden Globe nomination for her performance as Maya Gallo on the hit comedy series Just Shoot Me. -
RIDES, GAMES and SHOPS International Street 13
RIDES, GAMES AND SHOPS International Street 13. Portrait Drawings 28. Delirium™ - Spin out of control as you hurtle up to 137 feet in the air.... SHOPPING... 52. SpongeBob SquarePants™ 3-D - Take the plunge with SpongeBob and his Rivertown ATTRACTIONS... 14. Glass Blower - Glass blowers and candle carvers create unique gifts and collectibles! more than 13 thrilling stories at 70mph! 39. Airbrushed Shirts Bikini Bottom pals in the world's only 3-D ocean motion movie ride. ATTRACTIONS... 1. Eiffel Tower 15. Caricature Drawings GAMES (Pay as you play)... 40. Woodworks - Hand-carved wooden names and wood works 53. Paramount Action FX Theater™ - Check theater for current feature. (May be too 66. The Beast® - The world’s longest wooden roller coaster... 16. Sugarplum Candy Shop - Fudge, candy, lollipops and other tasty confections. frightening for small children.) 2. Grand Carousel 29. Action Blast Coney Mall 25 years and running! 3. The Paramount Story 17. Girl Space - Stuff for your own personal planet. GAMES (Pay as you play)... 67. TOMB RAIDER: The Ride™ The Sequel - Experience a longer and more SHOPPING... ATTRACTIONS... 4. International Showplace 18. Convenience Corner - Full of sundries, gifts, cameras, & suncare products! 30. On Location - Son of Beast™ and "Motor Heads" headquarters. 54. Hang Time Basketball thrilling adventure as mystery and mayhem collide in an epic battle of 5. International Street Bandstand 19. Carved Names and Rings 41. The Racer - Forward and backward wooden coaster 55. Center Games fire and ice. (Please, no food, drink or smoking inside the cave. Octoberfest 42. Scrambler 6. Paramount Theatre Paramount Action Zone™ 56. -
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. -
New York to Hollywood: Advertising, Narrative Formats, and Changing Televisual Space in the 1950'S
Bard College Bard Digital Commons Senior Projects Spring 2017 Bard Undergraduate Senior Projects Spring 2017 New York to Hollywood: Advertising, Narrative Formats, and Changing Televisual Space in the 1950's Peter McCormack Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2017 Part of the United States History Commons, and the Visual Studies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation McCormack, Peter, "New York to Hollywood: Advertising, Narrative Formats, and Changing Televisual Space in the 1950's" (2017). Senior Projects Spring 2017. 148. https://digitalcommons.bard.edu/senproj_s2017/148 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. 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. For more information, please contact [email protected]. From New York to Hollywood: Advertising, Narrative Formats, and Changing Televisual Space in the 1950’s Senior Project Submitted to The Division of Social Studies of Bard College by Peter McCormack Annandale-on-Hudson, New York May 2017 ii From New York to Hollywood iii Acknowledgements I would like to thank my parents first and foremost. I don’t think I’ve ever taken the time to bore them with the intimate details of this project. -
The Personal Branding of Lucille Ball Honors Thesis
BLAZING THE TRAILS: THE PERSONAL BRANDING OF LUCILLE BALL HONORS THESIS Presented to the Honors College of Texas State University in Partial Fulfillment of the Requirements for Graduation in the Honors College by Sarah L. Straka San Marcos, Texas December, 2016 BLAZING THE TRAILS: THE PERSONAL BRANDING OF LUCILLE BALL by Sarah L. Straka Thesis Supervisor: ________________________________ Dr. Raymond Fisk, Ph.D. Department of Marketing Approved: _________________________________ Heather C. Galloway, Ph.D. Dean, Honors College TABLE OF CONTENTS ABSTRACT……………………………………………….…………..…………………iv CHAPTER I. INTRODUCTION…………………………………………………….….…….1 II. CHILDHOOD………………………………………………………….……...1 III. REBEL………………………………………………………………….….…4 IV. LEADER……………………………………………………...……….....….14 V. ICON……………………………………………………………...………..…17 VI. CONCLUSION……………………………………….............................….18 REFERENCES……………………………………………………………………..........20 CHRONOLOGICAL TIME LINE OF LUCILLE BALL…………………...…..........…21 iii ABSTRACT The extraordinary Lucille Ball was the most loved and iconic television comedian of her time. She was an American icon and the first lady of television during the 1950s. Not only did Lucille Ball provide laughter to millions of people, but Lucille Ball gave women a voice and America heard what she had to say. She showed women they can be accepted, and be in a position both on television and in the working world where they can be strong and independent. She was a leader and set an example for women and showed society that women have a voice to be heard and will be successful, when given the opportunity. Lucille Ball managed her career and created her personal brand by beating all obstacles that were laid in front of her and test boundaries, which lead her to become an entrepreneurial success. Lucille Ball blazed the trails for many women, on and off stage. -
CPY Document
PUBUC WORKS AUG 0 1 ZO MOTION Lucy's El Adobe Café serves as an LA establisluent; it is a restaurant that has been a traditional star hangout for decades and continues to be a favored café by many influential individuals. Lucy Casada, the owner, has become famous in her own right among celebrities and high profie individuals, due to the restaurants friendly service, great food and reasonable prices. Lucy's daughter introduced Linda Rondstadt to California Governor Jerry Brown at Lucy's. George Lucas is a good friend of Lucy's as well as Kevin Costner, Orson Welles, Jack Nicholson and many others. Lucy's El Adobe Café has brought many stars to Melrose Avenue, becoming a part of the rich history of Los Angeles. In addition, adjacent from Lucy's El Adobe Café, is the historic location ofDesilu Productions. Although a portion of this site is now home to Paramount Studios, the history and legacy of Lucille Ball's career began on this comer in Hollywood. Although the site ofDesilu productions shifted, the first fiming of the "I Love Lucy" show was at Desilu productions headquarters on Melrose A venue and Plymouth Boulevard, established in 1951. The joint ownership ofDesilu productions was met with failure, as was the marriage of Lucille Ball and Desi Arnaz. Lucile Ball bought out Desi Arnaz's half ofDesilu productions in the 1960's, making her the first woman to own a major studio and one of the most powerful women in Southern California. Lucile Ball later sold the company, which is partly occupied by Paramount Studios. -
The Smurfs Were Communists! by Dave Morgan Okay, I Know It
The Smurfs Were Communists! By Dave Morgan Okay, I know it sounds crazy. I didn't believe it myself at first. Then I started thinking about it, and it starts getting scary. First of all, you must put aside all the media-programmed, propaganda-driven thoughts or irrational fears you might already have about communists. Forget all that big bad Russian stuff that the 80's taught us, that doesn't exist anymore. Think of communism as just a way of life, a social order, an economic standpoint, a lifestyle choice. Take all the visions of sickles and hammers and tanks out of your head for awhile, and then you will be able to see it clearly. First of all, the Smurfs shared everything. The food in the Smurf village was stored away in those mushrooms the minute it was harvested and then equally distributed to all the Smurfs throughout the year. No one "farmer Smurf" sold his crop to a "consumer Smurf," or saw his labor exploited by another. It was understood that the crop was for the entire Smurf population, not for the sale or profit of one Smurf alone. Then there were those jobs each Smurf held. There was Handy Smurf, and Painter Smurf, and Brainy Smurf, etc... Each Smurf had his own specific job and was not allowed to try his hand at any other Smurf's assigned task. There actually was an episode where each Smurf tried to do another one's job, and failed. The moral of the story was apparently "Stick to what you do Best" or to put it another way, stick to what the society has chosen for you, or maybe just "You'll get what you get and like it!" Handy Smurf was always building. -
Wacky Races Boardgame RULEBOOK TABLE of CONTENTS
Wacky Races Boardgame RULEBOOK TABLE OF CONTENTS Introduction ... 02 Racing! ... 09 Game Overview ... 03 The Player Turn ... 09 Components ... 03 End of The Round ... 12 Goal of the Game ... 06 Dick Dastardly’s Traps ... 13 Setup ... 06 Racers’ Special Powers ... 14 Setting Up the Course ... 08 Special Terrain ... 15 INTRODUCTION , It’s a fine day out here at the track! Today, we’ll see our brave drivers hit the road in their Welcome self-made racecars, putting rubber to asphalt all through the countryside full of deserts, forests, prairies, and more. They will be revving their engines in order to take over the lead, push their Racemachines Fans! to the limit, and put it all on the line to take the checkered flag! But they’ll have to watch out! Dick Dastardly is also out there. Whenever he and his snickering dog, Muttley, show up for race day, the Racers have more to worry about than just a rough spot in the road or running out of gas! Wherever the Mean Machine turns up, the Racers find themselves dealing with all sorts of nasty tricks and Traps that the dubious duo uses to cheat their way into 1st Place. I see the Racers pulling up to their marks and getting their cars warmed up and ready to go! Let’s head down trackside and watch. It’s anyone’s race today, and nobody knows who will cross the Finish Line first! It’s time for a great day at the Wacky Races! 2 GAME OVERVIEW Wacky Races is a fast-paced racing game for up to six The mischievous villain and his mean-spirited partner players. -
The Next Generation of Interferometry: Multi-Frequency Optical Modelling, Control Concepts and Implementation
The Next Generation of Interferometry: Multi-Frequency Optical Modelling, Control Concepts and Implementation Vom Fachbereich Physik der UniversitÄat Hannover zur Erlangung des Grades Doktor der Naturwissenschaften { Dr. rer. nat. { genehmigte Dissertation von Dipl.-Phys. Andreas Freise geboren am 24. Mai 1971 in Hildesheim 2003 Referent: Prof. K. Danzmann Korreferent: Prof. W. Ertmer Tag der Promotion: 04. Februar 2003 Druckdatum: 22. Februar 2003 Zusammenfassung Albert Einstein hat in seiner allgemeinen RelativitÄatstheorie die Existenz von Gravitationswellen vorhergesagt. Die direkte Me¼ung dieser Wellen ist eine der gro¼en Herausforderungen der Ex- perimentalphysik. Mit Hilfe eines Netzwerkes von Gravitationswellendetektoren wird es mÄoglich sein, das Universum unabhÄangig von elektro-magnetischer Strahlung zu beobachten. Die Gravita- tionswellenastronomie wird der Kosmologie und der Gravitationsphysik neue, bisher unerreichbare experimentelle Daten zur VerfugungÄ stellen. Zur Zeit werden weltweit funfÄ gro¼e interferometrische Gravitationswellendetektoren gebaut. Sie basieren auf klassischen Instrumenten wie z.B. dem Michelson-Interferometer. FurÄ die Suche nach Gravitationswellen ist allerdings eine extrem hohe, bisher unerreichte Me¼emp¯ndlichkeit notwen- dig. Diese soll durch den Einsatz von weiterentwickelten, optimierten Teilsystemen des Interfero- meters und durch die Entwicklung neuer Interferometertopologien erreicht werden. Diese Arbeit dokumentiert einen wichtigen Teil des Aufbaus des britisch-deutschen Detektors GEO 600, -
A Textual Analysis of the Closer and Saving Grace: Feminist and Genre Theory in 21St Century Television
A TEXTUAL ANALYSIS OF THE CLOSER AND SAVING GRACE: FEMINIST AND GENRE THEORY IN 21ST CENTURY TELEVISION Lelia M. Stone, B.A., M.P.A. Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS December 2013 APPROVED: Harry Benshoff, Committee Chair George Larke-Walsh, Committee Member Sandra Spencer, Committee Member Albert Albarran, Chair of the Department of Radio, Television and Film Art Goven, Dean of the College of Arts and Sciences Mark Wardell, Dean of the Toulouse Graduate School Stone, Lelia M. A Textual Analysis of The Closer and Saving Grace: Feminist and Genre Theory in 21st Century Television. Master of Arts (Radio, Television and Film), December 2013, 89 pp., references 82 titles. Television is a universally popular medium that offers a myriad of choices to viewers around the world. American programs both reflect and influence the culture of the times. Two dramatic series, The Closer and Saving Grace, were presented on the same cable network and shared genre and design. Both featured female police detectives and demonstrated an acute awareness of postmodern feminism. The Closer was very successful, yet Saving Grace, was cancelled midway through the third season. A close study of plot lines and character development in the shows will elucidate their fundamental differences that serve to explain their widely disparate reception by the viewing public. Copyright 2013 by Lelia M. Stone ii TABLE OF CONTENTS Chapters Page 1 INTRODUCTION .............................................................................................. -
Lycra, Legs, and Legitimacy: Performances of Feminine Power in Twentieth Century American Popular Culture
LYCRA, LEGS, AND LEGITIMACY: PERFORMANCES OF FEMININE POWER IN TWENTIETH CENTURY AMERICAN POPULAR CULTURE Quincy Thomas 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 May 2018 Committee: Jonathan Chambers, Advisor Francisco Cabanillas, Graduate Faculty Representative Bradford Clark Lesa Lockford © 2018 Quincy Thomas All Rights Reserved iii ABSTRACT Jonathan Chambers, Advisor As a child, when I consumed fictional narratives that centered on strong female characters, all I noticed was the enviable power that they exhibited. From my point of view, every performance by a powerful character like Wonder Woman, Daisy Duke, or Princess Leia, served to highlight her drive, ability, and intellect in a wholly uncomplicated way. What I did not notice then was the often-problematic performances of female power that accompanied those narratives. As a performance studies and theatre scholar, with a decades’ old love of all things popular culture, I began to ponder the troubling question: Why are there so many popular narratives focused on female characters who are, on a surface level, portrayed as bastions of strength, that fall woefully short of being true representations of empowerment when subjected to close analysis? In an endeavor to answer this question, in this dissertation I examine what I contend are some of the paradoxical performances of female heroism, womanhood, and feminine aggression from the 1960s to the 1990s. To facilitate this investigation, I engage in close readings of several key aesthetic and cultural texts from these decades. While the Wonder Woman comic book universe serves as the centerpiece of this study, I also consider troublesome performances and representations of female power in the television shows Bewitched, I Dream of Jeannie, and Buffy the Vampire Slayer, the film Grease, the stage musical Les Misérables, and the video game Tomb Raider.