Programming GUIDE : Full Length Episodes, Clips, and Feature Films

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Watch your favorites. Anytime. Anywhere. PROGRAMMING GUIDE : Full Length Episodes, Clips, and Feature Films CURRENT HULU PROGRAMMING: 24 Family Guy Night Gallery 30 Days Firsthand 30 Rock Flipping Out October Sky Fox Movie Channel presents “Casting Session” The Office The A-Team Fox Movie Channel presents “Making a Scene” Over There Adam-12 Fox Movie Channel presents “World Premier” Picket Fences Age of Love Friday Night Lights Airwolf The Practice Alfred Hitchcock Hour Heroes The Pretender Alfred Hitchcock Presents Hill Street Blues Prison Break American Dad! House Psych Andy Barker P.I. Queer Eye Are You Smarter Than A 5th Grader? Inside the Actors Studio It’s Always Sunny in Philadelphia Arrested Development The Riches Rob and Amber: Against the Odds Back To You The Jerk Journeyman Battlestar Galactica Saturday Night Live Battlestar Galactica Classic K-Ville Scrubs Big Ideas for a Small Planet King Of The Hill Sideways Bionic Woman Kitchen Confidential Simon & Simon The Blues Brothers Kitchen Nightmares The Simpsons The Bob Newhart Show Kojak Solitary Bones St. Elsewhere The Breakfast Club Las Vegas Stacked Breaking Away Late Night With Conan O’Brien Standoff Buck Rogers Life Buffy the Vampire Slayer The Loop Talkshow with Spike Feresten Bulworth Lost in Space The Tonight Show Lou Grant Chicago Hope Vanished Chuck The Mary Tyler Moore Show Weekend at Bernie’s The Comebacks Master and Commander: WKRP in Cincinnati Conan the Barbarian The Far Side of the World Woody Woodpecker (New) Cops McHale’s Navy Miami Vice Death Sentence Monk Doogie Howser, M.D. Murder One Dr. 90210 My Bare Lady Dragnet My Name is Earl www.hulu.com | 1 Watch your favorites. Anytime. Anywhere. PROGRAMMING GUIDE : Full Length Episodes, Clips, and Feature Films CONTENT PROVIDERS: www.hulu.com | 2 Watch your favorites. Anytime. Anywhere. PROGRAMMING GUIDE : Full Length Episodes, Clips, and Feature Films COMING SOON TO HULU: www.hulu.com | 3.

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February 26, 2021 Amazon Warehouse Workers In
February 26, 2021 Amazon warehouse workers in Bessemer, Alabama are voting to form a union with the Retail, Wholesale and Department Store Union (RWDSU). We are the writers of feature films and television series. All of our work is done under union contracts whether it appears on Amazon Prime, a different streaming service, or a television network. Unions protect workers with essential rights and benefits. Most importantly, a union gives employees a seat at the table to negotiate fair pay, scheduling and more workplace policies. Deadline Amazon accepts unions for entertainment workers, and we believe warehouse workers deserve the same respect in the workplace. We strongly urge all Amazon warehouse workers in Bessemer to VOTE UNION YES. In solidarity and support, Megan Abbott (DARE ME) Chris Abbott (LITTLE HOUSE ON THE PRAIRIE; CAGNEY AND LACEY; MAGNUM, PI; HIGH SIERRA SEARCH AND RESCUE; DR. QUINN, MEDICINE WOMAN; LEGACY; DIAGNOSIS, MURDER; BOLD AND THE BEAUTIFUL; YOUNG AND THE RESTLESS) Melanie Abdoun (BLACK MOVIE AWARDS; BET ABFF HONORS) John Aboud (HOME ECONOMICS; CLOSE ENOUGH; A FUTILE AND STUPID GESTURE; CHILDRENS HOSPITAL; PENGUINS OF MADAGASCAR; LEVERAGE) Jay Abramowitz (FULL HOUSE; GROWING PAINS; THE HOGAN FAMILY; THE PARKERS) David Abramowitz (HIGHLANDER; MACGYVER; CAGNEY AND LACEY; BUCK JAMES; JAKE AND THE FAT MAN; SPENSER FOR HIRE) Gayle Abrams (FRASIER; GILMORE GIRLS) 1 of 72 Jessica Abrams (WATCH OVER ME; PROFILER; KNOCKING ON DOORS) Kristen Acimovic (THE OPPOSITION WITH JORDAN KLEPPER) Nick Adams (NEW GIRL; BOJACK HORSEMAN;
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The Dominant Eye: Dominant for Parvo- but Not for Magno-Biased Stimuli?
vision Article The Dominant Eye: Dominant for Parvo- But Not for Magno-Biased Stimuli? Brian K. Foutch 1,* and Carl J. Bassi 2 1 Rosenberg School of Optometry, University of the Incarnate Word, San Antonio, TX 78209, USA 2 College of Optometry, University of Missouri-St Louis, St. Louis, MO 63121, USA; [email protected] * Correspondence: [email protected]; Tel.: +1-210-930-8162 Received: 4 September 2019; Accepted: 8 March 2020; Published: 12 March 2020 Abstract: Eye dominance is often defined as a preference for the visual input of one eye to the other. Implicit in this definition is the dominant eye has better visual function. Several studies have investigated the effect of visual direction or defocus on ocular dominance, but there is less evidence connecting ocular dominance and monocular visual thresholds. We used the classic “hole in card” method to determine the dominant eye for 28 adult observers (11 males and 17 females). We then compared contrast thresholds between the dominant and non-dominant eyes using grating stimuli biased to be processed more strongly either by the magnocellular (MC) or parvocellular (PC) pathway. Using non-parametric mean rank tests, the dominant eye was more sensitive overall than the non-dominant eye to both stimuli (z = 2.54, p = 0.01). The dominant eye was also more sensitive − to the PC-biased stimulus (z = 2.22, p = 0.03) but not the MC-biased stimulus (z = 1.16, p = 0.25). We − − discuss the clinical relevance of these results as well as the implications for parallel visual pathways. Keywords: dominant eye; contrast; parvocellular; magnocellular 1.
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The University of Chicago Looking at Cartoons
THE UNIVERSITY OF CHICAGO LOOKING AT CARTOONS: THE ART, LABOR, AND TECHNOLOGY OF AMERICAN CEL ANIMATION A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CINEMA AND MEDIA STUDIES BY HANNAH MAITLAND FRANK CHICAGO, ILLINOIS AUGUST 2016 FOR MY FAMILY IN MEMORY OF MY FATHER Apparently he had examined them patiently picture by picture and imagined that they would be screened in the same way, failing at that time to grasp the principle of the cinematograph. —Flann O’Brien CONTENTS LIST OF FIGURES...............................................................................................................................v ABSTRACT.......................................................................................................................................vii ACKNOWLEDGMENTS....................................................................................................................viii INTRODUCTION LOOKING AT LABOR......................................................................................1 CHAPTER 1 ANIMATION AND MONTAGE; or, Photographic Records of Documents...................................................22 CHAPTER 2 A VIEW OF THE WORLD Toward a Photographic Theory of Cel Animation ...................................72 CHAPTER 3 PARS PRO TOTO Character Animation and the Work of the Anonymous Artist................121 CHAPTER 4 THE MULTIPLICATION OF TRACES Xerographic Reproduction and One Hundred and One Dalmatians.......174
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Toy Story: How Pixar Reinvented the Animated Feature
Brown, Noel. " An Interview with Steve Segal." Toy Story: How Pixar Reinvented the Animated Feature. By Susan Smith, Noel Brown and Sam Summers. London: Bloomsbury Academic, 2017. 197–214. Bloomsbury Collections. Web. 2 Oct. 2021. <http:// dx.doi.org/10.5040/9781501324949.ch-013>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 2 October 2021, 03:24 UTC. Copyright © Susan Smith, Sam Summers and Noel Brown 2018. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 1 97 Chapter 13 A N INTERVIEW WITH STEVE SEGAL N o e l B r o w n Production histories of Toy Story tend to focus on ‘big names’ such as John Lasseter and Pete Docter. In this book, we also want to convey a sense of the animator’s place in the making of the fi lm and their perspective on what hap- pened, along with their professional journey leading up to that point. Steve Segal was born in Richmond, Virginia, in 1949. He made his fi rst animated fi lms as a high school student before studying Art at Virginia Commonwealth University, where he continued to produce award- winning, independent ani- mated shorts. Aft er graduating, Segal opened a traditional animation studio in Richmond, making commercials and educational fi lms for ten years. Aft er completing the cult animated fi lm Futuropolis (1984), which he co- directed with Phil Trumbo, Segal moved to Hollywood and became interested in com- puter animation.
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Complete Directory
Complete Directory Name Primary Appointment Tel: (212) 938- xxxx Academic Programs Academic Affairs 5658 Fax Dean's Office Academic Affairs 5714 Pak, Jean Academic Affairs 4313 Vice President/Dean for Academic Academic Affairs 5515 Paulino, Yodania Accounts Payable 5669 Orehek, Frank Administration 5582 Vice President Administration and Administration and Finance 5666 Alumni Association Alumni Affairs 5603 Wall Phone 18th floor Alumni Alumni Commons Caf 5588 Lomparte, Francisco Alumni Relations 5604 Assoc Dean Graduate Program Associate Dean 5540 Alonso, Jose-Manuel Biological and Vision Sciences 5573 Aquilante, Kathy Biological and Vision Sciences 5775 Backus, Benjamin Biological and Vision Sciences 1541 Beaton, Ann Biological and Vision Sciences 5799 Bloomfield, Stewart Biological and Vision Sciences 5532 Ciuffreda, Kenneth Biological and Vision Sciences 5765 Duckman, Robert Biological and Vision Sciences 5857 Dul, Mitchell Biological and Vision Sciences 4164 Gundel, Ralph Biological and Vision Sciences 5868 Kruger, Philip Biological and Vision Sciences 5759 Llerena-Law, Christina Biological and Vision Sciences 4169 McPeek, Robert Biological and Vision Sciences 5762 Picarelli, John Biological and Vision Sciences 5784 Pola, Jordan Biological and Vision Sciences 5758 Rapp, Jerry Biological and Vision Sciences 5786 Reinach, Peter Biological and Vision Sciences 5938 Richdale, Kathryn Biological and Vision Sciences 4165 Rubinson, Kalman Biological and Vision Sciences N/A Sack LAB, Robert Biological and Vision Sciences 5793 Sack, Robert Biological
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AGE Qualitative Summary
AGE Qualitative Summary Age Gender Race 16 Male White (not Hispanic) 16 Male Black or African American (not Hispanic) 17 Male Black or African American (not Hispanic) 18 Female Black or African American (not Hispanic) 18 Male White (not Hispanic) 18 Malel Blacklk or Africanf American (not Hispanic) 18 Female Black or African American (not Hispanic) 18 Female White (not Hispanic) 18 Female Asian, Asian Indian, or Pacific Islander 18 Male Asian, Asian Indian, or Pacific Islander 18 Female White (not Hispanic) 18 Female White (not Hispanic) 18 Female Black or African American (not Hispanic) 18 Male White (not Hispanic) 19 Male Hispanic (unspecified) 19 Female White (not Hispanic) 19 Female Asian, Asian Indian, or Pacific Islander 19 Male Asian, Asian Indian, or Pacific Islander 19 Male Asian, Asian Indian, or Pacific Islander 19 Female Native American or Alaskan Native 19 Female White (p(not Hispanic)) 19 Male Hispanic (unspecified) 19 Female Hispanic (unspecified) 19 Female White (not Hispanic) 19 Female White (not Hispanic) 19 Male Hispanic/Latino – White 19 Male Hispanic/Latino – White 19 Male Native American or Alaskan Native 19 Female Other 19 Male Hispanic/Latino – White 19 Male Asian, Asian Indian, or Pacific Islander 20 Female White (not Hispanic) 20 Female Other 20 Female Black or African American (not Hispanic) 20 Male Other 20 Male Native American or Alaskan Native 21 Female Don’t want to respond 21 Female White (not Hispanic) 21 Female White (not Hispanic) 21 Male Asian, Asian Indian, or Pacific Islander 21 Female White (not
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As Writers of Film and Television and Members of the Writers Guild Of
July 20, 2021 As writers of film and television and members of the Writers Guild of America, East and Writers Guild of America West, we understand the critical importance of a union contract. We are proud to stand in support of the editorial staff at MSNBC who have chosen to organize with the Writers Guild of America, East. We welcome you to the Guild and the labor movement. We encourage everyone to vote YES in the upcoming election so you can get to the bargaining table to have a say in your future. We work in scripted television and film, including many projects produced by NBC Universal. Through our union membership we have been able to negotiate fair compensation, excellent benefits, and basic fairness at work—all of which are enshrined in our union contract. We are ready to support you in your effort to do the same. We’re all in this together. Vote Union YES! In solidarity and support, Megan Abbott (THE DEUCE) John Aboud (HOME ECONOMICS) Daniel Abraham (THE EXPANSE) David Abramowitz (CAGNEY AND LACEY; HIGHLANDER; DAUGHTER OF THE STREETS) Jay Abramowitz (FULL HOUSE; MR. BELVEDERE; THE PARKERS) Gayle Abrams (FASIER; GILMORE GIRLS; 8 SIMPLE RULES) Kristen Acimovic (THE OPPOSITION WITH JORDAN KLEEPER) Peter Ackerman (THINGS YOU SHOULDN'T SAY PAST MIDNIGHT; ICE AGE; THE AMERICANS) Joan Ackermann (ARLISS) 1 Ilunga Adell (SANFORD & SON; WATCH YOUR MOUTH; MY BROTHER & ME) Dayo Adesokan (SUPERSTORE; YOUNG & HUNGRY; DOWNWARD DOG) Jonathan Adler (THE TONIGHT SHOW STARRING JIMMY FALLON) Erik Agard (THE CHASE) Zaike Airey (SWEET TOOTH) Rory Albanese (THE DAILY SHOW WITH JON STEWART; THE NIGHTLY SHOW WITH LARRY WILMORE) Chris Albers (LATE NIGHT WITH CONAN O'BRIEN; BORGIA) Lisa Albert (MAD MEN; HALT AND CATCH FIRE; UNREAL) Jerome Albrecht (THE LOVE BOAT) Georgianna Aldaco (MIRACLE WORKERS) Robert Alden (STREETWALKIN') Richard Alfieri (SIX DANCE LESSONS IN SIX WEEKS) Stephanie Allain (DEAR WHITE PEOPLE) A.C.
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The Effect of Exposure to an Agressive Cartoon on Children's Play. INSTITUTION Beaver Coll., Glenside, Pa
DOCUMENT RESUME ED 055 297 CG 006 673 AUTHOR Cameron, Samuel M.; And Others TITLE The Effect of Exposure to an Agressive Cartoon on Children's Play. INSTITUTION Beaver Coll., Glenside, Pa. PUB DATE Apr 71 NOTE 10p.; Paper presented at Annual Meeting of Eastern Psychological Association, New York, N. Y., April 15-17, 1971 EDRS PRICE MF-S0.65 HC-$3.29 DESCRIPTORS *Aggression; *Behavior; Behavior Theories; Learning; Pictorial Stimuli; *Play; *Preschool Children; *Stimulus Behavior; Violence; Visual Stimuli ABSTRACT The authors discuss their replications of 2 prominent studies in the area of modeling aggressive behavior; those of Lovaas and Bandura. In the first, they predicted that, given the same socio-economic background, there would be no differences between black and white children in the amount of aggressive play subsequent to viewing an aggressive cartoon. No significant differences are shown between the experimental and control groups for either blacks or whites. The second study, in which 43 pre-schoolers were divided into 3 subject groups, varied the level of aggressive content by showing a different cartoon to each group. It was assumed that the children exposed to the most aggression would emit the most aggressive responses in a subsequent free play period. Again, no significant differences were found. The authors discuss their inability to demonstrate a previously well-documented effect. (TL) TheEffect of Exposure to cm Aggressive Cartoon on Children's Play' - Samuel M, Cameron, Linda K Abraham, and Jean B, Chernicoff Beaver College A series of studies by Bandura and associates (Bandura, Ross, and Ross, 1961; i963) has indicated that children will model novel aggressive behaviors shown by a mai life, film, or ''cartoon"model , These studies also show that aggressive play behaviors other than the ravel ones being modeled will also show an increase subsequent to the child's viewing an aggressive scene-.
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10 Pre-Game Mistakes
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The Goodland Star-News / Friday, July 6, 2007 5 Like puzzles? Then you’ll love sudoku. This mind-bending puzzle will have FUN BY THE NUMBERS you hooked from the moment you square off, so sharpen your pencil and put your sudoku savvy to the test! Here’s How It Works: Sudoku puzzles are formatted as a 9x9 grid, broken down into nine 3x3 boxes. To solve a sudoku, the numbers 1 through 9 must fill each row, col- umn and box. Each number can appear only once in each row, column and box. You can figure out the order in which the numbers will appear by using the numeric clues already provided in the boxes. The more numbers you name, the easier it gets to solve the puzzle! ANSWER TO TUESDAY’S SATURDAY EVENING JULY 7, 2007 SUNDAY EVENING JULY 8, 2007 6PM 6:30 7PM 7:30 8PM 8:30 9PM 9:30 10PM 10:30 6PM 6:30 7PM 7:30 8PM 8:30 9PM 9:30 10PM 10:30 E S E = Eagle Cable S = S&T Telephone E S E = Eagle Cable S = S&T Telephone Dog Bounty Dog Bounty Family (TV14) Family Jewels Harry Potter: The Hidden Gene Simmons Family Dog Bounty Dog Bounty Flip This House: Con- Flip This House: Little House Confession Confessions Justice: The Brit and the Flip This House: Con- 36 47 A&E 36 47 A&E demned! (TV G) (R) of Horrors (R) (TV14) (R) Bodybuilder demned! (TV G) (R) (R) (R) (N) (R) Secrets (N) (HD) Jewels (TV14) (R) (R) (R) Extreme Makeover: Home Desperate Housewives: Like (:01) Brothers & Sisters KAKE News (:35) KAKE (:05) Lawyer (:35) Paid “Wonderful World of Disney: Monsters, Inc.” (‘01, America’s Funniest Home KAKE News (:35) American Idol Re- (:35) Enter- 4 6 ABC 4 6 ABC Animated) aaa (G) (R) (HD) Videos (TVPG) (R) at 10 wind: CBS 8 to 7 tainment Edition (R) It Was (R) (HD) (TVPG) (R) (HD) at 10 Sports on Program Chased by Sea Monsters Most risky sea predators to Giant Monsters (TV G) Mutual of Omaha’s Wild Chased by Sea Monsters (5:00) “Shiloh” (‘97, Family) In Search of the King Co- Wild Kingdom: King Cobra “Shiloh” (‘97, Family) Michael Moriarty.
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Redalyc.Woody Woodpecker Enjoys Soft Drinks: the Blond-Crested
Biota Neotropica ISSN: 1676-0611 [email protected] Instituto Virtual da Biodiversidade Brasil Rocca, Márcia A.; Sazima, Marlies; Sazima, Ivan Woody woodpecker enjoys soft drinks: the blond-crested woodpecker seeks nectar and pollinates canopy plants in south-eastern Brazil Biota Neotropica, vol. 6, núm. 2, 2006, pp. 1-9 Instituto Virtual da Biodiversidade Campinas, Brasil Available in: http://www.redalyc.org/articulo.oa?id=199114291026 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Woody woodpecker enjoys soft drinks: the blond-crested woodpecker seeks nectar and pollinates canopy plants in south-eastern Brazil1 Márcia A. Rocca2,4 , Marlies Sazima2 & Ivan Sazima3 Biota Neotropica v6 (n2) –http://www.biotaneotropica.org.br/v6n2/pt/abstract?short-communication+bn02606022006 Date Received 08/31/2005 Revised 04/05/2006 Accepted 05/31/2006 2Departamento de Botânica, Caixa Postal 6109, Universidade Estadual de Campinas, 13083-970 Campinas, São Paulo, Brasil 3Departamento de Zoologia e Museu de História Natural, Caixa Postal 6109, Universidade Estadual de Campinas, 13083-970 Campinas, São Paulo, Brasil (www.unicamp.br) 4Corresponding author. Tel: + 55-19-3788 6170; fax: +55-19-3788 6374; [email protected] Abstract Rocca, M.A.; Sazima, M. and Sazima, I. Woody woodpecker enjoys soft drinks: the blond-crested woodpecker seeks nectar and pollinates canopy plants in south-eastern Brazil. Biota Neotrop. May/Aug 2006, vol. 6, no. 2, http:// www.biotaneotropica.org.br/v6n2/pt/abstract?short-communication+bn02606022006.
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Briarpatch” to Film in New Mexico
Michelle Lujan Grisham Governor Alicia J. Keyes Cabinet Secretary Todd Christensen Director FOR IMMEDIATE RELEASE: Bruce Krasnow June 17, 2019 (505) 827-0226, cell: (505) 795-0119 [email protected] The New Mexico Film Office Announces USA Network’s “Briarpatch” to film in New Mexico SANTA FE, N.M. The New Mexico State Film Office today announced that the USA Network television series, “Briarpatch” produced by UCP (Universal Content Productions) and Paramount Television will begin principal photography mid-June through the end of September in Albuquerque. Starring Rosario Dawson, who will also serve as a producer, the production will employ approximately 100 New Mexico crew members and 250-350 New Mexico background talent per episode. “Briarpatch” follows Allegra Dill (Dawson), a dogged investigator returning to her border- town Texas home after her sister is murdered. What begins as a search for a killer turns into an all-consuming fight to bring her corrupt hometown to its knees. The season celebrates the beloved genres represented by Thomas’ book -- a stylish blend of crime and pulp fiction -- while updating his sense of fun, danger and place for a new generation. Based on the Ross Thomas novel of the same name, “Briarpatch” is written for television by Andy Greenwald, who will executive produce along with “Mr. Robot” creator Sam Esmail through his production company Esmail Corp and Anonymous Content’s Chad Hamilton. The series also stars Jay R. Ferguson (“Mad Men,” “The Romanoffs”), Brian Geraghty (“Chicago P.D.,” “Ray Donovan”) and Edi Gathegi (“StartUp”). ### Visit the New Mexico Film Office online at nmfilm.com About Universal Content Productions (UCP) UCP is a premium content studio that operates with a highly curated indie sensibility, while simultaneously leveraging the power and scale of NBCUniversal.
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