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GLAAD Media Institute Began to Track LGBTQ Characters Who Have a Disability
Studio Responsibility IndexDeadline 2021 STUDIO RESPONSIBILITY INDEX 2021 From the desk of the President & CEO, Sarah Kate Ellis In 2013, GLAAD created the Studio Responsibility Index theatrical release windows and studios are testing different (SRI) to track lesbian, gay, bisexual, transgender, and release models and patterns. queer (LGBTQ) inclusion in major studio films and to drive We know for sure the immense power of the theatrical acceptance and meaningful LGBTQ inclusion. To date, experience. Data proves that audiences crave the return we’ve seen and felt the great impact our TV research has to theaters for that communal experience after more than had and its continued impact, driving creators and industry a year of isolation. Nielsen reports that 63 percent of executives to do more and better. After several years of Americans say they are “very or somewhat” eager to go issuing this study, progress presented itself with the release to a movie theater as soon as possible within three months of outstanding movies like Love, Simon, Blockers, and of COVID restrictions being lifted. May polling from movie Rocketman hitting big screens in recent years, and we remain ticket company Fandango found that 96% of 4,000 users hopeful with the announcements of upcoming queer-inclusive surveyed plan to see “multiple movies” in theaters this movies originally set for theatrical distribution in 2020 and summer with 87% listing “going to the movies” as the top beyond. But no one could have predicted the impact of the slot in their summer plans. And, an April poll from Morning COVID-19 global pandemic, and the ways it would uniquely Consult/The Hollywood Reporter found that over 50 percent disrupt and halt the theatrical distribution business these past of respondents would likely purchase a film ticket within a sixteen months. -
Robert Mckenzie, Ph.D
Robert McKenzie, Ph.D. Department of Communication 300 Analomink Street East Stroudsburg University of Pennsylvania, USA East Stroudsburg, PA, 18301, USA Office Phone: (570) 422-3886 Home Phone: 570-424-5051 Email: [email protected] Cell Phone: 570-242-9299 Current Positions Chairperson and Full Professor, Department of Communication (7 tenure-track faculty and 4 adjunct faculty; B.A. and M.A. degrees offered); Department Internship Coordinator; Graduate Coordinator; and University Advisor to WESS Radio, 90.3 FM (1000-watt broadcaster, webcaster, podcaster). Distinguished Professor Award 2012 Recipient of the Distinguished Professor Award (“The pre-eminent faculty rank bestowed by the University upon members of the university faculty who have made outstanding contributions to the academic life of East Stroudsburg University.”). Education Ph.D. (1987-90), Speech Communication, Penn State University; Areas of Study: Global Journalism and Mass Communication, Communication Technology; Rhetoric; Dissertation: "Understanding Information Needs and News Technologies of Pennsylvania Radio Stations: A Field Study." M.A. (1984-87), Speech Communication, Penn State University; Areas of Study: International Mass Communication; Thesis: "Comparing How Americans in Britain and Britons in the United States Access Media for 'Home Country' Information." B.A. (1980-84), Millersville University, Pennsylvania; Major: History; Minor: Business Administration. COURSES TAUGHT East Stroudsburg University of Pennsylvania CMST 111: Introduction to Communication (face -
Mean Girls? the Influence of Gender Portrayals in Teen Movies on Emerging Adults' Gender-Based Attitudes and Beliefs
MEAN GIRLS? THE INFLUENCE OF GENDER PORTRAYALS IN TEEN MOVIES ON EMERGING ADULTS' GENDER-BASED ATTITUDES AND BELIEFS By Elizabeth Behm-Morawitz and Dana E. Mastro This two-part exploratory study utilized a social cognitive theory frame- work in documenting gender portrayals in teen movies and investigating the influence of exposure to these images on gender-based beließ about friendships, social aggression, and roles of women in society. First, a con- tent analysis of gender portrayals in teen movies was conducted, reveal- ing that female characters are more likely to be portrayed as socially aggressive than male characters. Second, college students were surveyed about their teen movie-viewing habits, gender-related beliefs, and atti- tudes. Findings suggest that viewing teen movies is associated with neg- ative stereotypes about female friendships and gender roles. Research examining the effects of media exposure demonstrates that media consumption has a measurable influence on people's per- ceptions of the real world, and, regardless of the accuracy of these per- ceptions, they are used to help guide subsequent attitudes, judgments, and actions. For example, these results have been yielded for view- ing media representations of race,' the mentally ill,^ and the elderly.^ Past research additionally indicates that watching televised gender portrayals has an effect on individuals' real-world gender-based atti- tudes, beliefs, and behaviors."* Based on this research, and the tenets of social cognitive theory, it would be expected that consumption of teen movies would have an analogous influence on audience members' gen- der-based attitudes and beliefs. Despite the popularity of teen movies, the influence of such films on emerging adults has not been examined. -
Game Streaming Service Onlive Coming to Tablets 8 December 2011, by BARBARA ORTUTAY , AP Technology Writer
Game streaming service OnLive coming to tablets 8 December 2011, By BARBARA ORTUTAY , AP Technology Writer high-definition gaming consoles such as the Xbox 360 and the PlayStation 3. But when they are streamed, the games technically "play" on OnLive's remote servers and are piped onto players' phones, tablets or computers. OnLive users in the U.S. and the U.K. will be able This product image provided by OnLive Inc, shows to use the mobile and tablet service. Games tablets displaying a variety of games using the OnLive available include "L.A. Noire" from Take-Two game controller. OnLive Inc. said Thursday, Dec. 8, Interactive Software Inc. and "Batman: Arkham 2011, that it will now stream console-quality games on City." The games can be played either using the tablets and phones using a mobile application. (AP gadgets' touch screens or via OnLive's game Photo/OnLive Inc.) controller, which looks similar to what's used to play the Xbox or PlayStation. Though OnLive's service has gained traction (AP) -- OnLive, the startup whose technology among gamers, it has yet to reach a mass market streams high-end video games over an Internet audience. connection, is expanding its service to tablets and mobile devices. ©2011 The Associated Press. All rights reserved. This material may not be published, broadcast, OnLive Inc. said Thursday that it will now stream rewritten or redistributed. console-quality games on tablets and phones using a mobile application. Users could already stream such games using OnLive's "microconsole," a cassette-tape sized gadget attached to their TV sets, or on computers. -
Android (Operating System) 1 Android (Operating System)
Android (operating system) 1 Android (operating system) Android Android 4.4 home screen Company / developer Google Open Handset Alliance Android Open Source Project (AOSP) Programmed in C (core), C++, Java (UI) OS family Unix-like Working state Current Source model Open source with proprietary components Initial release September 23, 2008 Latest stable release 4.4.2 KitKat / December 9, 2013 Marketing target Smartphones Tablet computers Available language(s) Multi-lingual (46 languages) Package manager Google Play, APK Supported platforms 32-bit ARM, MIPS, x86 Kernel type Monolithic (modified Linux kernel) [1] [2] [3] Userland Bionic libc, shell from NetBSD, native core utilities with a few from NetBSD Default user interface Graphical (Multi-touch) License Apache License 2.0 Linux kernel patches under GNU GPL v2 [4] Official website www.android.com Android is an operating system based on the Linux kernel, and designed primarily for touchscreen mobile devices such as smartphones and tablet computers. Initially developed by Android, Inc., which Google backed financially Android (operating system) 2 and later bought in 2005, Android was unveiled in 2007 along with the founding of the Open Handset Alliance: a consortium of hardware, software, and telecommunication companies devoted to advancing open standards for mobile devices. The first publicly available smartphone running Android, the HTC Dream, was released on October 22, 2008. The user interface of Android is based on direct manipulation, using touch inputs that loosely correspond to real-world actions, like swiping, tapping, pinching and reverse pinching to manipulate on-screen objects. Internal hardware such as accelerometers, gyroscopes and proximity sensors are used by some applications to respond to additional user actions, for example adjusting the screen from portrait to landscape depending on how the device is oriented. -
The Intertwining of Multimedia in Emma, Clueless, and Gossip Girl Nichole Decker Honors Scholar Project May 6, 2019
Masthead Logo Scholar Works Honors Theses Honors 2019 Bricolage on the Upper East Side: The nI tertwining of Multimedia in Emma, Clueless, and Gossip Girl Nichole Decker University of Maine at Farmington Follow this and additional works at: https://scholarworks.umf.maine.edu/honors_theses Part of the Comparative Literature Commons Recommended Citation Decker, Nichole, "Bricolage on the Upper East Side: The nI tertwining of Multimedia in Emma, Clueless, and Gossip Girl" (2019). Honors Theses. 5. https://scholarworks.umf.maine.edu/honors_theses/5 This Research Project is brought to you for free and open access by the Honors at Scholar Works. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholar Works. For more information, please contact [email protected]. 2 Bricolage on the Upper East Side: The Intertwining of Multimedia in Emma, Clueless, and Gossip Girl Nichole Decker Honors Scholar Project May 6, 2019 “Okay, so you’re probably going, is this like a Noxzema commercial or what?” - Cher In this paper I will analyze the classic novel Emma, and the 1995 film Clueless, as an adaptive pair, but I will also be analyzing the TV series, Gossip Girl, as a derivative text. I bring this series into the discussion because of the ways in which it echos, parallels, and alludes to both Emma and Clueless individually, and the two as a source pair. I do not argue that the series is an actual adaptation, but rather, a sort of collage, recombining motifs from both source texts to create something new, exciting, and completely absurd. -
A Character Analysis in Jane Austen's Emma and Amy Heckerling's Clueless Through Intertextuality
SOCIAL MENTALITY AND RESEARCHER THINKERS JOURNAL Doı: http://dx.doi.org/10.31576/smryj.580 REVIEW ARTICLE SmartJournal 2020; 6(34):1286-1297 Arrival : 23/06/2020 Published : 20/08/2020 A CHARACTER ANALYSIS IN JANE AUSTEN’S EMMA AND AMY HECKERLING’S CLUELESS THROUGH INTERTEXTUALITY Jane Austen'nin Emma Ve Amy Heckerlıng'in Clueless’ında Metinlerarasılık Bağlamında Karakter Analizi Reference: Albay, N.G. (2020). “A Character Analysıs In Jane Austen’s Emma And Amy Heckerlıng’s Clueless Through Intertextualıty”, International Social Mentality and Researcher Thinkers Journal, (Issn:2630-631X) 6(34): 1286-1297. English Instructor, Dr Neslihan G. ALBAY Istanbul Sabahattin Zaim University, Foreign Languages Coordination, English Preparatory School, Istanbul / Turkey ABSTRACT ÖZET Based on the interaction between cinema and classical Sinema ve klasik eserler arasındaki etkileşime dayanarak, works, Jane Austen’s Emma and Amy Heckerling’s Clueless Jane Austen’in Emma ve Amy Heckerling’in Clueless adlı enable us to make an intriguing character analysis through eseri, yirminci yüzyılın merceğinden ilginç bir karakter the lens of the twentieth century. In her novels, Austen analizi yapmamızı sağlıyor. Austen romanlarında arazi embraced the themes of love and marriage in a society mülkiyeti, gelir ve sosyal statünün hakim olduğu bir dominated by land ownership, income and social status. She toplumda sevgi ve evlilik temalarını benimsemiştir. 19. dealt with the conflicts and problems arising from the yüzyılda yaşayan burjuvazinin ve orta sınıfın evlilik marriage issues of the bourgeoisie and middle class living in sorunlarından kaynaklanan çatışma ve sorunları ele the 19th century. Like many women writers she was almıştır. Birçok kadın yazar gibi eleştirildi, eserleri bu criticized, her works were not recognized or published sorunlar nedeniyle tanınmadı veya yayınlanmadı. -
Theaters 3 & 4 the Grand Lodge on Peak 7
The Grand Lodge on Peak 7 Theaters 3 & 4 NOTE: 3D option is only available in theater 3 Note: Theater reservations are for 2 hours 45 minutes. Movie durations highlighted in Orange are 2 hours 20 minutes or more. Note: Movies with durations highlighted in red are only viewable during the 9PM start time, due to their excess length Title: Genre: Rating: Lead Actor: Director: Year: Type: Duration: (Mins.) The Avengers: Age of Ultron 3D Action PG-13 Robert Downey Jr. Joss Whedon 2015 3D 141 Born to be Wild 3D Family G Morgan Freeman David Lickley 2011 3D 40 Captain America : The Winter Soldier 3D Action PG-13 Chris Evans Anthony Russo/ Jay Russo 2014 3D 136 The Chronicles of Narnia: The Voyage of the Dawn Treader 3D Adventure PG Georgie Henley Michael Apted 2010 3D 113 Cirque Du Soleil: Worlds Away 3D Fantasy PG Erica Linz Andrew Adamson 2012 3D 91 Cloudy with a Chance of Meatballs 2 3D Animation PG Ana Faris Cody Cameron 2013 3D 95 Despicable Me 3D Animation PG Steve Carell Pierre Coffin 2010 3D 95 Despicable Me 2 3D Animation PG Steve Carell Pierre Coffin 2013 3D 98 Finding Nemo 3D Animation G Ellen DeGeneres Andrew Stanton 2003 3D 100 Gravity 3D Drama PG-13 Sandra Bullock Alfonso Cuaron 2013 3D 91 Hercules 3D Action PG-13 Dwayne Johnson Brett Ratner 2014 3D 97 Hotel Transylvania Animation PG Adam Sandler Genndy Tartakovsky 2012 3D 91 Ice Age: Continetal Drift 3D Animation PG Ray Romano Steve Martino 2012 3D 88 I, Frankenstein 3D Action PG-13 Aaron Eckhart Stuart Beattie 2014 3D 92 Imax Under the Sea 3D Documentary G Jim Carrey Howard Hall -
Listing Statement Cse Form 2A Nextech Ar Solutions Corp
LISTING STATEMENT CSE FORM 2A NEXTECH AR SOLUTIONS CORP. October 24, 2018 TABLE OF CONTENTS GLOSSARY 1 CORPORATE STRUCTURE 3 GENERAL DEVELOPMENT OF THE BUSINESS 4 USE OF AVAILABLE FUNDS 18 SELECTED CONSOLIDATED FINANCIAL INFORMATION 19 DIVIDENDS 20 MANAGEMENT’S DISCUSSION AND ANALYSIS 20 MARKET FOR SECURITIES 20 CONSOLIDATED CAPITALIZATION 21 OPTIONS TO PURCHASE SECURITIES 21 DESCRIPTION OF SECURITIES 22 ESCROWED SECURITIES 23 PRINCIPAL SHAREHOLDERS 24 DIRECTORS AND OFFICERS 24 CAPITALIZATION 28 EXECUTIVE COMPENSATION 32 INDEBTEDNESS OF DIRECTORS AND EXECUTIVE OFFICERS 34 RISK FACTORS 34 PROMOTERS 38 LEGAL PROCEEDINGS 38 INTEREST OF MANAGEMENT AND OTHERS IN MATERIAL TRANSACTIONS 39 AUDITORS, TRANSFER AGENT AND REGISTRAR 39 MATERIAL CONTRACTS 39 INTERESTS OF EXPERTS 39 OTHER MATERIAL FACTS 40 FINANCIAL STATEMENTS 40 SCHEDULE “A-1” – FINANCIAL STATEMENTS SCHEDULE “A-2” – CARVE OUT FINANCIAL STATEMENTS SCHEDULE “B” – MANAGEMENT DISCUSSION AND ANALYSIS GLOSSARY In this Listing Statement, unless otherwise defined herein or unless there is something in the subject matter inconsistent therewith, the following terms have the respective meanings set out below, words importing the singular number include the plural and vice versa and words importing any gender include all genders. “2D” means two dimensional. “3D” means three dimensional. “adMob” is Google’s advertising platform for promoting and monetizing mobile apps. adMob allows app developers to promote their apps through in-app ads, monetize their apps by enabling in-app advertising, and provide intelligent insights through Google Analytics. “Android” means an open-source operating system used for smartphones and tablet computers. “app” means an application, especially as downloaded by a user to a mobile device. -
Disney Channel’S That’S So Raven Is Classified in BARB As ‘Entertainment Situation Comedy US’
Children’s television output analysis 2003-2006 Publication date: 2nd October 2007 ©Ofcom Contents • Introduction • Executive summary • Children’s subgenre range • Children’s subgenre range by channel • Children’s subgenre range by daypart: PSB main channels • Appendix ©Ofcom Introduction • This annex is published as a supplement to Section 2 ‘Broadcaster Output’ of Ofcom’s report The future of children’s television programming. • It provides detail on individual channel output by children’s sub-genre for the PSB main channels, the BBC’s dedicated children’s channels, CBBC and CBeebies, and the commercial children’s channels, as well as detail on genre output by day-part for the PSB main channels. (It does not include any children’s output on other commercial generalist non-terrestrial channels, such as GMTV,ABC1, Sky One.) • This output analysis examines the genre range within children’s programming and looks at how this range has changed since 2003. It is based on the BARB Children’s genre classification only and uses the BARB subgenres of Children’s Drama, Factual, Cartoons, Light entertainment/quizzes, Pre-school and Miscellaneous. • It is important to note that the BARB genre classifications have some drawbacks: – All programme output that is targeted at children is not classified as Children’s within BARB. Some shows targeted at younger viewers, either within children’s slots on the PSB main channels or on the dedicated children’s channels are not classified as Children’s. For example, Disney Channel’s That’s so raven is classified in BARB as ‘Entertainment Situation Comedy US’. This output analysis is not based on the total output of each specific children’s channel, e.g. -
Cutting the Cable Cord
3/11/2021 The views, opinions, and information expressed during this • March 11, 6:30-7:30 PM webinar are those of the presenter and are not the views or opinions of the Newton Public Library. The Newton Public Library • FREE! NO REGISTRATION REQUIRED makes no representation or warranty with respect to the webinar or any information or materials presented therein. Users of webinar materials should not rely upon or construe the Thinking of cutting the cord? What are your options? ChromeCast information or resource materials contained in this webinar as Why and why not do it, Apple TV, Roku alternatives and more sources of entertainment. Sling, Hulu, Netflix legal or other professional advice and should not act or fail to act To log in live from home go to: based on the information in these materials without seeking the services of a competent legal or other specifically specialized https://kslib.zoom.us/j/561178181 professional. Watch the recorded presentation anytime after the 15th or Recorded https://kslib.info/1180/Digital-Literacy---Tech-Talks Presenter: Nathan, IT Supervisor, at the Newton Public Library 1. Protect your computer • A computer should always have the most recent updates installed for spam filters, anti-virus and anti-spyware software and http://www.districtdispatch.org/wp-content/uploads/2012/03/triple_play_web.png a secure firewall. http://cdn.greenprophet.com/wp-content/uploads/2012/04/frying-pan-kolbotek-neoflam-560x475.jpg What is “Cutting the Cord” Cable TV Cord Cutting (verb): The act of canceling your cable or Cable is the immediate answer satellite subscription in favor of a more affordable and obvious choice with the most television viewing option. -
"So Very," "So Fetch": Constructing Girls on Film in the Era of Girl Power and Girls in Crisis
Georgia State University ScholarWorks @ Georgia State University Institute for Women's, Gender, and Sexuality Women's, Gender, and Sexuality Studies Theses Studies 11-19-2008 "So Very," "So Fetch": Constructing Girls on Film in the Era of Girl Power and Girls in Crisis Mary Larken McCord Follow this and additional works at: https://scholarworks.gsu.edu/wsi_theses Recommended Citation McCord, Mary Larken, ""So Very," "So Fetch": Constructing Girls on Film in the Era of Girl Power and Girls in Crisis." Thesis, Georgia State University, 2008. https://scholarworks.gsu.edu/wsi_theses/13 This Thesis is brought to you for free and open access by the Institute for Women's, Gender, and Sexuality Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Women's, Gender, and Sexuality Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. “SO VERY,” “SO FETCH”: CONSTRUCTING GIRLS ON FILM IN THE ERA OF GIRL POWER AND GIRLS IN CRISIS by MARY LARKEN MCCORD Under the Direction of Amira Jarmakani ABSTRACT In the mid-1990s, two discourses of girlhood emerged in both the popular and academic spheres. Consolidated as the girl power discourse and girls in crisis discourse, the tension between these two intertwined discourses created a space for new narratives of female adolescence in the decade between 1995 and 2005. As sites of cultural construction and representation, teen films reveal the narratives of girlhood. The films under consideration serve as useful exemplars for an examination of how such discourses become mainstreamed, pervading society’s image of female adolescence.