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Department of Visual & Media Arts
This is the first of a two-semester course that explores the historical development of the media arts, including the film, broadcasting, and sound recording industries until 1965. Investigates the relationships between economics, industrial history, and social and political systems, and the styles and techniques of specific films and broadcast programs. Special attention is given to the diversity of styles of presentation in the media.Instructors: Andre Puca, Eric Schaefer, Michael Selig, Miranda Banks
This is the second of a two-semester course that explores the historical development of the media arts, focusing on the continuing development of the film, broadcasting, and sound recording industries after 1965, as well as the development of video and digital technologies. Investigates the relationships between economics, industrial history, and social and political systems, and the styles and techniques of specific films and videos, broadcast programs, and digital media products.Instructors: David Kociemba, Jennifer Porst, Miranda Banks, Vinicius Navarro
Investigates the visual language of communication shared among all of the visual arts, emphasizing visual analysis, understanding of materials, the history of style and techniques, and the functions and meanings of art in its varied manifestations. Provides a foundation for subsequent studies in the visual and media arts.
A combination of lectures and hands-on workshops examines the relationships among photography, graphics, audio, film, video, and digital media within the context of cross-media concepts, theories, and applications. Traces the creative process from conception and writing through production and post-production. Students proceed through a series of exercises that lead to completion of a final project, establishing a foundation for advanced production coursework.Instructors: Geoffry Tarulli, Ingrid Stobbe, Jared M. Gordon, Jessie Beers-Altman, Maurice Methot, William Palumbo
This course is not open to Visual and Media Arts majors. Introduces students to single-camera video production. Students learn how to operate equipment as the principles underlying shooting, editing, and online distribution. Emphasis is placed on the traditional stages of preproduction, production and postproduction, but students also examine how video is used in other environments (such as desktop and smartphone platforms).
Explores theoretical and critical approaches to the study of photography, film, television and video, audio, and digital culture. Theories and methods examine issues relating to production and authorship in the media arts, audience reception and effects, political ideology, ethics, aesthetics, cultural diversity, and schools of thought within the liberal arts. Extensive critical writing and reading in media criticism and theory.Instructors: David Kociemba, Donald Fry, Eric Gordon, Jane Shattuc, Jennifer Porst, Ken Feil, Rachelle Dermer, Shujen Wang
Provides a study of the psycho-acoustic perception and analysis of classical and contemporary use of sound in the media. Students identify and define acoustic variables, comparing past and present recordings in all media.Instructor: David Doms
Surveys the aesthetic and technical development of photography from its invention to the 1970's with emphasis on the 20th century. A critical analysis of the medium develops an understanding of the influence and appropriation of photography today.Instructor: Brian McNeil
This course introduces students to the crew and the techniques of single camera narrative fiction production. Emphasis will be placed on organization and the translation of the script into a visual narrative. Students will have the opportunity to hone their production skills on a variety of creative projects. The class is intended to prepare students for advanced-level course work in narrative fiction.Instructors: Jean-Paul DiSciscio, Tom Kingdon
This course introduces students to the crew and the techniques of single camera narrative fiction production. Emphasis will be placed on organization and the translation of the script into a visual narrative. Students will have the opportunity to hone their production skills on a variety of creative projects. The class is intended to prepare students for advanced-level course work in narrative fiction.Instructor: ziad h hamzeh
Introduces the art and technology of nonfiction storytelling through a series of workshops, screenings and hands-on production projects. Emphasizes content development, storytelling strategies and production skills in the context of relevant ethical, aesthetic and social issues.Instructor: Peter Flynn
VM204 - Topics in Media Arts Practice: Introduction to Video Production for Non-MVA Majors (4 Credits)This course is not open to Visual and Media Arts Majors. Introduces students to single camera video production. Topics will include the operation of equipment, the principles underlying shooting, and online distribution. Emphasis will be placed on the traditional stages of preproduction, production and postproduction, but you will also examine how video is used in other environments (such as desktop and smartphone platforms). Students will complete several individual and group projects.Instructor: Kori Feener
From documentary and documents of performances to the highly constructed imagery utilized by contemporary artists, students explore diverse subjects, styles, and methods that cover portrait, object, city, memory, appropriation, landscape, and narrative. The course combines weekly slide talks with theory and criticism reading discussions, field trips to exhibitions, visiting artists, research papers, and a final production project and exhibition.Instructor: Sarah Pollman
Comedy has the broad ability to both illuminate and shape the human experience, and as times change so have the ways we apply this agent of laughter. This class explores the various forms of comedy from ancient Greece to modern 21st century America. Students learn about the role comedy plays in society, and how it evokes dialogue and social change through literature, plays, film, television and performance. ?Good taste? and ethics of comedy are also considered and discussed. As a final project, students are required to complete a research paper in conjunction with the American Comedy Archives.Instructor: Ken Feil
Explores Renaissance and Baroque art, beginning with Proto-Renaissance works in the 14th century, and concluding with the Late Baroque in the later 17th/early 18th century. Students study major works and artists characterizing these movements, and the critical treatment they received over the centuries.Instructor: Dr. Sarahh Scher
Chronological study of Western contemporary art after World War II, starting with Abstract Expressionism. Considers the major styles, works, and artists, investigating numerous forms of European and American contemporary art, and their attendant criticism, in a broad contextual framework. Among the movements studied are: Pop Art, Minimalism, New Realism, Postmodernism, Conceptualism, Neo-Expressionism, Graffiti, Photorealism, Earth Works, and Performance Art.
Investigates arts of the East Asian region, particularly the areas of present-day China, Korea, and Japan. Artworks are contextualized within indigenous traditions such as Confucianism and Chan/Zen and examined from a diversity of critical perspectives. Considers issues of identity, religion, politics, and modernization, as well as contemporary artworks such as installation and performance.Instructor: De-nin Lee
Investigates arts of indigenous civilizations of the North, Central, and South Americas and the Pacific before and after the arrival of Europeans. Addresses the role of art in both indigenous and adapted European traditions, and from political, religious, and economic viewpoints. Considers issues of conquest, cultural hybridity, and contemporary artistic and museum practices. Fulfills the Aesthetic Perspective and Global Diversity requirements.Instructor: T. Amanda Lett
Studies the writing of the short subject within the genres of fiction, nonfiction, and experimental concepts and scripts (including animation). Scripts range from 3 to 15 minutes and are suitable for production within the budget and time constraints of an Emerson College class. Students complete comprehensive revisions of their work.Instructors: Cornelius Murphy, Diane Pansen, Diane Pontius, James Macak, Marc Weinberg, Nancy Salzer, Steven Grossman, William Dreyfus
Examines writing for television in a variety of formats, with a predominant emphasis on situation comedies and drama. The elements of each genre are analyzed, challenging students to find their own unique "voice," and new and innovative ways to write stories within established formats. Also covered are reality television and children's television, story outlining, and script formatting. Each student writes a first-draft script of an existing sitcom or drama.
Introduces the basics of non-synchronous 16mm filmmaking, including camera operation, principles of cinematography and lighting for black-and-white film, non-sync sound recording and transfers, and picture and sound editing.Instructors: Asher Coffield, Gautam Chopra, John Gianvito, Korbett Matthews, Lynne Siefert, Nicolas Brynolfson, Warren Cockerham
Introduces the technical, conceptual, and procedural skills necessary to successfully complete a short double-system sync-sound 16mm film, including pre-production, production, and post-production procedures and techniques.Instructors: Gautam Chopra, Jeffrey Phelps, Korbett Matthews, Nicholas Manley, Pamela Larson
Introduces single-camera video production. Students learn the equipment and techniques used in single-camera field production and post-production, writing, and producing a variety of projects, edited in digital non-linear mode.Instructors: Roberto Mighty, Tatyana Bronstein
Introduces studio television practice. Students learn the principles of pre-production, production, and post-production for the studio as well as control room procedures. Students prepare their own multi-camera, live-on-tape studio productions.Instructors: Bavand Karim, Tom Kingdon
Introduces studio television practice. Students learn the principles of pre-production, production, and post-production for the studio as well as control room procedures. Students prepare their own multi-camera, live-on-tape studio productions.Instructor: Bavand Karim
Introduces audio physics, sound principles,and the theory and practice of audio recording and mixing. Emphasis is on concept development for sound production, signal routing and the mixer console, analog and digital audio recording, and editing techniques.Instructors: Elizabeth Fausak, John Krivit
Intensive study in the theory and practice of field/location and studio audio recording for film, video, and television. Covers techniques in the use of field/studio recorders and mixers, microphones, boom poles, and shot blocking. Also covers tape-based and hard-disk digital recorders, and time-code synchronization management.Instructor: Mark van Bork
Introduces the theory and practice of interactive media. Stresses the conceptual, aesthetic, and technical concerns of interactivity. Technologies covered are HTML, CSS, and Javascript. Additional topics include semantic web design and development, graphics and imaging, interface design, user experience, project management, and the mobile web. Emphasis is on making creative works.Instructors: David Kelleher, Jeffrey Soyk
The first course of a two-course sequence, introducing students to the fundamentals of three-dimensional modeling and animation, and preparing them for the second course, VM 363 Advanced Computer Animation. Students learn to model, texture objects, compose and light scenes, animate, and add dynamics, as well as render animations into movies and compositing audio, titles, and credits in post-production.Instructors: Anya Belkina, John Craig Freeman
Introduces basic techniques in drawing, exploring the use of line and image in contemporary art. The language of drawing in contemporary art and architecture will inform the practice of drawing.Instructor: William DeWolf
Imparts key drawing skills required in pre-visualization, concept art creation, set design, storyboarding, two-dimensional media production, and post-production. Develops students' abilities to think spatially, whether constructing a plan for a set or depicting a character in action. Also focuses on anatomy, locomotion, and communication possibilities of the human form.Instructor: Anya Belkina
Introduces the fundamentals of black-and-white photography by combining darkroom techniques with the latest digital processes. Essential comparisons between the two methods are explored by learning camera controls, film development to darkroom printing, digital capture to print workflow, and through the hybrid combination of these techniques. Critiques of student work develop an aesthetic and conceptual understanding of the creative process. Students must use cameras with manually adjustable speed and aperture.Instructors: Camilo Ramirez, Jane Akiba
Introduces students to game creating that explores the fundamental elements of games, emphasizing non-digital methodologies and rapid prototyping in a hands-on environment. Students engage with and make games as entertainment and communication tools, developing an understanding of play and how to induce it in others.Instructor: Sarah Zaidan
Instructor: Paul Turano
This course will examine all matters related to Media and Entertainment Law including, issues in the Music Business Industry, Intellectual Property, and Copyright and Trademark counseling and representation. It will also handle issues regarding Strategic planning and Marketing in a growing Social Media and Technology-related industry, controlling the use of an Artist?s image including the Right to Privacy and Right of Publicity, Consultation on IP rights and clearances in the development of motion pictures, Corporate formations and planning as they pertain to the industry, and all general business contracts and matters related therein.Instructor: Jerrold Neeff
An examination of the historical, socioeconomic, and ideological context of film production, distribution, and exhibition of post-colonial cinemas that explores and challenges 20th century Hollywood and Western notions of identity, narrative, history, and oral traditions. Films viewed are from Africa, the Caribbean, South America, the United Kingdom, and the United States. STUDENTS WHO HAVE ALREADY TAKEN VM301, POST-COLONIAL CINEMA MAY NOT TAKE THIS COURSE.Instructor: Claire Andrade-Watkins
Examines the dramatic shift in meaning and processes of contemporary communication by investigating the social, artistic, economic, and political implications of using digital ways of working. Topics include the Internet and the web, cyberspace and censorship, games, digital film and video, multimedia and interactivity, virtual reality, person-machine interfaces, and globalization considerations.Instructors: Eric Gordon, Sarah Zaidan
Examines the history and theory of documentary media production, with attention to the economic, technological, ethical, and aesthetic concerns of documentarians.Instructors: John Gianvito, Vinicius Navarro
Examines the history and theory of experimental and avant-garde film, video, and other moving image practices and their connections to broader art and social movements. Through extensive reading and viewing, students investigate avant-garde and experimental cinema form, style, and content as well as historical and contemporary filmmakers' production methods and distribution networks in film communities and the art world.
Throughout cinema's history, numerous filmmakers have sought to harness the power of the medium and to channel it in the service of political and social change. Have they made a difference and by what measure and what strategy: Surveying fiction and documentary, commercial and independent cinema, features and shorts, this course aims to offer a wide-ranging examination of the ways directors around the world have employed their art and their craft in the pursuit of fostering social justice.
Looks at films from various Latin American countries, examining both popular and artistic traditions that have developed since the early twentieth century. Best known for the innovative film movements of the 1960s, Latin American cinema has a history that goes back to the silent era and continues today in the hands of a new generation of filmmakers. This course focuses on some key moments in this history, while also exploring concepts such as colonialism and post-colonialism, cultural imperialism, Third World filmmaking, transnational cinema, and globalization.Instructor: Vinicius Navarro
The focus of the course is area of Boston's 19th-century commercial and cultural center -- now in Emerson College's backyard -- and depicted in a series of strip views. Following the footsteps of a cast of historic figures that include a prominent artist, an editor, an emigre architect, an Irish politician, an actress, and an African-American abolitionist, we will animate these streetscapes with 19th century images, advertisements, and written accounts to show Boston as a dynamic center of culture and consumption. Final projects will include websites and walking tours that show what these men and women experienced in this section of the city, primarily with their eyes, but to the extent possible, with their other senses as well.Instructor: Judith Hull
Studies a selected topic in art history. Emphasizes critical analyses of artworks with respect to their aesthetic, historical, sociocultural, philosophical and/or political contexts. Image lectures, museum and/or gallery visits, reading, class discussion, and project activities may be utilized to engage students in the material. May be repeated for credit if topics differ.Instructor: De-nin Lee
Examines the fundamentals of writing for narrative feature-length film. Investigates structure, character, conflict, scene writing, and dialogue, taking students from ideation through to the development of a detailed outline. Students write the first 25-30 pages of a screenplay.Instructors: Christopher Keane, Diane Lake, Marc Weinberg, Weiko Lin
Examines writing television comedy with an emphasis on sitcoms. Areas of study also include sketch writing and writing for late-night TV. Students learn how to writie physical comedy, how to write for existing shows and characters, sitcom structure, format, and joke writing. Each student writes a script for an existing sitcom that will be workshopped.Instructor: Manuel Basanese
Examines writing for primetime television drama, including study of the history of television drama and the difference between plot-driven dramas and character-driven dramas, writing effective protagonists and antagonists, and writing for existing dramas and characters. Students write a script for an existing primetime television drama that will be workshopped in class.
Studies a given genre from the perspective of the screenwriter. Working in a specific genre, students write a treatment, an original outline for a feature film, and up to the first half of a script in the specific genre. Honing critical skills, students engage in analytical and aesthetic discourse about their own work, as well as material written by others. May be repeated for credit if topics differ.
Examines writing for primetime television drama, including study of the history of television drama and the difference between plot-driven dramas and character-driven dramas, writing effective protagonists and antagonists, and writing for existing dramas and characters. Students write a script for an existing primetime television drama that will be work shopped in class.Instructor: Mark Saraceni
From Fritz Lang?s M to Strangers On A Train, to Se7en and Black Swan, thriller, mystery and suspense movies continue fall among the most popular genres. This class will trace genre commonalities, studying theory, form and content as well as narrative strategies. In this course, we will move beneath the surface of writing technique to study and explore the underpinnings and the expectations of the thriller, mystery and suspense genres. Issues of pacing, timeline, antagonist and protagonist psychology and dramatic tension will be considered. Students will learn how to write with high stakes stories with maximum tension and to take audiences to their emotional and psychological edge. An original outline for a feature film, character bios and a minimum of thirty pages of the screenplay will be written.Instructor: Jean Stawarz
Focuses on the process of analyzing material from another medium (e.g., novels, plays, comic books) and translating into a screenplay. Students write one original first act of a public domain property, as well as one analytical paper.Instructor: Stephen Glantz
Examines how to write comedy for late night television, with a heavy emphasis on joke writing, monologue writing, sketch writing, current events and satire. In addition to working on individual assignments, students with also learn how to write effectively as a team. The final project will require students to collectively create and write an innovative show designed for late night television.Instructor: Hassan Ildari
This is an intense workshop in producing video shorts of 30-60 seconds. Students will learn to produce compelling stories in very short form ? stories that connect emotionally with their audience and cover topics of contemporary importance: the environment, alternative energy, sustainability. Students will research what makes the short format work, how and why some videos succeed and others don?t, and will come up with a social marketing plan. Working in small teams, students will compete for a $25,000 scholarship that comes from NRG eVgo, a corporation partnering with Emerson to explore how to best communicate to a new, green-oriented audience: early adopters of electric vehicles, millennials -- young people brought up on YouTube and GoPro videos. The competition deadline is December 1, 2015.Instructor: Bob Nesson
This course introduces students to the work of the production designer, the creative individual responsible for the overall "look" of a production. Topics include: developing and implementing the design concept; developing strategies for working on location and in a studio or sound-stage; and creating or obtaining sets, props and other design elements.
From Hollywood to independent and world cinema, Film News, Review, and Feature Writing examines how film journalism is practiced across an array of media with an emphasis on print and online outlets. Students will acquire a working knowledge of how film-related news, reviews, and feature stories are pitched, assigned, researched, reported, edited, and published. Discussion will include the history of film journalism as well as career paths in film journalism today. Class exercises foster critical and creative thinking as well as the integration of multimedia elements, including audio, video, still photography, and social networking.Instructor: Bavand Karim
Introduces students to the elements of running a successful art house cinema. This course will offer a combination of lectures, opportunities to shadow various cinema agents (working in projection, programming, print traffic and promotion) and article readings on the current and constantly changing field of cinema exhibition. Students will be spending one night per week working in the cinema and experiencing the challenges and rewards of creating a communal movie viewing environment. Course work includes weekly journals including reading responses, a short research paper and will culminate in a project proposed by the student according to their area of interest. Experiential hours will be scheduled on Tuesday?s and/or Thursday?s form 6:00-10:00 pm. Prerequisite: Permission of the instructor required, e-mail email@example.com: Anna Feder
This course introduces students to the work of the production designer, the creative individual responsible for the overall "look" of a production. Topics include: developing and implementing the design concept; developing strategies for working on location and in a studio or sound-stage; and creating or obtaining sets, props and other design elements.
Introduces the budgeting and logistical organization of film and television productions, reviewing the roles of Associate Producer, Production Unit Manager, First Assistant, Second Assistant Location Manager, and other members of the producer's and director's teams.Instructor: Amy DePaola
Intermediate-level 16mm production workshop in the use of unorthodox, non-computer driven methods and processes for developing and producing motion pictures. Provides an overview of historical methods of formal exploration of the basic materials of film as a projection medium, including camera-less filmmaking, direct animation, and loop projections, as well as alternative mechanical processes such as xerography, hand-process, and alternative-camera tools and techniques. Primary emphasis is on creative invention and exploration.
Registration for Non-tuition credits takes place after participation is confirmed by the InstructorInstructor: Jean Stawarz
Introduces the art of inventing sounds and composing soundtracks for visual media such as film, video, computer animation, and websites. Focus is on audio post-production and the roles of the supervising sound editor and the sound designer. Post-production techniques include sound recording, sound editing, and sound mixing in stereo and surround sound.Instructor: Pierre Archambault
Explores the principal tools of the professional audio production studio and how they can be used for creative productions. Includes instruction in multi-track recording and sound processing equipment.Instructor: Mark van Bork
Covers the practice and art of motion graphics and visual effects, including the design process, artistic concepts, and technologies. Production techniques range from title sequences for film, to compositing of real and virtual worlds and a myriad of digital time-based art forms. Students make a series of projects using post-production and compositing software.Instructors: Allyson Sherlock, James Sheldon
The second course in the two-course computer animation sequence, introducing students to advanced three-dimensional modeling and animation techniques and preparing them for independent computer animation production work. Continues to develop skills acquired in computer animation, including modeling, texturing objects, composing and lighting scenes, animating, dynamics, rendering, and post-production compositing.Instructor: Ezra Cove
Provides students with the fundamentals of game design and theory. Students learn to create and import assets, develop objectives, script behaviors and action, and build game levels. Students complete the course with an original portfolio-ready single player game.Instructor: John Craig Freeman
An intermediate-level course in black-and-white photography designed to explore a variety of "ways of seeing" as well as demonstrate techniques that further enhance the photographic image. Assignments build on one another (tone, time, frame, point of view, scale, and sequence). Critical viewing and seeing as well as guest artists and gallery visits are encouraged as students begin to form their personal photographic vision.Instructors: David Akiba, Lauren Shaw
A hands-on production class created especially for the photography student who is interested in the digital darkroom. It is designed to give students a basic introduction to the elements of digital capture, manipulation, and output. The course addresses the digital tools within the context of the aesthetics of photography. Photoshop is used as another photographic tool.Instructor: Camilo Ramirez
Focuses on strategic thinking, planning, organization, and implementation of media projects from conception (pre-production) through release/distribution/exhibition (theatrical, non-theatrical, digital, web). Includes acquiring fundamental skills and a working knowledge of business math, business plans, intellectual property and copyright basics, grant writing and resources, and current trends in advertising, marketing, and press package materials.Instructor: Maria Agui Carter
Fosters an exploratory approach to making media projects by providing unorthodox conceptual frameworks in which students conceive and execute short projects using both conventional and unconventional acquisition devices in a variety of media. Students work individually or collaboratively throughout the course to develop ideas and acquire material for assignments.Instructors: Kathryn Ramey, Robert Todd
Department Permissin RequiredInstructors: Jeffrey Phelps, Robert Patton-Spruill, ziad h hamzeh
Develops skills in directing actors in dramatic performances for the screen. Students are taken step by step through the directing process with a particular emphasis on research and visualization, as they learn how to plan and direct narrative sequences. Classes will be offered in conjunction with Acting for the Camera classes in Performing Arts.Instructor: Theodore R. Life Jr.
Continues to explore interactive media, including consideration of conceptual, aesthetic, and technical concerns. Technologies covered include interactive web elements, databases, mobile development, and an introduction to programming. Emphasis is on making creative works.
Furthers understanding of and ability to work with medium- to long-format post-production processes through editing assignments in film and video, along with critical examination of completed motion pictures.Instructors: Allyson Sherlock, Daniel Gaucher, Laurel Greenberg, Mark D. Chesak, William Anderson
Develops skills necessary to produce documentary productions in video or film. Covers production processes from story development through all the production phases. Practical considerations of production are balanced with theoretical debates on the legal and ethical responsibilities of those who document others.Instructors: Julie Gustafson, Marc Fields
Introduces basic elements of the aesthetics, technology, and craft of cinematography and videography. Students gain a working knowledge of 16mm and digital video cameras, as well as basic lighting design and equipment, with an emphasis on crew relations and organization. Includes a comprehensive exploration of the work of significant cinematographers.Instructors: John Hoover, Joseph Kolbe, Mo Flam, Nicholas Manley
Copyright is the legal foundation that gives value and property rights to any creative work. This includes music as well as books, films, television shows, choreographed work, architectural designs, plays, paintings, maps, photographs, video games, and computer software. Students look at the history, development, and purpose of copyright and other intellectual property law. They also explore the purpose and value of fair use and of the public domain, and alternative views of copyright such as the ?Creative Commons.?Instructor: Barry Marshall
Introduces students to the work of the production designer, the creative individual responsible for the ?look? of production. Topics include: developing and implementing the design concept, strategies for working on location or sound stage, and collaboration with the cinematographer, art director and set decorator. The work of notable production designers will be considered. Class projects and actual production work combine theory with practice.
Over the past few years, a number of online platforms have emerged for the digital distribution and theatrical exhibition of independent films. Some of these are crowdsourcing sites?like Gathr, Tugg and Open Indie?for what is being called theatrical-on-demand viewing. Other sites, like NoBudge and Simple Machine are curation platforms for digitally archiving, promoting and distributing (primarily for non-theatrical viewing) independent films, most of which are never screened for public audiences after they play at festivals. These and many other platforms, like Indies Lab, Distribber, Vyer, Fandor and others represent a growing and potentially thriving network of alternative outlets for the digital exhibition, distribution and curation of independent film. This course includes an examination of such platforms/networks and the filmmakers who have exploited them in recent years to create what independent film producer Ted Hope calls a ?truly free film culture.? An examination of American independent film history, including the evolution of the label?from ?independent,? to ?indie? to ?indiewood??provides crucial context for understanding the current crisis in film distribution and why such platforms have arisen in the first place.Instructor: Andre Puca
This course will use the career of Joss Whedon to introduce students to the variety of positions in the entertainment industry and their potential for fulfilling and creative work. Whedon?s career spans the many production lines in the American Dream Factory: TV series staff writer, script doctor, film screenwriter, TV creator in a wide variety of genres, Internet series creator, comic book writer and creator, niche genre film director, and blockbuster filmmaker. By examining his work at various stages, students will better understand auteur theory, modern industrial entertainment production, and artistic production across media. Works covered include: Roseanne, Alien: Resurrection, Buffy the Vampire Slayer as a film and TV series, Angel, Firefly and Serenity, Dollhouse, The Cabin in the Woods, The Avengers, Much Ado About Nothing, Buffy: Season Eight, and Astonishing X-Men.Instructor: David Kociemba
In his review of Bitter Victory (1958), Jean-Luc Godard declared: "the cinema is Nicholas Ray." In his study The American Cinema: Directors and Directions 1929-1968, Andrew Sarris placed Ray beneath the "Pantheon Directors" in a lovely named but secondary grouping he called "The Far Side of Paradise." This course will dive into just such nuances from this fascinating period of film criticism and cinephilia (the 1950s and 1960s). By examining the French response (Bazin and Cahiers) to the American cinema (mainly of the 1940s and 1950s), and by looking at films by directors like Ray and Howard Hawks, we will explore the French influence on American and British critics.Instructor: Barry Marshall
The objective of this course is to survey the politics and aesthetics of the moving image in order to gain a better understanding of contemporary art strategies and methods. In this course students will have the opportunity to analyze influential art videos, films and theory, in order to learn new ways of seeing and enhancing their visual literacy. Students will also have the opportunity to work on short video projects to define and express their own desired aesthetic.Instructor: Maria Zervou
Although we like to call it American TV, television is global. We need rethink the dominance of American TV in an international context. For example The Voice, American Idol and Big Brother are not American programs. They are Americanized versions of international formats. National and regional distinctions exist but television companies must have an international focus in order too survive. The first objective of this course is that the students become global citizens by exploring what globalization means. The second objective is to acquaint students with television across the world and how it inter works. Third we will come to understand how systematically different national networks such as China?s CCTV, Britain?s BBC, and US?s ABC are. And last analytical tools will be introduced to help students to think about the media and their social and economic contexts on a conceptually complex level. Finally, the course aims to help students think and write logically and clearly about the media.Instructor: Jane Shattuc
Examines various topics in media arts in seminar format, with emphasis on students' oral and written presentation of material. Course may be repeated for credit if topics differ.Instructor: Maria Agui Carter
From ?The Musketeers of Pig Alley? (1912), to the classic Warner Bros. movies of the 1930s, to The Sopranos and recent releases such as Gangster Squad (2013), the gangster film has been one of the American entertainment industry?s most enduring genres. This course will track the development of the gangster film in the United States from its inception in the 1910s to the present. In addition to exploring a variety of classic and lesser-known films and television shows, we will examine how the genre has contributed to the discourse on a variety of issues including crime and punishment, race and ethnicity, the changing urban landscape, immigration policy, and representations of the ?American Dream.? All students will engage in an in-depth research project.Instructor: Eric Schaefer
Amid the death of the sunny idealism of the 1960s counterculture and the decline of the studio system, a new age of Hollywood filmmakers led an awakening of cinema culture. These artists assaulted, revised and reexamined the genres that formed the bedrock of Hollywood?s economic and aesthetic success. This course will explore this ?Hollywood Renaissance? through the works of filmmakers like Arthur Penn, Robert Altman, Martin Scorsese and many others, and how the radical ideas of this era became mainstreamed into American life and culture.Instructor: Matthew Noferi
From the late 1910s until the coming of sound in the late 1920s, the Hollywood film industry reached unprecedented commercial and artistic success. SILENT HOLLYWOOD chronicles the development of the industry during x this crucial ten-year period and examines the careers of many of its key filmmakers?among them Charles Chaplin, Frank Borzage, Buster Keaton, and King Vidor. Films and filmmakers will be studied in the context of the social, historical, economic factors that gave rise to the Hollywood film industry. Students will be expected to perform original historical research and detailed film analyses.Instructor: Kelly Misata
VM402 - Seminar in Media Arts Topics: Animation Histories: Jules Engel and Experimental Animation (4 Credits)Through lectures, screenings, research and critical writing, we will study the European roots of experimentation in animation history leading to Walt Disney's Fantasia. Jules Engel (1909-2003), an historical linch-pin inside early animation industry in America, substantially changed the lens for understanding a cinematic history in animation, the role of higher education in fostering critical art histories, and the development of a singular mode of cinematic art in America, experimental animation. This is a research-intensive, critical writing-intensive and critical thinking-intensive seminar in animation history that culminates in the development.Instructor: Janeann Dill
This course will survey queer film and video from social-historical, aesthetic, and theoretical perspectives. Subjects include: Weimar German films (among the first lesbian and gay films); classical Hollywood and queer fandom, authorship, and stereotyping; subcultural coding and camp sensibility; the 1960s Underground cinema movement; network television and Hollywood films of the 1960s and 1970s; lesbian and gay liberation cinema of the 1970s; the AIDS activist video movement and the New Queer Cinema and Video movement of the 1980s and 1990s; LGBTQ representations on television in the 1990s and 2000s; and transgender films and television programs of the 2000s.Instructors: Eric Schaefer, Jane Shattuc, Janeann Dill, Ken Feil, Pierre Archambault
Provides a study in a selected area of art and art history with emphasis on the development of analytical and theoretical approaches to the understanding of works of art. Presentation of independent research and participation in the evaluation of the research work of seminar members is expected. Fulfills the Aesthetics perspective of the General Education requirements. Course may be repeated for credit if topics differ.
This course will survey the development of new media art surveying the historical new technology art work in the early twentieth century, then focusing on the post-World War II period through to contemporary multimedia and digital visual art. This course will be divided into two parts. During the first half we will learn about historical new media art from the early twentieth century through the post-World War II period, the so-called Art & Technology movement. Then, the second half will be an extended research project on contemporary new media and digital art.
This course surveys African-American visual artists from the American Revolution to the Harlem Renaissance of the 1920s, examining slave crafts, the influence of the slave system on early African-American portrait painters, the blossoming of African-American art with Abolitionist patronage, and the response to pervasive racial discrimination following Emancipation.
An exploration of modern and contemporary Latin American Art in its political, social and cultural contexts. The course is divided into four parts: 1) Reality, Politics and Culture: The Mexican Muralists; 2) The Fantastic and Beyond; 3) Archetypes: Icons, Images and Symbols in Latin American Art; and 4) Contemporary Visions and Border Crossers. Our study centers on the work of important artists who represent identity, culture, and politics as the complex and multifaceted expression of the experience of living within and between nations and cultures in an age of globalization. Through lectures, videos, slide presentations, artist talks, discussions, student research presentations and workshops, we will explore the common themes, disparate perspectives and changing visions of artists from the "other" Americas.Instructor: Mirta Tocci
A historical approach to the development of American film comedy explores theories of comedy and their value to the critical interpretation of comic films. Also considers the varying ways spectators are addressed, and the impact of performers and directors on various comedy styles.Instructor: Michael Selig
Asian "national" cinemas are examined and problematized in the contexts of media and economic globalization, including: the politics of transnational film practices; issues surrounding filmic representation and diasporic identities; the construction and negotiation of national, gender, and genre differences; local-regional-global dynamics; and questions of the postcolonial in Asian contexts.Instructor: Shujen Wang
Explores various aspects of media arts practice. Course may be repeated for credit if topics differ.Instructors: Linda Reisman, Peter Flynn
VM420 - Topics in Media Arts Practice: Brand Films: Video Production for the Web and Broadcasting (4 Credits)This course will provide students a hands-on opportunity to understand and participate in new forms of commercial storytelling that are emerging in the digital media world. You'll learn the business dynamics and requirements that are essential to profitability and how marketing, creative, production and post-production work collaboratively to bring great work to life. We?ll examine the work created by today's leading digital media producers and we?ll put what we discover to use as you work collaboratively to create and produce branded narratives of your own. Cross-listed with MK371-01.Instructor: Michael Jacobs
VM420 - Topics in Media Arts Practice: Studios and Independents: Navigating the Motion Picture Industry (4 Credits)This course provides an in-depth examination of the mechanics of the contemporary motion picture industry and is ideally suited for seniors prior to graduation or prior to attending the LA program. Topics covered include exploring the organizational structures and hierarchies of studios and production companies, examining how executive and staff positions function and what projects are acquired, developed and distributed; understanding customary industry terminology and references; how to work with talent and literary agencies, management companies and entertainment attorneys; and examining the role of guilds for above-the-line talent. The course will also explore how opportunities within the industry are expanding and changing --particularly in the form of theatrical film--and will help to prepare students for the landscape which is continually evolving.
The course will allow students to study the screenplays of a variety of film musicals from the beginning of the genre to the present. In addition to focusing on the writing of the musical film, the manner in which song assists in telling the story will be of particular interest. Working in teams of two, students from Emerson will complete an outline and first act of an original screenplay, and music students from Berklee will compose the songs that will help tell that story. The semester will culminate in a staged reading, with music, performed by students from both Berklee and Emerson. Prequesites: Junior standng and permission of the instructor. Students must email email@example.com a PDF version of a writing sample - play, screenplay or teleplay up to 15 pages in length for consideration. Students from every department, who are interested in writing, are invited to apply.
Examines how to create a television series, including developing an original premise, and writing convincing, multi-dimensional characters, and intriguing, character-specific dialogue. Students write an entire television pilot script to be workshopped in class, along with a pilot package that includes a logline, series synopsis and a 13-week episode guide with character and story arcs.Instructors: James Macak, Jean Stawarz, Martie Cook
Working from detailed outlines developed in VM 320 Writing the Feature Film, students complete a first draft of a feature-length screenplay. Students read each other's work, write a critical analysis of each segment, and engage in discussion of aesthetics, craft, and form.
Provides the opportunity for specialized work in fiction television genres that include a studio component, such as drama series, soap operas, and situation comedies. Students create projects and produce, direct, light, and crew them.Instructor: Theodore R. Life Jr.
Provides the opportunity for specialized work in nonfiction multi-camera television genres, including talk shows, live performance, and public affairs programming. Emphasis is on designing, producing, directing, lighting, and studio crewing.Instructor: Eric Handler
Advanced studies in audio post-production, with emphasis on expanding students' conceptual framework and refining creative audio post-production skills in surround sound mixing and applications in film, video, and digital media.Instructor: Elizabeth Fausak
Explores the concept of the "avant-garde" not as a fading modernist construct, but as a creative tool in contemporary sound art practice. Through examination and modeling of both familiar and obscure works, students cultivate novel strains in their creative voices. Investigates issues related to process (indeterminacy, defamiliarization, stochastic methods, and phase shift) as well as the social aspects of outsider art, subversion, and provocation.Instructor: Maurice Methot
Provides the foundation for an intense photographic investigation of an issue-cultural, political, ideological, or personal. Develops greater competence in negative making and black-and-white printing, with emphasis on strongly informative images. Assignments require the student to discover narrative possibilities while creating strong individual images. The course's technical components are supplemented by considerations of the history of documentary photography.Instructor: Lauren Shaw
Provides an opportunity for senior VMA students working in computer animation, interactive media, motion graphics, digital photography, networked performance, audio, or other forms of new media to create advanced portfolio work. Projects, both collaborative and individual, are developed in the context of peer-based critique and analysis. The focus is on using new technologies for creative self-expression. Students complete the course with an original portfolio-ready project. May be repeated once for credit if projects differ.Instructor: John Craig Freeman
Advanced documentary production workshops in varying areas of professional practice. Topics may include personal documentary, filmmaking and the environment, or social and community action; there may be future offerings proposed under this designation (subject to review of the curriculum committee)- for example, a course in Developing Cross-Platform Documentary. May be repeated for credit if topics differ.Instructor: Laurel Greenberg
Explores the ways in which a creative producer engages with a project from conception through completion with a focus on the development process. It will discuss original ideas, source material (books, stories), pitching, creating log lines, script coverage, the notes process and assembling the creative team. It will cover customary business affairs including chain-of-title, copyright, talent and option agreements. Key issues in finance, marketing and distribution will also be examined.
This advanced-level 16mm film and video post-production workshop is designed to assist in the editing and completion of students' advanced-level projects. Technical procedures as well as aesthetic and conceptual issues endemic to post-production of motion picture projects are examined with an eye to their practical application to students' work on their projects.Instructors: Brian Truglio, Daniel Gaucher
Offers advanced-level exploration of aesthetics, technology, and craft of cinematography and videography. Students gain a working knowledge of the advanced level of cameras in the department and are expected to develop complex lighting and shot designs. Emphasis is on aesthetic use of the technical elements of motion picture acquisition. Includes significant collaboration with other courses in the curriculum including BFA and BA Production Workshop.Instructor: Harlan Bosmajian
Note: Registration for this course requires completion of one specialization-level production course and approval by the faculty BFA committee based on application.Instructors: Cristina Kotz Cornejo, James Sheldon, Paul Turano, Peter Flynn
Provides the means for students to produce portfolio work. BFA students are required to take two consecutive semesters of the workshop, 4 credits per semester. Work may be produced in teams, partnerships, or individually. Projects must be proposed in the semester preceding the semester in which the work is to be produced (see section on BFA requirements above). Students may also apply to serve as non-BFA participants for a single semester and for 4 credits only, serving as crew members or staff on another student's project. Prerequisites: Completion of one specialization-level production course, and approval by the faculty BFA committee based on application.Instructor: Peter Flynn
Students are admitted by application to produce portfolio work as a Capstone Project. Applications must include a detailed description of the proposal for consideration by a faculty panel. The proposal can be for either a creative project based in any area of the program, including film, TV, animation, sound design, or digital art and games; or a significant research project in media studies. Provides an opportunity to produce a significant piece of creative or scholarly work.Instructors: John Gianvito, Robert Patton-Spruill
Designed to integrate, enrich, and solidify a student's photographic skills building on past productions. Emphasis is placed on developing a portfolio representative of a personal vision.Instructor: Lauren Shaw
Students work in organizations such as a film and video production company, sound lab, broadcast station, or in educational or corporate media under the direct supervision of an approved full-time employee and an assigned faculty member. No more than 8 credits of any combination of directed projects (VM 497), directed studies (VM 498), and internship (VM 499) may be counted toward the major. No more than 4 credits of internship may be counted toward the major. Prerequisites: junior standing, completion of appropriate 200-level production course(s), a grade point average of 2.7 or above, and permission of instructor. A 4-credit internship requires 16 hours a week over a 12-week period and an 8-credit internship requires 32 hours over a 12-week period. No more than 8 credits of internship and no more than 12 credits of any combination of internship, directed project, and directed study may be applied to the total graduation requirements. Students must participate in the Internship Experience Workshop offered through Career Services prior to the start of the internship and should consult the Academic Calendar for registration deadlines. Students who wish to participate in an internship in the Los Angeles, California, area must be enrolled in the Emerson Los Angeles Program.Instructor: Paul Turano
Focuses on strategic thinking and implementation of media projects from conception (pre-production) through release/distribution/exhibition. Material covered includes business plans; grant resources, writing, and package preparation; acquiring rights associated with production; preparing for feature production (optioning literary property, pitching ideas, offerings, prospectus); legal issues (rights, copyright, and intellectual property); insurance considerations; advertising; and marketing. Students are required to conduct database web research on the industry and festivals in addition to following current trends in global markets, financing, advertising, and marketing.Instructor: Chris Hastings
Special offerings in the area of media studies and production.
Examines the development of image-and-sound-based installation art from the late 20th century through the contemporary period. Multimedia installation?expressed in site-specific public works, artist films, single and multichannel video, sculpture and performance, and new media and interactive forms?has become a vital art form in the 21st century. You will have an opportunity to produce multi-media installed works of your own design and will be introduced to the unique properties and parameters of the form. The culmination of the course will be a collaborative multi-site presentation of the work created in the class, staged as a 21st-century ?Happening.? No prerequisitesInstructors: Jean Stawarz, Paul Turano
This class provides an overview of the role of the fiction film director from script development through post-production. It will examine each phase of the director's process with emphasis on the methodologies necessary to realize the dramatic possibilities of a cinematic story. Students will create several short exercises and analyze the works of master directors.Instructor: Cristina Kotz Cornejo
Special offerings in the area of media studies and production.
Introduces the three genres of short form--nonfiction, experimental, and fiction. Students learn the differences and components of each genre and acquire an understanding of the art, craft, and discipline of each process from a writer's point of view. Emphasis is on developing the writer-s individual personal vision.Instructors: Hassan Ildari, Manuel Basanese, Marc Fields
Explores the fundamentals of writing for the interactive screen. Examines narrative, non-text, web, and multi-user game contexts as the student works from the ideation phase through completed works made ready for production.Instructor: Sarah Zaidan
Explores approaches to teaching and learning in college level media production courses. Reviews key components of academia and an academic career: types of institutions, rank, tenure, teaching, service, scholarship, professional organizations, and compensation. Students analyze and design media production courses and investigate components of effective lecture, discussion, demonstration, and critique sessions as well as investigate ethical issues related to teaching. Each student leads a class session and produces a statement of his/her teaching philosophy.Instructor: Robert Sabal
An introductory course in audio physics, sound principles, and the theory and practice of audio recording and mixing. Emphasis is also placed on concept development within sound production concurrent to the study of signal routing and the mixer console, analog and digital audio recording and editing techniques.Instructor: Pierre Archambault
Introduces the aesthetics and practice of image and sound production. Topics include visual composition, preproduction skills, lighting, basic directing, camera operation, lens theory, and editing. Students create projects using digital still photography and video.Instructors: Pamela Larson, Paul Turano
Provides an introduction to the theory and practice of interactive media production. Stresses the conceptual, aesthetic, and technical concerns of interactive digital media, emphasizing creativity and familiarity with the material. Areas include introductions to web-based interaction, user input, animation, design and development, as well as project management, interface design, and user experience. Students produce creative works based on instruction in the technical aspects of the material.Instructor: David Kelleher
Introduces the practice of documentary video production. Emphasizes documentary strategies, research, budgeting, production, and postproduction. Students produce a documentary short.Instructor: Marc Fields
Affords student documentarians the opportunity to examine in depth a broad array of "voices" or approaches to the documentary while developing their own voice through the production of a 20-25 minute project. In addition to the training on documentary production, students have the opportunity to develop substantive research and fundraising skills and deepen their understanding of the historical, social, and aesthetic framework within which documentary work is created.Instructor: John Gianvito
This is a workshop-style class that focuses on the director-actor interaction. John Cassavetes said that acting is the essential discipline for moviemakers, and in this intensive course, students learn the language of acting and the techniques of directing actors in dramatic productions.Instructor: Tom Kingdon
This is an intermediate course in the practice and art of motion graphics and visual effects. The design process, artistic concepts, and technologies involved in the creation of motion graphics range from title sequences for film to compositing of real and virtual worlds and a myriad of digital time-based art forms. Students make a series of projects using post-production and compositing software.Instructor: James Sheldon
Introduces the art of cinematography on both an aesthetic and technical level. Students learn how to shoot on both film and digital formats. They also learn fundamental lighting skills using an array of professional lighting units. Emphasizes the learning of creative techniques for visualizing narrative scripts and exploring the emotional subtext of the cinematic image.Instructor: Harlan Bosmajian
Provides a framework for advanced digital editing skills like large-scale media management, off-beat and innovative cutting techniques, emerging individual editing styles, and cutting long-form projects.Instructor: Daniel Gaucher
This is an intensive workshop for second-year MFA students to concentrate on the main body of their artistic output. Students present their own work and critique the work of others, as well as work on their current projects. Centered on the self-directed production schedule and the collaborative nature of critique in an MFA program, this course prepares students to become lifelong artists. Course to be repeated three times during matriculation.Instructors: Brooke Knight, Jan Roberts-Breslin, Paul Turano
Offers a historical survey of media art from the perspective of narrative studies. Exposes students to a wide array of narrative structures historically evident in media art, including conventional and unconventional fictional narrative forms, as well as varying types of narrative evident in documentary and experimental media works. In addition, students are introduced to the role of visual images in media narratives, as well as the impact of digital technologies on narrative forms. Students are expected to develop an understanding of the role of narrative structure in effecting emotion and in communicating ideas.Instructor: Michael Selig
MFA students only.Instructor: Jane Shattuc
Special offerings in the area of Media Studies.Instructor: Eric Schaefer
The aims of this course are three-fold: to introduce students to the anthropology of visual communications through photography, films, documentation of performance, and texts; to help them evaluate how sites of exhibition (museums, theaters, television, cinema and the web) are also sites of cultural and social reproduction; and to help them incorporate ethnographic methodology, specifically participant observation and field writing into their artistic practice. To do this we will spend the first half of the semester analyzing ethnography in visual productions and scholarship and the second half conducting our own research projects.
Special offerings in the area of Media Studies.


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Baby Shower Favors
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Personalized printed milk jars add a vintage vibe to any baby shower theme. Available in different designs, these stylish milk jars are simply adorable when serving up tasty beverages at the shower. They can also be filled up with tasty treats or fun delights for a unique favor for guests. Simply choose your design and personalize with a custom message for a delightful treat guests will remember.
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Personalized Holiday Printed Glass Mason Jar
Put your good taste on display with these personalized printed holiday mason jars. Imprinted with your custom messaging and available in your choice of lid option - solid or drinking daisy - these clear mason jar favors will add ... View Product
Personalized Chalkboard Mini Mason Jars
Add a cute vintage touch to your baby shower with these personalized chalkboard mini mason jars. Each miniature jar is made of glass and comes with a coordinating lid and your choice of personalized labels. Simply pick your favorite ... View Product
Personalized Mini Glass Baby Shower Mason Jars
These pretty and petite personalized glass mason jars are a great new twist on baby shower decor! These multifunctional jars can be used for just about any purpose - part of a candy buffet, centerpiece candle holders, holders of ... View Product
Personalized Baby Mason Jars with Handle
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|Celebrating life, one event at a time.
|We believe in celebrating life - every occasion, every milestone, every laugh, smile and tear. We know that sharing these moments makes them extra special, and we want to be there to help you celebrate life, one event at a time.

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Written on: 14/11/2012 by robert.peteon876 (2 reviews written)
The restaurant is good. The meals are decent, the service also. i can recommend it to my friends.
As rated by our community of reviewers
" A good place. " Read More
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" Really bad " Read More
" Kings Road Steakhouse " Read More
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" Fabulous Food, Family Friendly Very Reasonable Prices " Read More
Written by normanLinux
" Overrated and overpriced " Read More


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to Buyck). That means your Majesty, of course, Buyck. My hearty thanks, if it be so.
Soest. Assuredly! A Netherlander does not find it easy to drink the health of his Spanish majesty from his heart.
Ruysum. Who?
Soest (aloud). Philip the Second, King of Spain.
Ruysum. Our most gracious king and master! Long life to him.
Soest. Did you not like his father, Charles the Fifth, better?
Ruysum. God bless him! He was a king indeed! His hand reached over the whole earth, and he was all in all. Yet, when he met you, he'd greet you just as one neighbour greets another,--and if you were frightened, he knew so well how to put you at your ease--ay, you understand me--he walked out, rode out, just as it came into his head, with very few followers. We all wept when he resigned the government here to his son. You understand me--he is another sort of man, he's more majestic.
Jetter. When he was here, he never appeared in public, except in pomp and royal state. He speaks little, they say.
Soest. He is
When the economic downturn ends Matty Cruzs co... Read more
Cara Devon has always suffered curiosity and im... Read more
A telekinetic teenager. A telepathic child. A p... Read more
A century after an apocalyptic war reduces all... Read more
Fall in love with the Kensington siblings in th... Read more
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Trivia: The Mighty Thor
- Fan Nickname: Loki's reincarnated self is Kid Loki, or less often Little Loki. Loki as a woman is Lady Loki (with the official Marvel description of that period on their site being Loki looks like a Lady.
- Unfortunately, and crudely, some circles of fans have also taken to nicknaming the New Thor 'Whor'.
- With the big reveal that Fem!Thor is Jane Foster she has gained the more generous nicknames of Jane Fos-Thor and The Mighty Jane .
- What Could Have Been: Jack Kirby originally envisioned his New Gods as part of Thor's mythos, but jumped ship to DC before these plans materialized. Darkseid could have been a Thor villain.


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This adorable little guy wandered into the midst of a cow family who started to care for him as one of their own. The farmers who owned the cows named him Johann.
via Bild
The cows lick him clean and let him snuggle with them just like they would a baby of their own species.
via Bild
When media caught on to this wild pig's foster situation the attention got to be too much for him and he relocated with a new group of cows in a different meadow nearby. Amazingly, his new foster family accepted him as well and now he happily forages for bugs and acorns near his new grass-eating moms.
The United States Department of the Interior has a Vine account and it features some stunning video of America's animals. Some of these videos appear to be captured from a live stream video like one set up at Katmai National Park in Alaska. Now you can take a look at the Great Outdoors without even having to go outside.


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Email AddressVerified
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- Olivia's Airbnb Symbol
Hey, I'm Olivia!
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I am a former classical singer who has shifted in recent years to corporate communications and now freelance journalism. I am married, with two teenage children.
For the month of August 2012 (August 4th - September 1st), while I complete a course at the London School of Journalism, I am looking for a private flat/studio in London (Maida Vale, within a reasonable radius, or along one of the Underground lines connecting there).
I will spend the early weekday mornings exercising, weekdays at school, nights studying and writing, and weekends either slouching about the hearth, if I need a break, or out and about, as I adore London, and have never had much time there.


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|Publication number
|Publication type
|Publication date
|May 1, 1906
|Filing date
|Oct 15, 1904
|Priority date
|Oct 15, 1904
|Publication number
|Jeremiah L Mahoney
|Original Assignee
|Jeremiah L Mahoney
|Export Citation
|BiBTeX, EndNote, RefMan
|Referenced by (5), Classifications (1)
|External Links: USPTO, USPTO Assignment, Espacenet
JEREMIAH L. MAHONEY, or NAUGATUCK, CONNECTICUT.
-" Specification of Letters Patent.
Patented May 1, 1906.
Application filed October 15, 1904. erial No. 228,537-
To all whom it may concern:
Be it known that LJEREMIAH L. MAHoNEY, a citizen of the United States, residing at N augatuck, county of New Haven, State of Connecticut, have invented a new and useful Die for Makin Ornamented Plastic Articles, of which the fo lowin is a specification.
My invention has or its object to provide dies for making ornamented plastic articles that will reduce the articles continuously and comp ete ready for the market.
Heretofore, so far as I am aware, solid articles made from plastic soft rubber and similar compounds have been formed entirely by the Iprocess of molding. The novel dies whic form the subject of my present invention enable me to produce these articles continuouslywithout molding, thereby eatly reducing the cost of production, as t e plastic compound simply has to be forced through the dies in the same manner that unornamerited articles have heretofore been made. In the present instance I have illustrated the application of myinv'ention to the production of an ornamented rubber bindin -stri having a rib or bead at both edges. t wil of course be understood, however, that the invention is in no Way limited to this special application, but that the principle of the invention may be utilized with equal success in the production of dies that will produce any required ornamental form from a plasticrubber compound.
In the drawin s, Figure 1 is an elevation illustrating one orm of my novel dies' as in use in the production of an ornamented rubber binding-strip, the strip being shown in section as it issues from the die, one ornamenting-roller only being used; Fig. 2, a lon- 'tudinal section on the line 2 2 in Fig. 1 iioking toward the right; Fig. 3, a longitudinal section on the line 3 3 in Fig? 1 looking down; Fig. 4, a transverse vertical section illustrating a form of the invention in which two ornamenting-rollers are used, and Fig. 5 is a similar section illustrating a form of the invention in which three ornamenting-rollers are used.
10 indicates the body of the die, which is provided on its rear face with an externallythreaded hub 11, to which a conducting-tube 12 may be attached, the inner side of the hub bein shown as converging inward toward the 'e-opening, which is indicated by 13.
14 denotes ornamenting-rollera'one, two, or more of which may be used and which are socketed in the body, the operative faces of the rollers extending into the die-opening sufficiently to produce the desired ornamentation on the plastic compound as it is forced through the die-opening. These rollers are ornamented in intaglio to produce upon the surface of the compound as it is forced through the die-opening the desired ornamentation in cameo, the ornamentation of the rollers being indicated by 15.
2O denotes an article that is being formed,
in the present instance a binding-strip, which is provided on its ed es with ribs or beads 21 and 22, shown in t e present instance as.
dissimilar in size. The ornamentation upon the article as produced by an ornamentingroller is indicated by 24. i
In practice the rollers are driven in any preferred manner, as by providing the shanks 16 with belt-pulle *s or gear-wheels or by attaching thereto exible shafts 17, as indicated in the drawings.
18 denotes slots in the face of the die, which may be provided as a clearance for convenience in use. p
The operation will be readily understood from the drawings. The plastic compound, which I have indicated by 19, is forced through the die in the ordinary manner, the speed at which the rollers are driven being regulated to correspond with the speed at which the compound is passing through the die and so as to produce the desired ornamentation on the article that is being formed. As has been stated, the article groduced by this die is continuouslv forme as long as the compound is supplied and forced throu h the die-opening 13. The resulting strip as its general shape in cross-section determined by the shape of the opening 13, and such sha e ma vary to any extent, as is obvious. Wliile the general cross-sectional shape of the strip is formed by the die-opening, the surface ornamentation of the strip is imparted by the roller or rollers, which extend into the die-opening only sufficiently to impart the surface ornamentation desired. There is therefore a coaction between the dieopening which shapes the product and the roller or rollers which ornament the strip.
Each roller 14 is fitted closely but not tightly in the socket 25, formed therefor in the body 10. In the working of rubber, as herein referred to, the material is at such a temperature that it is very soft and sticky, and if there were any opportunity for the cscape of the material behind the roller it would be forced out to a considerable extent at a point Where it would interfere with the proper operation of the die. By providing the body of the die with a socket 25 and fitting the ornamenting-roller in said socket the escape oi the material is prevented except at the shapin -opening. Moreover, the ornamenting-ro ler is left practically free of any coating, and therefore capable of imparting erfect ornamentation, according to the surace design of said roller.
The socket 25 embraces at least substantially half of the body of the roller, and said roller fits closely therein. For this reason the inner surfaces of the socket coact with the close face of the roller and practically 7 form a dam to prevent backward movement of the rubber compound.
Having thus described my invention, I claim 1. A die for -making ornamental plastic strips consisting of a bodyhaving a socket for a roller and provided with a die-opening for shaping the com ound to strip form, and an ornamentingrol er fitting closely in the socket of the body and extending into the die-opening whereby the article formed in the die-opening is ornamented by the roller, the said socket embracing at least substantially half of the roller-body.
2. In a die of the character described, the combination with a body-having a socket for a roller and having a die-opening for shaping the compound to strip form, of means for conducting a plastic compound to said opening, an ornamenting-roller fittin'g'closely in the socket of the body and extending into the die-opening to ornament the strip formed by said die-opening, and means for driving said roller, the saidsocket embracing at least sub stantially half of the roller-body.
In testimony whereof I affix my signature of two witnesses. JEREMIAH L. MAHONEY. Witnesses:
A. M. WoosTER,
' in presence
|Citing Patent
|Filing date
|Publication date
|Sep 27, 1961
|Mar 9, 1965
|Dow Chemical Co
|Extrusion apparatus
|Jul 3, 1967
|Apr 21, 1970
|Monsanto Co
|Continuous molding of thermoplastic materials
|Apr 25, 1986
|Oct 4, 1988
|Velcro Industries B.V.
|Apparatus for making a separable fastener
|May 15, 1986
|Dec 27, 1988
|Velcro Industries B.V.
|Method for continuously producing a multi-hook fastner member and product of the method
|Dec 13, 1940
|Dec 22, 1952
|Willy Ruesch
|Spritzkopf fuer Schlauchspritzmaschinen zur Herstellung von Luftringen aus Gummi od. dgl.
|Cooperative Classification


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December 26, 2011
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Hot horny MILF boss deepthroats employees dick in her office
All Comments (9)
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Hairy (ish) fanny, I've seen alot more of these lately; could this mean the return of The Bush ? I sincerely hope so.....................


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For your consideration is this wonderful gold filled heart shaped necklace with carved hard stone pendant of a mother and child. The chain is 18" long and marked sterling and the pendant is 3/4" in diameter. Both pieces are marked gold filled. Both are in excellent condition.
Another shopper has this item in their Cart or Wish List.
Offering Quality Antiques Of All Kinds
All offers carefully considered. Layaways available
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Check out Willie Nelson's first three attempts
"Our Idiot Brother" – Help Willie Nelson Find Ned!
August 16, 2011 by Leave a Comment
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Miss Leilani Jade Model
Lindsay GarricMakeup Artist Female Nashville, Tennessee, US
My Website: Nashville Tennessee Wedding Bridal Makeup ArtistMy MM URL: http://www.modelmayhem.com/fabYOUglam
Mayhem # 2406077
About MeWisconsin native Lindsay Garric spent the first part of her life as an actor, with training from the prestigious Lee Strasberg Instistute and the Tisch School at NYU. She moved to New York and booked the role of "Frenchy" at her first professional audition for the touring company of Grease! She toured the US for a year until her tour sat down in Lake Tahoe, CA for three months. There she met her husband, Chuck Garric (bass player for Alice Cooper) and moved to LA. Lindsay dabbled in on camera acting, voice over and more theatre, but found that her passion lay more "behind the scenes."
She began to dually focus on a career in fitness and the beauty industry.
Lindsay has an extensive background in fitness as a personal trainer, lifestyle/nutrition coach, spin instructor and yoga teacher. She has a true talent for looking a current lifestyle habits and suggesting simple, doable changes for her clients to get amazing results. She holds multiple certifications, including being an ACE Certified Personal Trainer since 1999.
Lindsay also pursued a career in makeup artistry, working for companies like MAC Cosmetics, Smashbox, Fusion, and Larenim , as well as doing make up for film and print. She has received all of her training in Los Angeles and New York, bringing the latest techniques in makeup artistry, skin care and eyelash extensions to the her treasured clients!
Lindsay received her esthetics education in 2002 at the Institute of Beauty Wellness.
Lindsay has worked independently since 2004 in Los Angeles, Milwaukee and Reno/Tahoe and now Nashville, TN - making her clients look and feel their most beautiful, glamorous and gorgeous with her all encompassing makeup, waxing, skin care, image, styling, nutritional and fitness services.
Clients form friendships with Lindsay that make her a valuable, calming asset on "big days" like weddings, reunions, photo shoots and events. Clients trust Lindsay's guidance, advice and well trained hands to make them look and feel exceptional in every aspect of their personal "look."
Services offered: makeup artistry, wardrobe styling, personal training/yoga/fitness/nutritional consulting, eye lash extensions, skin care, facial waxing
Miss Leilani Jade Model
Nyesha Valentin Model
twinky0424 Model
Elite Fashion Photos Photographer
Jennifer Anne Douglas Model
Retrospect Nashville Photographer
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How are the threads displayed, still in chronological order? Each conversation will be displayed in chronological order. But organization of the conversations overall will be displayed based on popularity. The most popular conversations will migrate to the top. The most recent comment that has no replies will appear on top for 15 minutes before being filtered down. If a more active conversation receives a reply within those 15 minutes, that conversation will overtake the stand-alone comment.So, what do you think? Exciting, no? And yes, I know change is scary. I saw how many people flipped out when Facebook changed its layout. But hey, change is fun. Give it a shot in the comments below, fiddle around with it, and let us know what you think. As long as what you think is positive, because after how much work our illustrious tech crew put into making this possible, we ain't changing it back. Enjoy!
Where did the plus and minus go? The plus and minus, which was used to friend or un-friend a fellow commenter, has been replaced by a heart. Friends show a red heart, and the rest are empty. What's the deal with the star again? Star commenters were readers who have 25 or more followers, or were designated as stars by a comments admin. With the introduction of threading, the number of followers required to attain star is increasing to 40. Is there a way to view comments the "old-fashioned" way? You can switch to the old style comments layout by clicking the "classic view" link in the comments bar at the top of the threads.


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Lionsgate and Hasbro are partnering to bring Monopoly to the big screen. The film version has been described as centering on a boy from Baltic Avenue who uses both Chance and Community in a quest to make his fortune, taking him on a fun, adventure-filled journey.
Film Version of Hasbro's Monopoly Advances Directly to Go
Toys "R" Us Unveils Exclusive Comic-Con International: San Diego Toys, Launches Collector Vector
Toys "R" Us today revealed its lineup of exclusive figures and playthings, which will be available at Comic-Con International: San Diego next month. The retailer will provide convention goers with the opportunity to be among the first to purchase exclusive figures, figure packs, and play sets including Batman Classic TV Series Batgirl, from Mattel; G.I. Joe Desert Duel and My Little Pony Daring Do Dazzle, from Hasbro; and more.
Hasbro Selects PTC Windchill FlexPLM Solution to Streamline and Centralize Product Development
Hasbro Inc. has chosen PTC Windchill FlexPLM as its product development solution. With PTC Windchill FlexPLM, Hasbro will be able to streamline and centralize its product development processes and data, as well as gain greater visibility into product data during all phases of design, development, and sourcing.
Jem and the Holograms Gets a Film Adaptation, Signs Toy Licensees
Jem and the Holograms, a live-action film from Hasbro Inc. and Universal Pictures, will open nationwide on October 23. Based on the classic 1980s series, the film follows four aspiring musicians on their paths to fame. A global licensing program, including toys, publishing, fashion, and beauty products will coincide with the film's debut.
Hasbro Brings Pie Face Game to Markets this Fall
Hasbro has acquired the rights to manufacture and distribute the Pie Face game under license from Rocket Games. The company will launch the game in multiple markets, including the UK and the U.S. in October. [Read more...]
Hasbro, Paramount Partner for Beyblade Movie
Paramount Pictures has acquired rights to create a live-action feature based on Hasbro's Beyblade toy collection, which will be produced by Mary Parent through her Disruption Entertainment banner.
Hasbro to Launch Are You Smarter Than a 5th Grader Game
The Are You Smarter Than a 5th Grader TV show returned to Fox on May 26, and Hasbro is bringing the quiz show to homes as a board game this summer. Based on the show, the game puts players' elementary school knowledge to the test with questions covering first through fifth grade curricula, with subjects ranging from math to social studies, art, and geography.
Coastal Student Scrabble Team Brings Home the W-I-N at North American School Scrabble Championship
After two days of intense strategy and play, students Noah Kalus from New Paltz, N.Y., and Zach Ansell from Los Angeles defeated more than 55 teams to take home the coveted North American School Scrabble Championship trophy, the title, and the $10,000 grand prize at the 13th annual North American School Scrabble Championship. The tournament gathered the top Scrabble players from the U.S. and Canada in grades 4 through 8 at the Hasbro headquarters in Pawtucket, R.I.
COMMENTARY: The Avengers' Black Widow Is the Odd "Man" Out
Avengers: Age of Ultron debuted in theaters on May 1, earning $187.7 million during its first weekend. Yet the only superhero anyone seems to be talking about is the Black Widow, aka Natasha Romanoff, played by the beautiful Scarlett Johansson.
Between Mark Ruffalo, the actor who played The Hulk, taking to Twitter to ask why there aren't more Black Widow toys available for his nieces, and Chris Evans and Jeremy Renner making tasteless comments about Black Widow being a "slut" and a "whore," this female super hero, an Avenger herself (#recognize), cannot seem to catch a break.
COMMENTARY: Toy Companies Are Going to the Crowdsource for Ideas
When it comes to creating great toys, games, or just about anything, it all boils down to the idea. Great things are often borne of flashes of inspiration, and more than ever, we're seeing toy companies try to tap into the mental spark of their customers.


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On September 17, 2015, FINRA announced that it would propose rules to help member firms protect seniors and other vulnerable adults from financial exploitation. The proposal would create a safe harbor enabling broker-dealer...more
- Amended Regulation Broker-Dealer Disabled Elder Abuse Elder Issues Exploitation FINRA Investor Protection OCIE Proposed Regulation Safe Harbors
FINRA has made no secret of its interest in broker compensation, and the potential conflicts of interest that can be generated by some types of compensation practices. FINRA discussed these issues in its 2015 annual...more
- Broker Commissions Broker-Dealer Conflicts of Interest Fiduciary Standard FINRA Registered Representatives Request For Information Retailers Third-Party
FINRA recently filed proposed rule changes with the SEC addressing when broker-dealers may pay referral fees or otherwise share compensation with persons who are not registered as broker-dealers. The proposed rule changes are...more
- Broker-Dealer Fee-Sharing FINRA Proposed Regulation Referral Fees SEC Securities Exchange Act
FINRA is seeking public comment on a much needed overhaul of the regulatory requirements for broker-dealers who specialize in M&A and corporate finance. The overhaul would be accomplished by creating a new category of...more
- Broker-Dealer FINRA
On January 31, 2014, the SEC issued a ground-breaking no-action letter, taking the position that a financial intermediary that limits its business activity to advising privately held companies in M&A transactions need not...more
- Broker-Dealer No-Action Letters Registration SEC
The Volcker Rule imposes significant restrictions on "proprietary trading" by banking organizations and their affiliates. The purpose of this Memorandum is to discuss how these restrictions may impact broker-dealer affiliates...more
- Banks Broker-Dealer Foreign Affiliates Foreign Banks Proprietary Trading Volcker Rule
The SEC recently finalized amendments to Rule 506 of Regulation D and Rule 144A under the Securities Act relaxing prohibitions against general solicitation in certain private offerings of securities implementing Section...more
- Bad Actors Broker-Dealer Dodd-Frank FINRA General Solicitation Investment Adviser JOBS Act SEC
Noting the increasingly global nature of financial markets, the U.S. Securities and Exchange Commission ("SEC") adopted Rule 15a-6 nearly twenty four years ago to facilitate limited access by foreign broker-dealers to...more
- Broker-Dealer Rule 15a-6 SEC
More than two years after an SEC Staff study recommended adoption of a uniform fiduciary standard for broker-dealers and investment advisers, the SEC has taken its first significant step towards possible implementation of the...more
- Broker-Dealer Dodd-Frank Fiduciary Duty Investment Adviser SEC
In its annual summary of regulatory and examination priorities, the Financial Industry Regulatory Authority (FINRA) signaled that it will aggressively pursue market misconduct. The January 11, 2013 report follows closely on...more
- Broker-Dealer Compliance Cybersecurity FINRA Investment Adviser Investors
Investment Adviser
Proposed Regulation
Amended Regulation
Bad Actors
Broker Commissions
Conflicts of Interest
Elder Abuse
Elder Issues
Fiduciary Duty
Fiduciary Standard
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