148 research outputs found
Bradley-Terry models in R : the BradleyTerry2 package
Full text linkThis is a short overview of the R add-on package BradleyTerry2, which facilitates the specification and fitting of Bradley-Terry logit, probit or cauchit models to pair-comparison data. Included are the standard 'unstructured' Bradley-Terry model, structured versions in which the parameters are related through a linear predictor to explanatory variables, and the possibility of an order or 'home advantage' effect or other 'contest-specific' effects. Model fitting is either by maximum likelihood, by penalized quasi-likelihood (for models which involve a random effect), or by bias-reduced maximum likelihood in which the first-order asymptotic bias of parameter estimates is eliminated. Also provided are a simple and efficient approach to handling missing covariate data, and suitably-defined residuals for diagnostic checking of the linear predictor
"Disney is the Tiffany’s and I am the Woolworth's of the business": A critical re-analysis of the business philosophies, production values and studio practices of animator-producer Paul Houlton Terry
No full textThis thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University.Animator-producer Paul Houlton Terry has been portrayed as having little passion for the animation he produced and being more concerned with making a profit than producing entertaining cartoons with high production values. The purpose of the dissertation is to re-evaluate Terry‘s legacy to animated cartooning by analyzing his business philosophies, production values, and studio practices.
Application of four psychodynamic factors to the early life and career of Terry, 1887-1929, found that his economic decision making was characterized by: an external locus of control, risk-averse financial behaviour, extreme saving behaviour through precaution, and shrewd money management practices. Based on Terry‘s historical responses to twelve major economic, technological, or institutional forces of change for the period 1929-1955, the psychodynamic factors were found to provide accurate explanations for his studio practices and production decisions.
There was no evidence to support the conclusion that three early career disappointments undermined Terry‘s intrinsic motivation to create animated cartoons. Rather, Terry‘s lack of risk taking, external locus of control, tight studio production schedule, desire to compete with neighbour studio Fleischer, difficulty in separating financial rewards from creative processes in animation, and practice of undertaking surveillance measures on staff may have undermined his and his studio‘s creativity. Archival research found Terry to possess strong passions for and to have made significant creative contributions to the field of animation.
Biographical research found that Terry retained a stable nucleus of highly talented artists who dedicated a significant portion of their working careers to the studio. An analysis of the cel aesthetics of a random sample of animated cartoons produced during the years 1930-1955 found that Terry created animated cartoons with above average cel aesthetics when compared to the other studios thereby supporting an inference that Terry was motivated to producing quality crafted animation. Further research is suggested into the role psychodynamic factors and economic decision-making play in the film production process and a clarification of Terry‘s legacy to the field of animated cartoons
The Terry Fox Research Institute Marathon of Hope Cancer Centres Network: a pan-Canadian precision oncology initiative
No full textThe Marathon of Hope Cancer Centres Network (MOHCCN), led by the Terry Fox Research Institute and the Terry Fox Foundation, unites researchers, clinicians, patients, funders, and other partners across Canada to accelerate precision oncology, promote collaboration and data sharing, and ultimately improve patient outcomes. This overview outlines the Network’s goals, history, and challenges and opportunities. We also highlight progress toward the “MOHCCN Gold Cohort,” a shared resource of clinical and genomic data from 15,000 patients
13 ways of looking at a blackbird
No full textShort fiction printed letterpress from Bembo types on Curtis Rag paper. Calligraphy for folios, cover and title page, as well as several small drawings printed relief. Foil stamping and embossing on paper wrap. Smythe sewn and pasted in paper wrapperUNL SPEC copy--Limited ed. of 250 copies numbered and signed by the author; this is no. 225; calligraphy: Terry McGrath; monotype composition: Mackenzie-Harris, Inc.; binding: Cardoza-Jame
13 ways of looking at a blackbird
No full textShort fiction printed letterpress from Bembo types on Curtis Rag paper. Calligraphy for folios, cover and title page, as well as several small drawings printed relief. Foil stamping and embossing on paper wrap. Smythe sewn and pasted in paper wrapperUNL SPEC copy--Limited ed. of 250 copies numbered and signed by the author; this is no. 225; calligraphy: Terry McGrath; monotype composition: Mackenzie-Harris, Inc.,; binding: Cardoza-Jame
13 ways of looking at a blackbird
No full textShort fiction printed letterpress from Bembo types on Curtis Rag paper. Calligraphy for folios, cover and title page, as well as several small drawings printed relief. Foil stamping and embossing on paper wrap. Smythe sewn and pasted in paper wrapperUNL SPEC copy--Limited ed. of 250 copies numbered and signed by the author; this is no. 225; ; calligraphy: Terry McGrath; monotype composition: Mackenzie-Harris, Inc.,; binding: Cardoza-Jame
Letterman Club
No full textMembers of the 1960 Letterman Club. First row: Clyde Wiley, Dean Gordon, Jerry Turbett, Dan Sarver, Coach Hayes (Sponsor), Larry Sarver, Dave Swim, Terry Haskell, Gene Flanders, Louis Atkinson. Second row: Berry Johnson, Jack Kensler, Hank Williams, Jay Fishback, Jim Duglas, Bobby Joye, Dan Curtis, Dwight Williams, Doug Libby. Third row: Wayne Criss, Herman Pitter, Skip Speece, Dick Fox, Larry Almond, Dale Harter, Billy Joye, Warren Pennington, Denny Stroup. Fourth row: Eddie Cristchlow, Kyle whitten, Ted Burson, Carlos Chase, Gary Gustafson, Dick marr, Ron Randleman, Don Kenoyer. Fifth row: Leslie Pinkerton, Larry Tully, Gary Freeman, Wayne Zern, Rick Heck, and Jim Arsenaul
1978-1979: Cops
No full textForeground: Ritch Brinkley as Cab Driver, Daniel Mooney as Bob Barberson, and James Pickering as Jack Rolf.
Background: Rose Pickering as Mickey and Michael Simpson as GeorgeCops;Grayscal
Gothic television
Full text linkThis thesis examines forms of Gothic fiction on television, and defines the ways in which television produces Gothic drama which is medium-specific (e.g. formally distinct from versions of the genre in other media). This work employs a textual analysis to explore Gothic television, and combines this with archival research and an examination of the changing climate of television production in a range of national and historical contexts. The thesis is organised into four case studies, each dealing with different national industries during different periods: British anthology drama of the 1960s and 70s (e.g. Mystery and Imagination (ABC/Thames, 1966-70), Ghost Story for Christmas (BBC1, 1971-78)); Danish art television in the mid-nineties (Riget (Danmarks Radio/Zentropa, 1994); British adaptations of female Gothic literature, (e.g. Rebecca (BBC2, 1979), The Wyvern Mystery (BBC1/The Television Production Company, 2000); and big-budget, effects-laden series from North America in the 1990s (e.g. American Gothic (CBS/Renaissance, 1995-96), Millennium (20th Century Fox/10:13, 1996-1999). I argue that Gothic television plays on the genre's inherent fascination with the domestic/familial, to produce television drama with an overt consciousness of the contexts in which the programmes are being viewed, a consciousness which is locatable within the text itself; as such, the thesis defines the Gothic as a genre which is well suited to presentation on television.
Furthermore, an examination is offered of the 'model' viewer as presented within the television text, enabling an understanding of the ways in which conceptions of television viewership are inscribed into television drama at the moment of production. I also interrogate the notion that television is an 'uncanny' medium by locating the precise sources of uncanniness with Gothic television, and delineate the ways in which innovations in television production have been showcased through the representation of the supernatural and the uncanny with Gothic Television
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