Case Study No. 0617: Michelle Barclay

Pack Law 1 -- Set Me Free - A Becca Van Erotic Paranormal Romance
1:31
Pack Law 1 - Set Me Free - By Becca Van Erotic Romance Author
Visit Becca Van Official Website at http://www.beccavan- eroticromance.com

Michelle Barclay has just moved to Aztec, New Mexico, from Mullen, Nebraska. At the library where she works, she is cornered against her car by a large, wolf-like dog and then rescued by the animal's owner, Jonah Friess.
Jonah is the lead Alpha of the Friess Pack, sharing the leadership role with his two brothers, Mikhail and Brock. He knows the uptight librarian is their mate, and the brothers set about wooing her into their bed.
Michelle is hurt by a jealous female pack member, but instead of being angry with Kirsten, she gets mad with the three Alphas and lets them have a piece of her mind-what she doesn't realize is that she has just claimed them.
Tags: beccavan romance "Pack Law" "Set Me Free" "Becca Van" "Erotic Romance" "Menage Everlasting" "Paranormal Romance" "Were-wolf Romance" "Amazon Kindle" "Siren Bookstrand" Author "Sexually Explicit Story" "Romance Novel" "Romance Book" Menage Romance Werewolf "Book Promotion"
Added: 2 months ago
From: Becca Van
Views: 83

A Menage Everlasting Romance
by Becca Van

---

From goodreads.com:

Moving to Aztec, New Mexico had librarian Michelle Barclay finally feel like she belonged somewhere. An orphan and shuttled from foster home to foster home, Michelle had formed a cocoon of sorts around herself. Coming off as prim and proper to others, it is only until she is home by herself does she really feel like herself. Her first few weeks in Azteca though is not without incident, especially when a wolf has her cornered between her car and becoming wolf meat.

Jonah, head alpha of the Friess pack, can't believe his brother found their mate. Although they vary on ideas of how to claim Michelle, the going slow route takes precedent. They don't want to scare her off before she can get to know them. Although a strange turn of events play out when Michelle is attacked by a jealous female and she lashes out at Jonah, Mikhail, and Brock not realizing by doing so she has just claimed them instead.

Fairly good story, a little rushed at times but fun none the less. Mikhail stood out to me more than the other two alphas, I think he is the softy in the group.

Case Study No. 0616: Anna Quarrels

The Creeps - Trailer (1997) Rhonda Griffin
1:41
Director: Charles Band
Stars: Rhonda Griffin, Justin Lauer and Bill Moynihan

Mad scientist brings Dracula, the Wolfman, the Mummy, and Frankenstein's Monster to life... but there's a problem and they end up three feet tall.

Buy Online:
UK DVD: http://amzn.to/ rfBD1A
US DVD: http://amzn.to/ psJ8VE
Tags: Rhonda Griffin The Creeps Horror Trailer 1997
Added: 1 year ago
From: utterfright
Views: 775

From netflix.com:

Winston Berber (Bill Moynihan), a mad scientist with a lust for horror fiction, has devised a plot to reanimate Dracula, the Wolfman, the Mummy and Frankenstein's Monster, and use their powers to terrorize the world. He's successful, but there's a hitch: None of his reanimated pals is more than 3 feet tall. Now, it's up to a librarian (Rhonda Griffin) and a video store owner (Justin Lauer) to stop the mini menace in this campy thriller.

---

From wikipedia.org:

The Creeps is a 1997 film directed by Charles Band.

Plot
Anna Quarrels (Rhonda Griffin), the new librarian in the Rare Books Room, was doing her job when the edgy Mr. Jamison from the University of Chicago came in wanting to see Mary Shelley's original manuscript for "Frankenstein, or The Modern Prometheus". Anna did everything right (signed him in, checked his I.D., attached the authorization from the University, and made him don gloves and a mask) before she laid the precious manuscript in his hands. When he had finished, she prepared to tuck it back into the stacks. Imagine her surprise when she discovered that he had switched blank paper for the manuscript and walked out of the library with it. Checking his I.D., she learns that it was false, so she hires a quirky Private Detective, David Raleigh (Justin Lauer), who works out of his video store, to track him down. By dusting the sign-in sheet, David is able to lift a set of the man's fingerprints and, after running them through the National Fingerprint Clearinghouse, he finds out that the man's name is really Dr. Winston Berber. Now it is only a matter of finding Winston Berber and getting back Shelley's manuscript.

Meanwhile, Berber (Bill Moynihan) is gloating over his collection of rare manuscripts. Along with Shelley's manuscript, he's now obtained the originals of Guy Endore's "The Werewolf of Paris" (1933) and James Putnam's "Mummy" (1993). He needs only to get the first edition of Bram Stoker's "Dracula" (1897), and his collection will be complete. Berber needs the manuscripts because, even with four doctorate degrees in Physics, Mathematics, Folklore, and Philosophy, he is a nebbish. Consequently, he has created an "Archetype Inducer" and plans to bring to life the four greatest monsters from horror history -- the Mummy, the Wolfman, Dracula, and Frankenstein's monster -- in order to do his bidding.

Two weeks have passed, and David has been so busy at the video store that he has not yet located Berber. Not to worry. Berber shows up at the library looking for the first edition of "Dracula" and Anna recognizes him. Holding Berber at bay with a pair of scissors, she phones David and tells him to hurry over to the library. Before David can get there, however, Berber zaps Anna with a taser, steals "Dracula", and takes both the book and Anna to his laboratory. When Anna comes to, she finds herself cuffed to a table. Berber informs her that she is just what he needs -- a virgin between the ages of 20 and 35 -- to sacrifice naked in order to make the Archetype Inducer work. Suddenly, David breaks into the lab, having gotten Berber's address off his computer at the video store. He knocks Berber out and releases Anna. Anna grabs all the manuscripts, and they hightail it out of the lab. Unfortunately, they weren't quick enough. Berber had already turned on the Archetype Inducer. While David and Anna are making their getaway, four figures step out of the machine -- the Mummy (Joe Smith), the Frankenstein monster (Thomas Wellington), the Wolfman (Jon Simanton), and Dracula (Phil Fondacaro) -- only they are midgets.

Dracula is not happy that he has been brought to life as a three foot midget, but Berber assures him that he can change that if he can get his hands on Anna, who is now part of the equation. So the monsters offer to get her for him. Meanwhile, Anna isn't too happy either about the bill that David sent her for his services...$6,200. Anna's supervisor, Miss Christina (Kristin Norton), isn't happy either because Anna keeps dodging her advances. When Anna once again dodges her advances, Christina stays late at the library in order to make love to the first edition of "Jane Eyre" in the Rare Book Reading Room. When she hears noise out on the floor, she goes to investigate and falls prey to Dracula's net. Now it's Berber who isn't happy, because Christina is not Anna, and he must have Anna for the procedure to work. However, Dracula forces him to try it anyway. Berber switches on the machine, Christina disappears then reappears as a Viking then disappears again. True to Berber's word, the procedure didn't work, so the monsters set out again to find Anna.

First stop is David's house, where Dracula attempts to wrest Anna's address out of him, but David refuses to comply. When Dracula tries to bite his neck, David flashes the crucifix on his necklace, says, "Thank God I'm a Catholic," and races out the door. The monsters and Berber follow him, assuming that he will lead them to Anna. David leads them to the library. The monsters attempt to capture Anna, but David grabs Berber and threatens to break his neck if they don't leave Anna alone. David pulls out Berber's taser and threatens Dracula, who simply zaps it, causing it to explode.

Anna and David are taken back to the lab where Berber again prepares for the procedure. When Dracula asks for assurance that it will work this time, Berber won't guarantee it because Anna is not a virgin. Dracula suggests that they find another woman, a virgin this time, to go through the procedure along with Anna, but Berber says that will unbalance things. The only way to keep everything balanced is to find an opposite to Anna -- a male virgin. After asking David about his virginity, Dracula is assured that he is indeed a virgin, and the preparations continue while David tries to come up with a catch. At the last minute, Anna has an idea. She points out to the monsters that, if they stay in the real world, they will eventually die like all humans do. However, if they return to the pages of the novels from whence they came, they will live on forever as the legends they are.

Just as Berber pushes the red button to start the machine working, David and Anna escape from their cuffs. Instead of them being sucked into the machine, Christina the Viking reappears, grabs Berber, and they both disappear again. Anna and David conclude that the machine turned them into archetypes of a Viking and a mad scientist. Having had a little time to ponder, Dracula tells David to press the red button again. They have chosen to return to their own lands as the legends they are rather than to die in the real world, he explains. Before the monsters are sucked back into the pages of their respective novels, Dracula tells Anna that she is wise "for someone who has not yet lived a single lifetime. But do not fear," he adds, "we will always be with you...in your nightmares."

Epilogue: Anna shows up at David's video store, gives him a check for his services, and informs him that Berber's lab has been torn down. She also gives him a book, the first English language edition of Venus in Furs. David thanks her and admits that he saw the movie. "1970, directed by Jess Franco (Jesus Franco), starring Klaus Kinski. Actually, there was an earlier version directed by Larry Buchanan, the guy who did Zontar: The Thing from Venus (1966). Actually, I think there's a '94 version but it's all in Dutch...," he drones on. Anna interrupts him with a kiss.

Case Study No. 0615: Unnamed Female Librarian (Mary Hartman, Mary Hartman)

Mary and the Librarian
1:10
Another classic Mary Hartman phone call.
Tags: mary hartman librarian phone sex books
Added: 5 years ago
From: trolltime
Views: 28,668

From tvdvdreviews.com:

"Mary Hartman, Mary Hartman: Volume 1" DVD Review

Pigtailed, gingham-dressed Mary Hartman (Louise Lasser), a typical American housewife living in Fernwood, OH, has more than her fair share of problems. Her kitchen floor has a waxy yellow buildup. She's out of toilet cleaner and she likes to sanitize the john every Friday so that it's nice and fresh for the weekend. She can't decide which kind of coffee tastes better - the crystals or the instant. Her dishwashing liquid might not be keeping her hands looking youthful. Oh, and her husband Tom (Greg Mullavey) is no longer attracted to her, her Grandpa Larkin (Victor Kilian) is the Fernwood Flasher, and daughter Heather (Claudia Lamb) witnessed a mass murder (five people, two goats, and eight chickens). Yes, if John Waters made a soap opera, it might look a lot like Mary Hartman, Mary Hartman: Volume 1.

Executive producer Norman Lear was responsible for some of the most innovative TV shows of the 1970s, including All in the Family, Maude, and Good Times. Mary Hartman, Mary Hartman may have been his most unconventional. Rather than selling the series to a network, he syndicated the show to local stations. Like a true soap opera, Mary Hartman, Mary Hartman featured a new episode every day. A total of 325 episodes were produced throughout the series' 1975-78 run. The first twenty-five episodes are included in Volume 1.

The series touches on subjects that generally weren't broached on TV at that time: masturbation, sexual dysfunction, menstruation, etc. In one funny scene, Mary receives a phone call while her friends and family are in the room:

Mary Hartman: Hello?
Librarian: Miss Hartman? This is the library.
Mary Hartman: You are?
Librarian: Well, I'm Mrs. DeLoreon at the library. We have those books you ordered.
Friend: Mary, who is it?
Mary Hartman: Oh, I don't know. Someone ... Uh, yes?
Librarian: Those titles would be, Sex and the Female Response, You and Your Climax, 343 Ways to Improve Your Marriage, and ... It's Your Body - Do it!: A Guide to Erotic Pleasures. Miss Hartman, these are the books you ordered?
[Even though no one else in the room can hear what is being said on the phone, Mary is so embarrassed the she begins to speak nonsense]
Mary Hartman: Oh ... uh ... yes, and um, I'll tell her.
Librarian: You are Miss Mary Hartman at 343 Bratner Street?
Mary Hartman: Uh ... yes, that's right. And that happens to be her favorite color.
Librarian: Miss Hartman, are you alright?
Mary Hartman: Well, I'll tell you. You know, I took a very long shower last night and I woke up with a real bad headache this morning, so I took a couple of aspirin ...

Case Study No. 0614: Pandora

RETRIEVAL - Blog 1.mpg
2:37
CANBERRA YOUTH THEATRE & NATIONAL LIBRARY OF AUSTRALIA present

RETRIEVAL
a site specific, performance installation @ NLA

with the CYT Actors Ensemble & Teen Ensemble

Director - Karla Conway
Co Director - Joe Woodward
Production Design - Matthew Aberline
Installation Design - Louise Morris
Sound Design - Kimmo Vennonen & Cathy Petocz
Technical Design - Alister Emerson & Team

Conceived by Pip Buining

19, 20, 21, 26, 27, 28 November & 3, 4, 5 December 2010

For more information - www.cytc.net
Tags: Retrieval; CYT; Retrieval Blog; Canberra Youth Theatre
Added: 2 years ago
From: CanberraYouthTheatre
Views: 166

[scene opens with a young woman ("Karla Conway, Director") speaking directly to the camera]
KARLA CONWAY: Hello, I'm Karla Conway, artistic director at Canberra Youth Theatre, and welcome to our first online blog for our major production of 2010, "Retrieval" ... "Retrieval" is a site-specific performance installation at the National Library of Australia, where we take you - the audience - on a journey deep into the stacks on a quest to reconnect with stories past. It explores the idea that if we fail to connect with stories of the past and heed their messages, then we're gonna continue to make the same global mistakes into the future. Each week, one of our actors is going to document their process and mark the developments of that week, and they'll also share some of their creative process with you. And first up is Farnoush, so tune in each week to follow the creative development of this exciting work, and we look forward to seeing you at the National Library of Australia in November.
["Week 1 - Pandora" appears on screen, then cut to another woman ("Farnoush Parsiavashi, Pandora") speaking directly to the camera]
FARNOUSH PARSIAVASHI: Hi, my name is Farnoush Parsiavashi, and I'm one of the cast members of Canberra Threatre's production of "Retrieval" for 2010 ... Uh, just thought I'd tell you a little bit about what I'm doing. I'm playing Pandora, and she's a computer construct that's been brought in to digitize documents at the National Library, pretty much everything from the past to the present of what Australia's been doing for years, everything. And we've kind of been looking, at the moment, at how to create ...
[she pauses]
FARNOUSH PARSIAVASHI: What to create in the space, and what she needs to say, and how she needs to relate to the audience, 'cause there's also different characters, different spaces. And she needs to come off as sort of ... There's this problem that's occurred, she has to give a plea to get the audience on their way through this whole journey and this whole, y'know, monster of a play. Monster of a show. And so this week, we've kind of been looking at texts, and how to turn them into dialogue, monologues. All that kind of stuff.
[cut to another shot of Farnoush]
FARNOUSH PARSIAVASHI: So the next sort of process that we'll be looking at, I guess, is the exposition of the play and how we then get Pandora to create the sort of inciting incident to get the audience on their way and onto their journey.

Retrieval
National Library of Australia
19 November - 5 December 2010

Bookings (02) 6248 5057
www dot cytc dot net

---

From cytc.net:

TICKETS ON SALE 15th SEPTEMBER
Bookings: Phone (02) 6248 5057 or email km@cytc.net
Tickets: Adults $25, Concession $18

Original Concept: Pip Buining
Director: Karla Conway (CYT Artistic Director)
Co Director: Joe Woodward
Installation Artist: Louise Morris
Costume Artist: Matthew Aberline
Sound Artist: Kimmo Vennonen
Emerging Installation /Sound Artist: Cathy Petocz
Cast: CYT Ensemble Members (18-25 years) & CYT Teen Ensemble (ages15-18)

What: RETRIEVAL will take our audience on a weaving journey deep into the stack of the National Library. It will be an expedition into our collective past. A cyclical journey of deposit and retrieval ensues – of stories past and stories to come. Whose voices do we revere? Whose stories do we listen to? Why do we record and archive our past if we do not learn from it? The stack is the keeper of our past – it is a maze of the stories of humanity. Stories of the mundane and of great profundity are deposited there hoping one day to be retrieved – to be read – to be heard – to be of use – to make a difference. History repeats itself when stories are not heard and heeded. It is our collective duty to retrieve the distant and recent past and learn from it but so often we do not go into the dark or unfamiliar spaces to do this. RETRIEVAL challenges us to look back in order to look forward.

When: 19th November – 5th December 2010
Where: The National Library of Australia

Contact: CYT on 6248 5057 or email karla@cytc.net

---

From lowdown.net.au:

Remnants of a relinquished world reach out from crumpled pages of discarded knowledge. The sonorous strains of Cathy Petocz's original cello composition, played by Lizzie Nicholson, haunt the narrow introductory exhibition space of the National Library of Australia where old encyclopaedias encircle the emerging figures of the Unity / Librarian characters - Body (Glen Veitch), Mind (Lee Constable) and Spirit (Olivia Newton). Body strives purposefully for meaning, repeating with urgent necessity directions Left, Right, Up Down, Backwards, Forwards. Mind reiterates numbers; One. Two. One Two, compelling order and logic from the chaos of a crumbled past. Spirit's voice glides through the empty air, a sound without body, without mind and recalling the lost and forgotten world of true knowledge.

Hurriedly, the audience is ushered into the larger entrance foyer, in the midst of a construction site and projected images of people proclaiming the ruin of an ordered universe, against the grating background noise of a helicopter's rotor blades, chopping through the soundscape. Above, the black figure of a giant moth, looms from the balcony, flapping its wings in a threatening display of destructive force. Quickly, with Mind, Body and Spirit as their hosts, the audience is swept upon a journey of discovery, realization and reflective contemplation of sacrificial loss through the various rooms of the library, transformed by Louise Morris's remarkable, evocative installation designs and peopled by the ghostly, dusty figures of the past, costumed chiefly in Matthew Aberline's nineteenth century, gothic designs. Desolation and decay denounce the loss of a past that now must be retrieved. Moths slink through the corridors, claiming their domain, devouring its collection and menacing the visitors who would disturb their labour of destruction.

Kimmo Vennonen's sound design urges us on – into lifts, through rooms, set up with banks of monitors constructing binary codes, past a Guru (Humphrey Goldstein), searching for enlightenment in an unenlightened world, into the room where Pandora (Farnoush Parniavashi), trapped within a steel rotunda spouts forth the words of Prospero, powerless and disembodied after having unleashed the furies of the digital age: down to the stacks and the wheelchair bound Isis (Hannah Lawson), bound with the tubes of an archaic call-up system. Everywhere the images of loss, entrapment and decay permeate through the forest of trees of knowledge, the cobwebbed passages of dead reference and the discarded memories and objects of private recollection. As the journey through the derelict remains of a glorious past of treasured knowledge comes to a close in the library's Reading Room, the audience is witness to the dramatic ingestation of the Audience Member (Miriam Slater) by Sam Kentish's Mega Moth.

It is the terrifying proclamation of devoured hope.

"Go! Go! Go!" exhorts the Keeper of Knowledge (Tsee-Yee Teh). "This is a Construction Site." As I leave the library and Canberra Youth Theatre's ingeniously devised performance installation, I am struck by an overwhelming sense of loss. Have we sacrificed the treasures of our past, the knowledge and experience housed in the many chambers of the nation's custodian of knowledge and memory? Are we the victims of our bedazzling digital revolution, compelling us to consume the magical marvels of Facebook. Twitter, iphones and the Google Guru? Is Canberra Youth Theatre's production of Retrieval nothing more than an anarchical death rattle of a Luddite desire to cling to an irrelevant past, or is it a salutary warning to humanity that the irretrievable loss of past knowledge and literary and oral tradition will in time fall inevitable victim to the devouring predators of New Age technology and knowledge?

Retrieval is theatre that confronts, questions, challenges and provokes response. Former Artistic Director, Pip Buining's original concept is both innovative and prophetically chilling. Current Artistic Director, Karla Conway, with co-director Joe Woodward, weave the journey throughout the National Library with theatrical skill, surprising us with compelling imagery and intently positioned moments of intense performance from Canberra Youth Theatre's 2010 Actors Ensemble. Perhaps we pass too swiftly by in a wave of promenading urgency, failing to savour the moment, the image, the faded writings and the details of Louise Morris's creatively inspired installations. And yet, the journey seemed overly long. I sat, relieved, in a chair in the Reading Room for the final scene, almost oblivious to the words that passed over me and entranced by the image of the Mega Moth and its hapless victim.

Ideally, I would need to return several times to devour the power of each image at a less frenetic pace, but even though I may have been robbed of the opportunity to savour every detail of this imaginatively staged event, I am compelled to confront the consequences of the age I live in, its dissemination and collection of knowledge and the consequences of a lost and valuable world. The ambitious conceptual sweep of this production has enveloped me with provocative thought and emotional response, which lingers long after I leave the building.

And that is the true mark of another Canberra Youth Theatre success.

Credits

Retrieval – a devised performance installation, Canberra Youth Theatre and the National Library of Australia.
General Concept and Development. Pip Buining.
Director: Karla Conway.
Co-director: Joe Woodward.
Installation Designer: Louise Morris.
Production Designer: Matthew Aberline.
Sound Designer: Kimmo Vennonen.
Original Compositions: Cathy Petocz.
Lighting Designer: Alister Emerson.
Production Manager: Alister Emerson.
Stage Manager: Gemma Baker.
Movement Coach: Barb Barnett.
Vocal Coach: Dianna Nixon.
Assitant Stage Manager: Samantha Pickering.
Publicity and Marketing: K-M Gronow.
NLA Lisaison: Brendan Dahl.

Case Study No. 0613: Staff of Unnamed Library (Andy Gelzleichter)

The Library Fine
2:06
The Jester telling why he got a collection agency sent after him.
Tags: Inprov comedy humor fine short film sketch
Added: 4 years ago
From: DieJester
Views: 259

[scene opens with the Jester entering his room, holding a piece of paper and speaking directly to the camera]
JESTER: Dude, I am so mad right now ...
[he sits down]
JESTER: Check this out, man ...
[he hands the paper to the unseen cameraman]
JESTER: Dude, that's right, the library sent a collection agency on me. Thirty-four dollar fine for one book! It's ... I mean, I know I had it out for a long time, but dude! Seriously, man.
[he takes back the piece of paper]
JESTER: I know, lookit ... I mean, okay. Here's what happened. I got this book, a mystery book, about this missing guy. And, I mean, it was interesting and I really liked it, y'know. But it was one of those books you really had to trudge through ...
[camera zooms out]
JESTER: I mean, you really just had to dig into it, and I was like, "Okay, I'm not just gonna take this book back before I finish it. I am gonna finish it!"
[he shakes his head]
JESTER: So many times I've had books where, y'know, you get halfway through and it's interesting but ... Eh, throw it in the gutter, y'know. You get bored with it, take it back. I was like, "No, I'm not taking this book back until I finish it! I'm not gonna do it, I'm gonna finish it!"
[he throws his hands up]
JESTER: And y'know, I'm trudging through it, everyday. Everyday just going through this book, and I mean, it wasn't an easy read, but I went through it. I mean, thirty four dollar fine. I mean ...
[he looks down at the paper]
JESTER: Looking back, looking back right now, it was worth it though. I mean, thirty four dollars, because when I got through that last page, and I finally knew exactly where Waldo was ... I mean, can't beat that feeling in the world. Can't do it.

The Library Fine

Writer/Actor - Andy Gelzleichter
Camera - Ryan
Moral Support - Zarazuthra

Case Study No. 0612: Nancy Littlejohn, Charlotte Gordon, and Kim Zahller

Talking out Loud with Librarians
6:05
What does a librarian look like? Class project examining the race, gender and age stereotypes of librarians in media.
Tags: librarian media stereotype
Added: 2 years ago
From: bekahlouful
Views: 160

[short film begins with clips from several examples of the portrayal of librarians in mass media (set to "Marian the Librarian" from "The Music Man"), then "Talking out Loud with Librarians: Race, Age and Gender Stereotypes in Libraries" appears on screen before cutting to a young woman speaking directly to the camera]
REBEKAH: Hi, my name's Rebekah Husted. For the last four years, I've been studying librarians in their natural habitat, hidden deep within the stacks of public libraries. What I found may surprise you. For the next few minutes, we're going to explore the world of librarians. Are the stereotypes real, or did the media fabricate them?
["Who are librarians?" appears on screen, then cut to an older female librarian speaking directly to the camera]
NANCY: Hi, my name's Nancy Littlejohn, and I am ... Caucasian. Um, mostly German, for ethnicity. Um, I'm fifty five years old, and I've been a librarian for almost thirty two years.
[cut to another older female librarian speaking directly to the camera]
CHARLOTTE: My name is Charlotte Gordon, and I ... this is my last year in this fifth decade of my life, and I'm ready to embrace the next few years. I'm ready for it, whatever it may bring. I am African American, but in my lifetime I have been declared "colored," "negro," "black," "African American!" So, I tell my friends when they ask me, just call call me Charlotte.
[cut to another older female librarian speaking directly to the camera]
KIM: Kim, age forty three. Race, mixed. Gender, female. Position, thirteen years.
[cut back to Charlotte speaking directly to the camera]
CHARLOTTE: I am, of course, female. Born that way, and as an official librarian, I've been a librarian now for three and a half years. But I think I've always been a librarian, deep down inside!
[cut back to Kim speaking directly to the camera]
KIM: I would say I'm a mutt! I'm half-Vietnamese, half-German, Irish, Swiss ... Scottish.
[cut back to Charlotte speaking directly to the camera]
CHARLOTTE: I started teaching in Norman in 1973. I was the first African American, if you can believe that, to actually teach in the Norman public schools. It hasn't been that long.
["Media stereotypes" appears on screen, then cut back to Nancy speaking directly to the camera]
NANCY: Usually, when librarians are portrayed in the media, they are ... um, older. Female.
[cut back to Kim speaking directly to the camera]
KIM: There's an assumption that males are more dangerous with children than females, because females have ... y'know, you picture them as being more nurturing and good with children. And men are, y'know, you don't see that. Y'know, men!
[she starts pantomiming a caveman]
KIM: "Ugh, must get food! Bring home to wife!" Y'know ...
[cut back to Nancy speaking directly to the camera]
NANCY: Doughty ...
[cut back to Charlotte speaking directly to the camera]
CHARLOTTE: Well, first of all, they're really stern! It used to be that they would have the bun and the long skirt, but not so much anymore.
[cut back to Nancy speaking directly to the camera]
NANCY: Glasses!
[cut back to Kim speaking directly to the camera]
KIM: In the media ... Normally, y'know, the little female librarians have the little horn-rimmed glasses and they have buns and they say "Shhh!"
[cut back to Nancy speaking directly to the camera]
NANCY: Uh, stern ...
[cut back to Kim speaking directly to the camera]
KIM: "Oh, really? You're a librarian?"
[cut back to Charlotte speaking directly to the camera]
CHARLOTTE: I don't think that there are that many African American ... um, people that are seen as librarians.
[cut back to Nancy speaking directly to the camera]
NANCY: Not much fun ...
[cut back to Kim reading from a copy of "The Case of the Case of Mistaken Identity" by Mac Barnett]
KIM: "Just loaned people books? Listen, Steven ... Librarians are the guardians of knowledge! And yes, we make sure knowledge is available, gratis, to everyone. 'Just loaning them books,' as you so crudely put it, is an important job!"
[cut back to Charlotte speaking directly to the camera]
CHARLOTTE: They're usually old.
[cut back to Nancy speaking directly to the camera]
NANCY: Not very interesting ...
[cut back to Kim as she continues reading from the book]
KIM: "Trust me, Steven ... Librarians are just about the only thing holding this country together!"
[cut back to Nancy speaking directly to the camera]
NANCY: They don't get it right!
[cut back to Charlotte speaking directly to the camera]
CHARLOTTE: I don't fit the stereotype of anything!
[she laughs, then cut to Kim standing in the children's section of the library, singing while holding a cockroach on the tip of her finger]
KIM: "I'm a roach, I kiss your face!"
[she makes kissing noises, as another cockroach crawls up onto her ear]
KIM: "I just like to crawl all over the place!"
[cut back to Charlotte speaking directly to the camera]
CHARLOTTE: So I just break all those stereotypes ... right outta the water.
[cut back to Nancy speaking directly to the camera]
NANCY: They do a little bit better on TV shows, but most movies are still just ... making fun of the "old lady" librarians.
["Changing the stereotype: Relating to the public" appears on screen, then cut back to Nancy speaking directly to the camera]
NANCY: The profession has tried really really hard to diversify ... Um, there's lots of conversations in the profession about "How do we diversify?" "How do we recruit minority people into the profession?" "How do we just get more men into the profession?" Um, and there's been a lot of work in that area. I don't know quite how successful it's been.
[cut back to Kim speaking directly to the camera]
KIM: That's more of like a slice of the world ... This is, the world isn't all one color, y'know. It's more like, this is more representative of what the world is like. Um, and not just one little chunk of it.
[cut back to Nancy speaking directly to the camera]
NANCY: Because we want the customers to come in the library, sometimes, to see somebody who works there who looks like them ... "Oh, you look like me, or you're the same ethnicity as me, so we can relate!" Um, but I'm not sure how successful we've really been in getting a more diverse workforce in libraries.
[cut back to Charlotte speaking directly to the camera]
CHARLOTTE: A library is a public place. The people here are the public. The public comes in all shapes, forms, sizes, colors, religious groups. Um, and I have found that my following here - whether I do a storytime on the bus or at the mall - I do have several that would rather come to some things that I do just because there's a comfort level there.
[cut back to Nancy speaking directly to the camera]
NANCY: We'd like to change that stereotype ...

Filmed and directed by Rebekah Husted

Special thanks to
Nancy Littlejohn
Kim Zahller
and Charlotte Gordon
for agreeing to be interviewed
to the staff of the Norman Public Library
for allowing me to film there
and to Tara Buehner
for saving my sanity while cutting the film together

Opening clips from
The Music Man
The Middle
Your Life's Work
Glee
Head Over Heels
It's a Wonderful Life
Breakfast at Tiffany's
Africa
Sesame Street
property of their respective owners

Dedicated to the librarians who don't fit the media's mold

---

From wordpress.com:

Here's my final project for Race, Gender and the Media. This was my first attempt at a video, so be kind!

tags: diversity, librarians, Stereotypes, video

Case Study No. 0611: Camille Dutton

The Book Waitress
1:08
Camille Dutton learned early in life Satan was not to be trifled with. Escaping his evil clutches as a child, he's come back with a vengeance for her now.

Derek Galloway's inquisitive nature has led him to be an award-winning investigative reporter and straight into the path of pure evil.

When a child vanishes from a sleepy island town, Camille, its subdued librarian, becomes embroiled in Derek's investigation. A satanic cult has plans for the child, while Satan has plans for Camille and the rest of the world. Amidst evil of the most supernatural and human kind, Derek and Camille find a shred of light and goodness in the form of their budding relationship.

First in the Book Waitress Series, the portal between Hell and Earth will be torn asunder, and it will take everything Camille and Derek have and then some to close it. Satan won't go down easy, but nothing worth everything comes without a price.
(c)DeenaRemiel2012
Tags: deena remiel "The Book Waitress" "Deena Remiel" "Urban Fantasy (Literary Genre)" book "good versus evil" romance ebook
Added: 2 months ago
From: Deena Remiel
Views: 66

Nothing worth everything comes without a price ...

Camille Dutton learned early in life Satan was not to be trifled with.

Escaping his evil clutches as a child, he's come back with a vengeance for her now.

Derek Galloway's inquisitive nature has led him to be an award-winning investigative reporter and straight into the path of pure evil.

First in the Book Waitress Series, the portal between Hell and Earth will be torn asunder ...

And it will take everything Camille and Derek have and then some to close it.

Satan won't go down easy, but "nothing work everything comes without a price"

Firewalker Press and
Deena Remiel present ...

The Book Waitress

Cover Artist
Scott Carpenter

Music by
Incompetech dot com

The Book Waitress ...
Available at
Amazon
B&N
and wherever ebooks
are sold

---

From blogspot.com:

One never knows, does one? Some libraries have been around a very, very long time. Oh, the stories they could probably tell, and that still lie nestled in the insulation of the walls. I've always had an affinity towards libraries. I started by being a librarian at my elementary school when I was in 6th grade, and in college, I worked in the cartography department (maps) and then the Periodicals. I loved it.

For one of my college history classes, I need to use primary sources, so I took the train into NY City and went to the NY Public Library. WHAT A PLACE! It just oozes history! It was thrilling to be in one of the side rooms filled with ancient books and even more ancient stories. The cornerstone of the library was laid in 1902. In 1911, when it officially opened, over 1 million books were set in place. So one can only imagine all the fascinating people that have walked through its doors and/or worked in the stacks since then. The architecture alone has been in many a movie, most notably, Ghostbusters.

Which brings me to my posit of the day... What if the spirits of former patrons and workers still lingered within the hallowed walls of the library? This very question is what led me to creating two ghostly characters for my newest paranormal series, The Book Waitress. They don't say a word, and they don't take form, but they do make their presence known in their own special way.