Ap Us History Summer Assignment for 2014-2015
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												  Catalogo-2015-Digital.Pdf132 SND SONIDERO 134 20 000 Days on Earth | 20 000 días en la Tierra 136 Björk: Biophilia Live | Björk: Biophilia en vivo CONTENIDO | CONTENTS 138 The Devil and Daniel Johnston | El diablo y Daniel Johnston 140 A Hard Day’s Night 142 Pulp: A Film About Life, Death and Supermarkets | Pulp: una película sobre la vida, la muerte y los supermercados 144 Serrat y Sabina: el símbolo y el cuate | Serrat & Sabina: Two for the Road 4 PRESENTACIÓN | FOREWORD AMB 146 AMBULANTITOBULANTITO 148 Programa 1: El cielo y otros mundos | The Sky and Other Worlds 20 NOTAS DE PROGRAMACIÓN | PROGRAMMING NOTES 148 Programa 2: Aprender del mundo | Learning From the World 22 ASOMBRO | WONDER Colaboración con Editorial Sexto Piso 148 Programa 3: Anina 56 RF REFLECTOR 150 ENF ENFOQUE 58 Is the Man Who Is Tall Happy?: An Animated Conversation with Noam Chomsky 154 Programa 1: Ritual y cine-trance | Ritual and Cine-trance ¿Es feliz el hombre que es alto?: una conversación animada con Noam Chomsky 156 Programa 2: Mirar lo invisible | Seeing the Invisible 60 Jodorowsky’s Dune | Dunas de Jodorowsky 158 Programa 3: Autoetnografías | Self-ethnographies 62 The Look of Silence | La mirada del silencio 160 Programa 4: El sexto sentido | The Sixth Sense 64 Merchants of Doubt | Mercaderes de la duda 162 Programa 5: Umbrales sensoriales | Sensory Thresholds 66 Point and Shoot | Apunte y dispare 164 Programa 6: El tren de las experiencias | The Train of Experiences 68 The Salt of the Earth | La sal de la tierra 70 Supermensch: The Legend of Shep Gordon | Supermensch: la leyenda de Shep Gordon 166 RTR RETROSPECTIVA 72 The Visit | La visita 170 Programa 1: Nouvelle vague | Nueva ola | New Wave 74 PUL PULSOS 171 Programa 2: Podría ser cualquier lugar, pero es París | It Could Be Anyplace, But It’s Paris 172 Programa 3: Fijar una imagen.
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												  STUDY GUIDE Prepared by Maren Robinson, Dramaturgby Susan Felder directed by William Brown STUDY GUIDE Prepared by Maren Robinson, Dramaturg This Study Guide for Wasteland was prepared by Maren Robinson and edited by Kerri Hunt and Lara Goetsch for TimeLine Theatre, its patrons and educational outreach. Please request permission to use these materials for any subsequent production. © TimeLine Theatre 2012 — STUDY GUIDE — Table of Contents About the Playwright ........................................................................................ 3 About the Play ................................................................................................... 3 The Interview: Susan Felder ............................................................................ 4 Glossary ............................................................................................................ 11 Timeline: The Vietnam War and Surrounding Historical Events ................ 13 The History: Views on Vietnam ...................................................................... 19 The Context: A New Kind of War and a Nation Divided .............................. 23 Prisoners of War and Torture ......................................................................... 23 Voices of Prisoners of War ............................................................................... 24 POW Code of Conduct ..................................................................................... 27 Enlisted vs. Drafted Soldiers .......................................................................... 28 The American
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												  1 Skydance Media and Alibaba Pictures Join Forces ToSKYDANCE MEDIA AND ALIBABA PICTURES JOIN FORCES TO FINANCE AND PRODUCE FLYING TIGERS FEATURE FILM Oscar-Nominated Writer Randall Wallace to Script _____________________________________________________________________________ Santa Monica, CA and Beijing, China – April 6, 2016 – Skydance, a diversified media company that creates elevated, event-level entertainment for global audiences, and Alibaba Pictures, Alibaba Group’s entertainment affiliate, today announced that they will join forces to finance and produce a Flying Tigers feature film for global release. It has been designated by Skydance Media and Alibaba Pictures as a high-priority development project. The screenplay will be written by Oscar-nominated writer Randall Wallace (Braveheart) and the film will be produced by David Ellison and Dana Goldberg of Skydance together with a team from Alibaba Pictures. The Flying Tigers – formally known as the 1st American Volunteer Group of the Chinese Air Force – was a group of volunteer pilots from the U.S. Air Force, Navy and Marine Corps. Led by Captain Claire Lee Chennault, the group fought alongside the Chinese during World War II. The Flying Tigers project will tell the story of the unique brotherhood formed by these intrepid soldiers. “This production partnership with Alibaba Pictures on Flying Tigers marks an important next step in our strategy to expand the reach of the Skydance brand on a global basis,” said David Ellison, Chief Executive Officer of Skydance Media. “We could not be more excited to work with the incomparable Randall Wallace to bring to life the extraordinary, untold story of the great commitment and sacrifices made by this courageous group of pilots.” “Flying Tigers carries with it a rich legacy and a movie about this subject matter has been highly anticipated for a very long time,” added Zhang Wei, President of Alibaba Pictures.
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												  HISTORY 319—THE VIETNAM WARS Fall 2017 MrUniversity of Wisconsin–Madison Department of History HISTORY 319—THE VIETNAM WARS Fall 2017 Mr. McCoy I. COURSE PROCEDURES: Class Meetings: Lectures are given in 1111 Humanities by Mr. McCoy on Tuesdays and Thursdays, from 4:00 to 5:15 p.m. In addition, students will attend a one-hour discussion section each week conducted by the Teaching Assistant (TA) for this course. N.B. Laptops may used only for taking notes and may not be used to access the Internet. Office Hours: —For Marlana Margaria, Humanities Room 4274, on Tuesdays from 1:45 to 3:45 p.m. and other hours by appointment (TEL: 265-9480). Messages may be left in Humanities Mailbox No. 4041, or sent via e-mail to: <[email protected]> —For Alfred McCoy, Humanities Room 5131, Thursdays 12:00 to 2:00 p.m. and other hours by appointment (TEL: 263-1855). Messages may be left in Humanities Mailbox No. 5026, or sent via e-mail to: <[email protected]> Grading: Students shall complete three pieces of written work. On October 19, students shall take a midterm examination. On November 21, students shall submit a 5,000-word research essay with full footnotes and bibliographic references. During examination week on December 16, students shall take a two-hour final examination. Final grades shall be computed as follows: —midterm take-home exam: 20% —research essay: 30% —discussion section mark: 30% —final examination: 20% —extra credit/film viewing: 3% Course Requirements: For each of these assignments, there are different requirements for both the amount and form of work to be done: a.) Midterm take-home examination: Select two questions from a list distributed in the lecture on Thursday, October 19, and turn in two short essays totaling five typed pages, with full endnote citations, at the start of class on Tuesday, October 24.
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											Relay Celebrates LifeA W A R D ● W I N N I N G jmillers.com 934-6200 Gulf Breeze ● Pensacola ● Destin 50 ¢ May 1, 2008 Tennis state champs! Kasler, Pfeifler bring crowns to Gulf Breeze Local principals support 3-tier plan last week. The main reason for according to Santa Rosa School any way to help with the budget PAM BRANNON Gulf Breeze News 2008 school times the three-tier scheduling is to District administrators. crunch.” [email protected] School Start Fin. save money on school buses. “Our starting time next year Oriole Beach Elementary Staggered start and finish times will only be 30 minutes earlier also is making a 35-minute page GB Middle 7:15 1:45 Woodlawn Middle 7:15 1:45 require fewer buses. than this year,” Gulf Breeze change in next year’s schedule. 1C Gulf Breeze Middle School GB Elementary 8:15 2:45 With more time between Elementary School principal “I have not heard one single 1C students will hear their first Oriole Beach Elem 8:15 2:45 school starting times, many Karen Murray said. negative comment from any staff school bell ring each day at 7:15 GB High 9:15 3:45 buses can be used for as many “We have been staggering member or parent about the a.m. beginning next August, as three routes each morning start times in Gulf Breeze any- schedule change next year,” while Gulf Breeze Elementary classes until 9:15 each day. and again each afternoon, way, with the schools here and Oriole Beach principal Dawn Alt PAG E 1D students will start their school The new starting times are resulting in a need for about 50 the buses trying to service each said.
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												  The Interaction Between Politics and Popular Culture at the End of WarsConflict, Culture, Closure: The interaction between politics and popular culture at the end of wars Cahir O’Doherty A thesis submitted for the degree of Doctor of Philosophy School of Geography, Politics and Sociology Newcastle University August 2019 ii Abstract In this thesis I engage with the topic of how popular culture and politics interact at the end of conflict. Using contemporary Hollywood action cinema from 2000 to 2014 and political speeches from the Bush and Obama administrations, I pose the question of how do these seemingly disparate fields forge intense connections between and through each other in order to create conditions of success in the War on Terror. I utilise the end of wars assemblage to argue that through intense and affective encounters between cinema screen and audiences, certain conditions of success emerge from the assemblage. These conditions include American exceptionalism and the values it exemplifies; the use of technology in warfare as co-productive of moral subjectivities; the necessity of sacrifice; and the centrality of the urban landscape and built environment. I then proceed to assess the resilience of the end of wars assemblage and its conditions of success by engaging with cinematic and political artefacts that have the potential to destabilise the assemblage through genre inversion and alternative temporalities. Ultimately, I argue that the assemblage and its conditions of success are strongly resilient to change and critique. The conditions of success that emerge from the assemblage through intense affective encounters can then be politically deployed make a claim that a war has ended or will end. Because audiences have been pre-primed to connect these conditions to victory, such a claim has greater persuasive power.
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												  The Living Weapon Monday, June 8, 2009 on PBS Pbs.Org/AmericanexperienceThe Living Weapon Monday, June 8, 2009 on PBS pbs.org/americanexperience You can't see it. You can't hear it. You can't smell it. Yet a biological weapon could decimate an entire city. On Monday, June 8, AMERICAN EXPERIENCE presents The Living Weapon, a harrowing tale of ambition, scientific discovery, and the lengths to which one man would go to protect his country. From producer John Rubin, this one-hour documentary offers an unprecedented look at more than two decades of closed-door meetings, secret test sites, determined scientists, and human subjects that attempted to turn some of the world's most potent germs into some of the world's most effective weapons. In 1942, the United States government, sanctioned by President Franklin Roosevelt, began a highly classified program to research and develop bioweapons - the first in a series of steps, motivated by fear of powerful enemies that brought the United States to a point of no return. "It was a turning point in the way America was willing to fight," says producer John Rubin. "Roosevelt's decision acknowledged the readiness to use a kind of weapon that military leaders had long shunned as dishonorable." "Today, perhaps more than ever, people are aware of what a biological attack could do to a city or a nation," says AMERICAN EXPERIENCE executive producer Mark Samels. "The program was, in many ways, a consequence of the mindset that scientific and medical advances could be turned on their heads to create massive destruction." CREDITS A John Rubin Productions, Inc. film for AMERICAN EXPERIENCE WRITTEN PRODUCED and DIRECTED BY John Rubin EDITED BY Jim Ohm CO-PRODUCED BY James Donald DIRECTOR OF PHOTOGRAPHY Ian Kerr MUSIC BY Christopher Mangum NARRATED BY Liev Schreiber AMERICAN EXPERIENCE is a production of WGBH Boston Senior producer Sharon Grimberg Executive producer Mark Samels Exclusive corporate funding for AMERICAN EXPERIENCE is provided by Liberty Mutual.
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												  The Media and Reserve Library, Located on the Lower Level West Wing, Has Over 9,000 Videotapes, Dvds and Audiobooks Covering a Multitude of SubjectsLibraries WAR The Media and Reserve Library, located on the lower level west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 10 Days to D-Day DVD-0690 Anthropoid DVD-8859 1776 DVD-0397 Apocalypse Now DVD-3440 1900 DVD-4443 DVD-6825 9/11 c.2 DVD-0056 c.2 Army of Shadows DVD-3022 9th Company DVD-1383 Ashes and Diamonds DVD-3642 Act of Killing DVD-4434 Auschwitz Death Camp DVD-8792 Adams Chronicles DVD-3572 Auschwitz: Inside the Nazi State DVD-7615 Aftermath: The Remnants of War DVD-5233 Bad Voodoo's War DVD-1254 Against the Odds: Resistance in Nazi Concentration DVD-0592 Baghdad ER DVD-2538 Camps Age of Anxiety VHS-4359 Ballad of a Soldier DVD-1330 Al Qaeda Files DVD-5382 Band of Brothers (Discs 1-4) c.2 DVD-0580 Discs Alexander DVD-5380 Band of Brothers (Discs 5-6) c.2 DVD-0580 Discs Alive Day Memories: Home from Iraq DVD-6536 Bataan/Back to Bataan DVD-1645 All Quiet on the Western Front DVD-0238 Battle of Algiers DVD-0826 DVD-1284 Battle of Algiers c.4 DVD-0826 c.4 America Goes to War: World War II DVD-8059 Battle of Algiers c.3 DVD-0826 c.3 American Humanitarian Effort: Out-Takes from Vietnam DVD-8130 Battleground DVD-9109 American Sniper DVD-8997 Bedford Incident DVD-6742 DVD-8328 Beirut Diaries and 33 Days DVD-5080 Americanization of Emily DVD-1501 Beowulf DVD-3570 Andre's Lives VHS-4725 Best Years of Our Lives DVD-5227 Anne Frank DVD-3303 Best Years of Our Lives c.3 DVD-5227 c.3 Anne Frank: The Life of a Young Girl DVD-3579 Beyond Treason: What You Don't Know About Your DVD-4903 Government Could Kill You 9/6/2018 Big Red One DVD-2680 Catch-22 DVD-3479 DVD-9115 Cell Next Door DVD-4578 Birth of a Nation DVD-0060 Charge of the Light Brigade (Flynn) DVD-2931 Birth of a Nation and the Civil War Films of D.W.
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												  Lending LibraryLending Library KQED is pleased to present the Lending Library. Created expressly for KQED’s major donors, members of the Legacy Society, Producer’s Circle and Signal Society, the library offers many popular television programs and specials for home viewing. You may choose from any of the titles listed. Legacy Society, Producer’s Circle and Signal Society members may borrow VHS tapes or DVDs simply by calling 415.553.2300 or emailing [email protected]. For around-the-clock convenience, you may submit a request to borrow VHS tapes or DVDs through KQED’s Web site (www.KQED.org/lendinglibrary) or by email ([email protected]) or phone (415.553.2300). Your selection will be mailed to you for your home viewing enjoyment. When finished, just mail it back, using the enclosed return label. If you are especially interested in a program that is not included in KQED’s collection, let us know. However, because video distribution is highly regulated, not all broadcast shows are available for home viewing. We will do our best to add frequently requested tapes to our lending library. Sorry, library tapes are not for duplication or resale. If you want to purchase videotapes for your permanent collection, please visit shop.pbs.org or call 877-PBS-SHOP. Current listings were last updated in February 2009. TABLE OF CONTENTS ARTS 2 DRAMA 13 NEWS/PUBLIC AFFAIRS 21 BAY WINDOW 30 FRONTLINE 32 FRONTLINE WORLD 36 P.O.V. 36 TRULY CA 38 SCIENCE/NATURE 42 HISTORY 47 AMERICAN HISTORY 54 WORLD HISTORY 60 THE “HOUSE” SERIES 64 TRAVEL 64 COOKING/HOW TO/SELF HELP 66 FAQ 69 CHILDREN 70 COMEDY 72 1 ARTS Art and Architecture AGAINST THE ODDS: THE ARTISTS OF THE HARLEM RENAISSANCE (VHS) The period of the 1920s and ‘30s known as the Harlem Renaissance encompassed an extraordinary outburst of creativity by African American visual artists.
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												  WFLDP Leadership in Cinema – We Were Soldiers 2 of 10 Facilitator ReferenceFacilitator Reference WE WERE SOLDIERS Submitted by: Pam McDonald .......................................................... E-mail: [email protected] Phone: 208-387-5318 Studio: Paramount .............................................................................................. Released: 2002 Genre: Drama ................................................................................................ Audience Rating: R Runtime: 138 minutes Materials VCR or DVD, television or projection system, Wildland Fire Leadership Values and Principles handouts (single-sided), Incident Response Pocket Guide (IRPG), notepad, writing utensil Objective Students will identify Wildland Fire Leadership Values and Principles illustrated within We Were Soldiers and discuss leadership lessons learned with group members or mentors. Basic Plot In 1965, 400 American troops faced an ambush by 2,000 enemy troops in the Ia Drang Valley (also known as the Valley of Death), in one of the most gruesome fights of the Vietnam War. We Were Soldiers is a detailed recreation of this true story: of the strategies, obstacles, and human cost faced by the troops that participated. The story focuses on the lieutenant colonel that led the attack, Hal Moore (Mel Gibson), and a civilian reporter who accompanied them, Joseph Galloway (Barry Pepper), as well as a number of other soldiers who were involved. (Taken from Rotten Tomatoes) We Were Soldiers is the story of a group that trained and sweated with one another—connected together in a way that only those who have shared similar settings can be—that entered into a chaotic situation, relied on one another for support and survival, and who eventually emerged— bruised and battered, but successful nonetheless. Set in war, the lesson is not about war, but about followership, leadership, and shared values. (From Paul Summerfelt, FFD-FMO, Flagstaff, AZ).
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												  Framing 'The Other'. a Critical Review of Vietnam War Movies and Their Representation of Asians and Vietnamese.*Framing ‘the Other’. A critical review of Vietnam war movies and their representation of Asians and Vietnamese.* John Kleinen W e W ere Soldiers (2002), depicting the first major clash between regular North-Vietnamese troops and U.S. troops at Ia Drang in Southern Vietnam over three days in November 1965, is the Vietnam War version of Saving Private Ryan and The Thin Red Line. Director, writer and producer, Randall Wallace, shows the viewer both American family values and dying soldiers. The movie is based on the book W e were soldiers once ... and young by the U.S. commander in the battle, retired Lieutenant General Harold G. Moore (a John Wayne- like performance by Mel Gibson).1 In the film, the U.S. troops have little idea of what they face, are overrun and suffer heavy casualties. The American GIs are seen fighting for their comrades, not their fatherland. This narrow patriotism is accompanied by a new theme: the respect for the victims ‘on the other side’. For the first time in the Hollywood tradition, we see fading shots of dying ‘VC’ and of their widows reading loved ones’ diaries. This is not because the filmmaker was emphasizing ‘love’ or ‘peace’ instead of ‘war’, but more importantly, Wallace seems to say, that war is noble. Ironically, the popular Vietnamese actor, Don Duong, who plays the communist commander Nguyen Huu An who led the Vietnamese People’s Army to victory, has been criticized at home for tarnishing the image of Vietnamese soldiers. Don Duong has appeared in several foreign films and numerous Vietnamese-made movies about the War.
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												  INAF 315 N the Vietnam War in FilmThe Vietnam War in Film INAF 458 C H1 (90823) Instructor: Robert L. Moore CSS 106/Ext. 2626 [email protected] Course Description This course covers the basic history of the Vietnam War especially as it reflects conflicting cultural values between and within Vietnam and the U.S. The American points of view will be analyzed largely through major films about this war. The cinematic features and styles of these major films will also be analyzed. This is not a course that focuses on combat, and most of these films do not include extended combat scenes (though some do, e.g., Platoon and Full Metal Jacket). In addition to the cultural conflicts and misunderstandings that lay behind this war, we will also consider Vietnamese culture and what I hope will be a fresh look at some aspects of American culture. Another focal point will be the differences between events, as the most reliable history available to us describes them, and the perceptions of those events by Americans and Vietnamese. This course is applicable to the Critical Media Studies major and a crucial issue for us will be the causes of slippage between "reality" (insofar as we can grasp it) and the portrayal of reality in the media of the US and other countries. This course can count as a seminar in International Affairs (Holt) and in Anthropology. For it to count as a seminar in Anthropology, the seminar paper should be cast in a cultural context with reference to culture as it is understood in one or more anthropological traditions.