The Moneychangers
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Arthur Hailey As Richard Nixon: Workplace Safety in Airport Christian B
Arthur Hailey as Richard Nixon: Workplace Safety in Airport Christian B. Long Abstract: In his best-selling 1968 novel Airport, Arthur Hailey takes psy- chological workplace stresses seriously, and he places white-collar work- place safety at the centre of his novel. The disaster narrative in Airport not only lands an airplane against the odds but also shows how important workplace safety is to the safe and continued functioning of the transpor- tation system. In this way, Hailey’s novel narratively and thematically registers changes in contemporary US culture that would soon take legis- lative form, as when Richard Nixon signed the Occupational Safety and Health Act in 1970. Keywords: Airport, air traffic controllers, Arthur Hailey, best-sellers, Occu- pational Safety and Health Act (OSHA), transportation, workplace safety Re´sume´ : Dans son roman Airport, paru en 1968, Arthur Hailey prend tre`s au se´rieux les diffe´rents stress psychologiques lie´s au milieu de travail, et place la se´curite´ des milieux professionnels au centre de son histoire. Air- port est un re´cit de catastrophe qui ne se contente pas de faire atterrir un avion contre toutes attentes, il montre aussi l’importance de la se´curite´ au travail pour le fonctionnement continu et suˆ r du syste`me de transport. Ce faisant, le roman de Hailey prend acte, dans la narration comme dans les the`mes, de changements qui, dans la culture e´tatsunienne contemporaine, allaient bientoˆt trouver leur forme le´gislative avec la ratification, par Ri- chard Nixon, de la loi sur la sante´ et la se´curite´ au travail (Occupational Safety and Health Act), en 1970. -
The Moneychangers
The Moneychangers Upton Sinclair The Moneychangers Table of Contents The Moneychangers..................................................................................................................................................1 Upton Sinclair................................................................................................................................................1 CHAPTER I...................................................................................................................................................1 CHAPTER II..................................................................................................................................................8 CHAPTER III..............................................................................................................................................14 CHAPTER IV..............................................................................................................................................22 CHAPTER V................................................................................................................................................26 CHAPTER VI..............................................................................................................................................31 CHAPTER VII.............................................................................................................................................34 CHAPTER VIII............................................................................................................................................40 -
Film Terms Glossary Cinematic Terms Definition and Explanation Example (If Applicable) 180 Degree Rule a Screen Direction Rule T
Film Terms Glossary Cinematic Terms Definition and Explanation Example (if applicable) a screen direction rule that camera operators must follow - Camera placement an imaginary line on one side of the axis of action is made must adhere to the (e.g., between two principal actors in a scene), and the 180 degree rule 180 degree rule camera must not cross over that line - otherwise, there is a distressing visual discontinuity and disorientation; similar to the axis of action (an imaginary line that separates the camera from the action before it) that should not be crossed Example: at 24 fps, 4 refers to the standard frame rate or film speed - the number projected frames take 1/6 of frames or images that are projected or displayed per second to view second; in the silent era before a standard was set, many 24 frames per second films were projected at 16 or 18 frames per second, but that rate proved to be too slow when attempting to record optical film sound tracks; aka 24fps or 24p Examples: the first major 3D feature film was Bwana Devil (1953) [the first a film that has a three-dimensional, stereoscopic form or was Power of Love (1922)], House of Wax appearance, giving the life-like illusion of depth; often (1953), Cat Women of the Moon (1953), the achieved by viewers donning special red/blue (or green) or MGM musicalKiss Me Kate polarized lens glasses; when 3-D images are made (1953), Warner's Hondo (1953), House of 3-D interactive so that users feel involved with the scene, the Wax (1953), a version of Hitchcock's Dial M experience is -
Untversity of HAWAI'i LIBRARY
UNtVERSITY OF HAWAI'I LIBRARY IMAGERY AND SYMBOL OF THE AIRPLANE IN AMERICAN FILM 1950-2004 A DISSERTAnON SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN AMERICAN STUDIES MAY 2004 By Patrick Gerald O'Brien Dissertation Committee: Floyd Matson, Chairperson Paul Hooper Dennis Ogawa William Chapman David Swift © Patrick Gerald 0 'Brien 2004 iii ABSTRACT Hollywood has shown an unending affection for the airplane for nearly one hundred years. From fantasy, to war, to salvation, to heroism, to romance, to adventure, airplanes have been and continue to be a powerful symbol in American film. Two intertwined themes based on flight are menace and hope, and the tension between them has successfully driven many flying films. This may explain why film has featured the airplane as the archetypal machine of the twentieth century, just as, according to Leo Marx in The Machine in the Garden, the locomotive served as the archetypal machine in American literature of the nineteenth century. Specifically, this dissertation will focus on how cargo planes, bomber aircraft, commercial airliners, and all those aboard have been portrayed in film from 1950-2004. iv Table of Contents Abstract .......................................................... .. iv Chapter 1: Introduction................................................. 1 Chapter 2: Myth and Symbol in Flying Films 25 Chapter 3: The Menace of Flight 47 Chapter 4: Heroic Men and Flying Machines 75 Chapter 5: "Passin' Gas": Aerial Refueling Scenes. ...................... .. 110 Chapter 6: Atomic and Chemical Threats in the Sky 141 Chapter 7: Disturbed and Disturbing Passengers 169 Chapter 8: Cast Away: The Machine in the Sky 198 Chapter 9: Race and Gender in Flying Films 218 Chapter 10: Conclusion 248 Appendix: Filmography .......................... -
The Treatment of Setting Novels by Arthur Hailey Diploma Thesis
MasarykUniversityBrno FacultyofEducation DepartmentofEnglishLanguageandLiterature The Treatment of Setting Novels by Arthur Hailey Diploma Thesis Brno2008 Supervisor: Writtenby: Ph.Dr.PavelDoležel,CSc.EvaMalíšková DECLARATION Iherebydeclarethatalltheliterarysourcesusedinthe thesisarestatedinthe bibliography. EvaMalíšková 2 ACKNOWLEDGEMENT Iwouldlike tothankPh.Dr.PavelDoležel,CSc.,forhisadvice,helpand supportinthecourseof mywork. 3 CONTENTS INTRODUCTION………………………………………………………………………...5 1ARTHUR HAILEY……………………………………………………………………..6 2WORKAND WORKINGENVIRONMENTINTHE REALISTIC NOVEL…….…11 3TRENDS INTHEPOST-WAR NOVEL……………………………………………...17 4HOTEL…………………………………………………………………………...……20 4.1Americannotionofahotelimplies awayoflife……………………………21 4.2Thelocationandthe prospectsoftheSt.Gregory……………………....…...23 4.3Everydayduties andeverydayworries………………………………………25 4.4Theemployees……………………………………………………………….28 4.5Servicesandtroubles……………………………………………………...…31 5AIRPORT……………………………………………………………………………...35 5.1The placesandtheweather…………………………………………………..36 5.2Thedeparturelounge………………………………………………………...38 5.3Thewarehouse……………………………………………………………….39 5.4ThecommunityofMeadowood……………………………………………...40 5.5Airtrafficcontrol…………………………………………………………….41 5.6Services………………………………………………………………………43 5.7Preparationofaflightandaflight…………………………………………...45 5.8Stow-aways…………………………………………………………………..49 6INHIGHPLACES…………………………………………………………………….51 6.1Canada……………………………………………………………………….52 6.2TheColdWar………………………………………………………………..54 6.3The plotandsetting………………………………………………………….55 6.4ThePrimeMinisterandhisCabinet…………………………………………58