The City That Never Sleeps?
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Twelve Fallacies of the “Neo-Antitrust” Movement
TWELVE FALLACIES OF THE “NEO-ANTITRUST” MOVEMENT Seth B. Sacher John M. Yun Antonin Scalia Law School, George Mason University George Mason University Law & Economics Research Paper Series 19-12 This paper is available on the Social Science Research Network at ssrn.com/abstract=3369013 TWELVE FALLACIES OF THE “NEO-ANTITRUST” MOVEMENT Seth B. Sachera and John M. Yunb Antonin Scalia Law School George Mason University May 1, 2019 Abstract Antitrust enforcement is back in the spotlight with advocates from both the political left and the populist political right demanding fundamental competition policy changes. While there are differences among those calling for such changes, several common beliefs generally unite them. This includes a contention that the writings and interpretations of Robert Bork and the Chicago School of economics have led antitrust astray in a manner fundamentally inconsistent with the original intent of the Sherman Act. Further, they are united by a belief that recent empirical, economic studies indicate the economy is becoming overly concentrated, that market power has been increasing dramatically, that performance in many, if not most, markets has been deficient, and that too much profit is going to too few firms. In this article, we identify and detail twelve fallacies of what we call the “neo-antitrust movement” and their associated claims. At the heart of these fallacies is a fundamental misunderstanding of economics and the consumer welfare standard that has been at the heart of competition policy since at least the 1960s. Additionally, there is a heavy reliance on studies that, upon closer scrutiny, do not support the positions of those who cite them. -
GANGS of NEW YORK Außer Konkurrenz GANGS of NEW YORK GANGS of NEW YORK Regie:Martin Scorsese
Wettbewerb/IFB 2003 GANGS OF NEW YORK Außer Konkurrenz GANGS OF NEW YORK GANGS OF NEW YORK Regie:Martin Scorsese USA 2002 Darsteller Amsterdam Vallon Leonardo DiCaprio Länge 168 Min. Bill Cutting Daniel Day-Lewis Format 35 mm, Jenny Everdeane Cameron Diaz Cinemascope Boss Tweed Jim Boadbent Farbe Happy Jack John C.Reilly Johnny Sirocco Henry Thomas Stabliste Pfarrer Vallon Liam Neeson Buch Jay Cocks Walter „Monk“ Steven Zaillian McGinn Brendan Gleeson Kenneth Lonergan McGloin Gary Lewis Story Jay Cocks Shang Stephen Graham Kamera Michael Ballhaus Killoran Eddie Marsan Kameraführung Andrew Rowlands Reverend Raleigh Alec McCowen Kameraassistenz Tom Lappin Mr.Schermerhorn David Hemmings Schnitt Thelma Soonmaker Jimmy Spoils Larry Gilliard,Jr. Mitarbeit James Kwei Hell-Cat Maggie Cara Seymour Pat Buba P.T.Barnum Roger Ashton- Ton Ivan Sharrock Griffiths Musik Howard Shore Einarmiger Priester Peter Hugo Daly Production Design Dante Ferreti Daniel Day-Lewis, Leonardo DiCaprio Junger Amsterdam Cian McCormack Ausstattung Stefano Ortolani Junger Johnny Andrew Gallagher Kostüm Sandy Powell O’Connell Philip Kirk Regieassistenz Joseph Reidy GANGS OF NEW YORK Bills Gang Liam Carney Casting Ellen Lewis Das südliche Manhattan in den 60er Jahren des 19. Jahrhunderts, einer Zeit Gary McCormack Produktionsltg. Michael Hausman großer Unruhen in den USA – das Land steht kurz vor dem Bürgerkrieg. Für David McBlain Produzenten Alberto Grimaldi die arme Bevölkerung von New York tobt der Kampf allerdings schon lange Jennys Mädchen Katherine Wallach Harvey Weinstein – und zwar direkt vor ihrer Haustür. Korruption bestimmt die Politik, Gesetz- Carmen Hanlon Executive Producers Michael Ovitz Ilaria D’Elia Bob Weinstein losigkeit das Alltagsleben; rivalisierende Gangs kämpfen um die Vorherr- Gangmitglieder Nevan Finnegan Rick Yorn schaft auf den Straßen. -
International Casting Directors Network Index
International Casting Directors Network Index 01 Welcome 02 About the ICDN 04 Index of Profiles 06 Profiles of Casting Directors 76 About European Film Promotion 78 Imprint 79 ICDN Membership Application form Gut instinct and hours of research “A great film can feel a lot like a fantastic dinner party. Actors mingle and clash in the best possible lighting, and conversation is fraught with wit and emotion. The director usually gets the bulk of the credit. But before he or she can play the consummate host, someone must carefully select the right guests, send out the invites, and keep track of the RSVPs”. ‘OSCARS: The Role Of Casting Director’ by Monica Corcoran Harel, The Deadline Team, December 6, 2012 Playing one of the key roles in creating that successful “dinner” is the Casting Director, but someone who is often over-looked in the recognition department. Everyone sees the actor at work, but very few people see the hours of research, the intrinsic skills, the gut instinct that the Casting Director puts into finding just the right person for just the right role. It’s a mix of routine and inspiration which brings the characters we come to love, and sometimes to hate, to the big screen. The Casting Director’s delicate work as liaison between director, actors, their agent/manager and the studio/network figures prominently in decisions which can make or break a project. It’s a job that can't garner an Oscar, but its mighty importance is always felt behind the scenes. In July 2013, the Academy of Motion Pictures of Arts and Sciences (AMPAS) created a new branch for Casting Directors, and we are thrilled that a number of members of the International Casting Directors Network are amongst the first Casting Directors invited into the Academy. -
Writing Dialogue & Advice from the Pros
Writing Dialogue & Advice from the Pros Writing great dialogue is considered an art form. Listening to real-life conversations, watching award- winning films, and learning from the masters will help you craft dialogue that shines on the page. The following writing thoughts and advice are excerpts from Karl Iglesias’ book, The 101 Habits of Highly Successful Screenwriters. Enjoy! ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Writing Unrealistic and Boring Dialogue In real life, dialogue is mostly polite conversation. In film, polite conversation is considered bad dialogue, unless it’s witty, sarcastic, or has a unique voice. The reason is that polite chat lacks tension, and tension is the key to dramatic storytelling. As Alfred Hitchcock once said, “Drama is real life with all the boring parts cut out of it.” The key to good dialogue is to understand that it’s not conversation, it’s action. What characters say in a scene should be said to get what they want in the scene. And to determine whether or not your dialogue sounds realistic, read it out loud. Garrison Keillor once advised, “If you read your work out loud, it helps to know what’s bad.” Try it. It works. Dialogue always sounds better in your head. Better to be embarrassed in your room than on the set. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Read Your Dialogue Out Loud Writing authentic, well-crafted dialogue that sparkles, individualizes characters, and entertains the reader is the ultimate challenge for screenwriters, who otherwise may have solid script elements. It’s crucial to attracting talent, which can green-light your script. Writing great dialogue can also sell the writer, for those who excel in this area are highly sought after to the tune of six figures per week for dialogue rewrites. -
A Propósito De La Filosofía Del Cine Como Educación De Adultos: La Lógica Del Matrimonio Frente Al Absurdo En La Filmografía De Gregory La Cava Hasta 1933
A PROPÓSITO DE LA FILOSOFÍA DEL CINE COMO EDUCACIÓN DE ADULTOS: LA LÓGICA DEL MATRIMONIO FRENTE AL ABSURDO EN LA FILMOGRAFÍA DE GREGORY LA CAVA HASTA 1933 José Alfredo Peris Cancioa Fechas de recepción y aceptación: 2 de junio de 2015, 8 de julio de 2015 Resumen: Desde una concepción de la filosofía del cine como educación de adultos, se puede proponer que la aportación más genuina de la filmografía de La Cava a la expresión de la interrelación entre matrimonio y crisis económica se encuentra en la figura de los antihéroes. Con estos personajes, La Cava plantea tanto la necesidad que experimenta el ser humano de las sociedades industriales de remediar la angustia que le produce su propia debilidad y vulnerabilidad, como la necesidad de entablar relaciones de ayuda. Desde su participación en el cine de animación, así como en sus películas de cine mudo y en sus películas habladas, los protagonistas superan sus propias limitaciones gracias a relaciones de confianza con los demás, de las que el matrimonio igualitario y de mutua ayuda entre el varón y la mujer es el modelo más pleno. Palabras clave: matrimonio, confianza, antihéroes, vulnerabilidad, igualdad y com- plementariedad entre varón y mujer, ayuda, filosofía del cine, educación de adultos. Abstract: From a conception of philosophy of films education of grownups, it can be proposed that the most genuine contribution of the films of La Cava to the expression of the interrelation between marriage and economic crisis is found in the figure of the anti-heroes. With these characters La Cava presents both the need experienced by peo- ple in industrial societies to remedy the distress caused by his own weakness and vulner- a Facultad de Filosofía, Antropología y Trabajo Social, Universidad Católica de Valencia San Vicente Mártir. -
Jonathan Lethem, Amnesia Moon the US Election This Week Has Sent Me
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Birkbeck Institutional Research Online Jonathan Lethem, Amnesia Moon The US election this week has sent me back to Jonathan Lethem’s second novel, the science fiction picaresque Amnesia Moon (1995). The novel depicts a dystopian near future in which a catastrophe has fragmented America into a series of communities that are worlds unto themselves. A character refers to the ‘FSRs’ – Finite Subjective Realities – in which people are locked into locally distorted perceptions. The one I was looking for was Vacaville, California, into which the protagonist Chaos stumbles. The town has a number of strange features. For one, the populace has to move house once a week, taking their few possessions with them. For another, they are governed by a system of ‘Luck’. The local government tests each citizen’s Luck and some are deemed unlucky, which becomes a self-fulfilling prophecy. Citizens also compete to make each other unluckier by writing out violations for each other’s behaviour. Third, government and media are peculiarly collusive. Joining the household of local resident Edie and her young sons, Chaos watches television with them: ‘“Test Your Luck!” was on, the afternoon game show hosted by President Kentman’. A game show – hosted by the President? Another programme is Moving Day: ‘Like today’, a boy explains, ‘when everybody has to move, except it’s about how all the government stars change houses’. ‘Government stars?’, wonders Chaos, like the reader. ‘Like movie stars’, Edie explains: ‘It’s not real. -
Teaching Social Issues with Film
Teaching Social Issues with Film Teaching Social Issues with Film William Benedict Russell III University of Central Florida INFORMATION AGE PUBLISHING, INC. Charlotte, NC • www.infoagepub.com Library of Congress Cataloging-in-Publication Data Russell, William B. Teaching social issues with film / William Benedict Russell. p. cm. Includes bibliographical references and index. ISBN 978-1-60752-116-7 (pbk.) -- ISBN 978-1-60752-117-4 (hardcover) 1. Social sciences--Study and teaching (Secondary)--Audio-visual aids. 2. Social sciences--Study and teaching (Secondary)--Research. 3. Motion pictures in education. I. Title. H62.2.R86 2009 361.0071’2--dc22 2009024393 Copyright © 2009 Information Age Publishing Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, microfilming, recording or otherwise, without written permission from the publisher. Printed in the United States of America Contents Preface and Overview .......................................................................xiii Acknowledgments ............................................................................. xvii 1 Teaching with Film ................................................................................ 1 The Russell Model for Using Film ..................................................... 2 2 Legal Issues ............................................................................................ 7 3 Teaching Social Issues with Film -
About the Author
ABOUT THE AUTHOR Dr. Arvind Sathi is the World Wide Communication Sector archi- tect for big data at IBM® . Dr. Sathi received his Ph.D. in business administration from Carnegie Mellon University and worked under Nobel Prize winner Dr. Herbert A. Simon. Dr. Sathi is a seasoned professional with more than 20 years of leadership in information management architecture and delivery. His primary focus has been in creating visions and roadmaps for advanced analytics at lead- ing IBM clients in telecommunications, media and entertainment, and energy and utilities organizations worldwide. He has con- ducted a number of workshops on big data assessment and roadmap development. Prior to joining IBM, Dr. Sathi was a pioneer in d eveloping k nowledge-based solutions for CRM at Carnegie Group. At BearingPoint, he led the development of enterprise integration, master data man- agement (MDM), and operations support systems / business support systems (OSS/BSS) solutions for the communications market, and also developed horizontal solutions for communications, fi nancial services, and public services. At IBM, Dr. Sathi has led several infor- mation management programs in MDM, data security, business intel- ligence, advanced analytics, big data, and related areas, and provided strategic architecture oversight to IBM’s strategic accounts. He has also delivered a number of workshops and presentations at industry con- ferences on technical subjects, including MDM and data architecture, 202 ABOUT THE AUTHOR and he holds two patents in data masking. His fi rst book, Customer Experience Analytics , was released by MC Press in October 2011, and his second book, Big Data Analytics , was released in October 2012. -
Mccann Lit Review
Olentangy Local School District Literature Selection Review Teacher: Shachter / Boone / Overbeck /Boden School: Liberty High School Book Title: Let the Great World Spin Genre: Literary Fiction Author: Colum McCann Pages: 400 Publisher: Random House Copyright: December 2009 In a brief rationale, please provide the following information relative to the book you would like added to the school’s book collection for classroom use. You may attach additional pages as needed. Book Summary and summary citation: (suggested resources include book flap summaries, review summaries from publisher, book vendors, etc.) In the dawning light of a late-summer morning, the people of lower Manhattan stand hushed, staring up in disbelief at the Twin Towers. It is August 1974, and a mysterious tightrope walker is running, dancing, leaping between the towers, suspended a quarter mile above the ground. In the streets below, a slew of ordinary lives become extraordinary in bestselling novelist Colum McCann’s stunningly intricate portrait of a city and its people. Let the Great World Spin is the critically acclaimed author’s most ambitious novel yet: a dazzlingly rich vision of the pain, loveliness, mystery, and promise of New York City in the 1970s. Corrigan, a radical young Irish monk, struggles with his own demons as he lives among the prostitutes in the middle of the burning Bronx. A group of mothers gather in a Park Avenue apartment to mourn their sons who died in Vietnam, only to discover just how much divides them even in grief. A young artist finds herself at the scene of a hit-and-run that sends her own life careening sideways. -
SILENCE 2H 41Min – Adventure, Drama, History – 13 Januray 2017 (USA)
Friday 29th September 2017 - ĊAK, Birkirkara SILENCE 2h 41min – Adventure, Drama, History – 13 Januray 2017 (USA) The story of a persecuted Jesuit priest during his mission in Japan & his internal conflict with the silence of God Director: Martin Scorsese Writers: Jay Cocks, Martin Scorsese (screenplay), Shusaku Endo (Novel by) Music by: Kathryn Kluge, Kim Allen Kluge Cast: Andrew Garfield ... Rodrigues Adam Driver ... Garupe Liam Neeson ... Ferreira Tadanobu Asano ... Interpreter Ciarán Hinds ... Father Valignano Issei Ogata ... Old Samurai / Inoue (as Issey Ogata) Shin'ya Tsukamoto ... Mokichi Yoshi Oida ... Ichizo Yôsuke Kubozuka ... Kichijiro (as Yosuke Kubozuka) Kaoru Endô ... Unzen Samurai (Uneme) Diego Calderón ... Prisoner Augustinian Friar #2 (as Diego Calderon) Rafael Kading ... Prisoner Augustinian Friar #1 The story The story of two Catholic missionaries Padre Sebastiao Rodrigues and Padre Francisco Garupe, who face the ultimate test of faith when they travel to Japan in search of their missing mentor Padre Cristovao Ferreira - at a time when Catholicism was outlawed and their presence forbidden. They heard that Padre Ferreira has apostatized and now living as a Japanese man. They didn't believe these rumours and had to check it out themselves, so they went looking for him putting at risk their own lives. The film tells also the story of the interior conflict of Padre Rodrigues seeing all the Christians' suffering and not understanding the silence of God in front of this persecution. Director Martin Charles Scorsese was born on November 17, 1942 in Queens, New York City, to Catherine Scorsese (née Cappa) and Charles Scorsese, who both worked in Manhattan's garment district, and whose families both came from Palermo, Sicily. -
Scorses by Ebert
Scorsese by Ebert other books by An Illini Century roger ebert A Kiss Is Still a Kiss Two Weeks in the Midday Sun: A Cannes Notebook Behind the Phantom’s Mask Roger Ebert’s Little Movie Glossary Roger Ebert’s Movie Home Companion annually 1986–1993 Roger Ebert’s Video Companion annually 1994–1998 Roger Ebert’s Movie Yearbook annually 1999– Questions for the Movie Answer Man Roger Ebert’s Book of Film: An Anthology Ebert’s Bigger Little Movie Glossary I Hated, Hated, Hated This Movie The Great Movies The Great Movies II Awake in the Dark: The Best of Roger Ebert Your Movie Sucks Roger Ebert’s Four-Star Reviews 1967–2007 With Daniel Curley The Perfect London Walk With Gene Siskel The Future of the Movies: Interviews with Martin Scorsese, Steven Spielberg, and George Lucas DVD Commentary Tracks Beyond the Valley of the Dolls Casablanca Citizen Kane Crumb Dark City Floating Weeds Roger Ebert Scorsese by Ebert foreword by Martin Scorsese the university of chicago press Chicago and London Roger Ebert is the Pulitzer The University of Chicago Press, Chicago 60637 Prize–winning film critic of the Chicago The University of Chicago Press, Ltd., London Sun-Times. Starting in 1975, he cohosted © 2008 by The Ebert Company, Ltd. a long-running weekly movie-review Foreword © 2008 by The University of Chicago Press program on television, first with Gene All rights reserved. Published 2008 Siskel and then with Richard Roeper. He Printed in the United States of America is the author of numerous books on film, including The Great Movies, The Great 17 16 15 14 13 12 11 10 09 08 1 2 3 4 5 Movies II, and Awake in the Dark: The Best of Roger Ebert, the last published by the ISBN-13: 978-0-226-18202-5 (cloth) University of Chicago Press. -
Copyright by Sean R. Tiffee 2013
Copyright by Sean R. Tiffee 2013 The Dissertation Committee for Sean R. Tiffee Certifies that this is the approved version of the following dissertation: Trauma and the Rhetoric of Horror Films: The Rise of Torture Porn in a Post Nine-Eleven World Committee: ____________________________________ Joshua Gunn, Supervisor ____________________________________ Katherine Arens ____________________________________ Barry Brummett ____________________________________ Richard Cherwitz ____________________________________ Dana Cloud Trauma and the Rhetoric of Horror Films: The Rise of Torture Porn in a Post Nine-Eleven World by Sean R. Tiffee, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August, 2013 Dedication To my family, for always being there. Acknowledgements If I were to list every person who helped me on my journey towards the completion of my Ph.D., this section would be longer than the dissertation itself. Although I want to thank everyone, these limitations require me to note only those whose support was instrumental, endless, and tireless. First and foremost, I want to thank my advisor, Joshua Gunn. Josh’s patience, diligence, and guidance are unmatched and I am truly blessed to be one of his advisees. Mere words are not capable of expressing how much I appreciate his efforts and his meticulous attention to detail pushed me to produce the very best work that I could. He is someone that I am proud to call a mentor and humbled to call a friend. I would also like to thank the other members of my dissertation committee.