Feailley Ny Meanyn Celtiagh Doolish, 3-5 Boaldyn 2017
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Copyright material – 9780230301870 Contents Table of Cases vii Table of Legislation xv Editors and Contributors xix Preface by Mark Stephens xxiii Part I The Legal, Ethical and Editorial Landscape 1 Privacy: A Judicial Perspective 3 David Eady 2 The Rights of Journalism and the Needs of Audiences 35 Onora O’Neill 3 Why We Write: Three Magic Words – ‘The Public Interest’ 46 Alan Rusbridger Part II The Practitioner’s View – Protecting Free Expression and Curbing Abuses 4 The Ultimate Balancing Test 63 Pia Sarma 5 Privacy Protection – Luxury Goods or Essential Commodity? 78 Amber Melville-Brown 6 ‘People are so much more interesting than things’: Protecting Free Expression 104 Gavin Millar QC 7 ‘You say tomato …’: A Comparison of English and US Privacy Law Principles 128 Robert Balin and Yuli Takatsuki Part III Confronting Current and Future Challenges 8 Privacy and Free Expression: Competing or Complementary Rights? 151 Michael Harris and Kirsty Hughes 9 The Internet as a Lens: Concepts of Privacy in Online Spaces 167 Jeffrey Hermes Index 193 v Copyright material – 9780230301870 PART I The Legal, Ethical and Editorial Landscape Copyright material – 9780230301870 Copyright material – 9780230301870 1 Privacy: A Judicial Perspective David Eady Introduction: the wider context Towards the end of the 20th century, there developed in most of the ‘west- ern’ democracies a concern to protect personal privacy and, if possible, by means of enforceable legal remedies. There were a number of factors under- lying this general trend, some driven by technological developments in the handling and dissemination of information, others by more elusive social or moral considerations. -
Irish Language in Meals Will Also Be Available on Reservation
ISSN 0257-7860 Nr. 57 SPRING 1987 80p Sterling D eatp o f S gum äs Mac a’ QpobpaiNN PGRRaNpORtb CONfGRGNCC Baase Doolisl) y KaRRaqpeR Welsb LaNquaqc Bills PlaNNiNQ CONtROl Q tpc MaNX QOVGRNMCNt HistORic OwiNNiNG TTpe NoRtp — Loyalist Attituöes A ScaSON iN tl7G FRGNCb CgRip Q0DC l£AGU€ -4LBA: COVIUNN CEIUWCH * BREIZH: KEl/RE KEU1EK Cy/VIRU: UNDEB CELMIDO *ElRE:CONR4DH CfllTHCH KERN O W KE SU NW NS KELTEK • /VWNNIN1COV1MEEY5 CELM GH ALBA striipag bha turadh ann. Dh'fhäs am boireannach na b'lheärr. Sgtiir a deöir. AN DIOGHALTAS AICE "Gun teagamh. fliuair sibh droch naidheachd an diugh. Pheigi." arsa Murchadh Thormaid, "mur eil sibh deönach mise doras na garaids a chäradh innsibh dhomh agus di- 'Seinn iribh o. hiüraibh o. hiigaibh o hi. chuimhnichidh mi c. Theid mi air eeann- Seo agaibh an obair bheir togail fo m'chridh. gnothaich (job) eite. Bhi stiuradh nio chasan do m'dhachaidh bhig fhin. "O cäraichidh sinn doras na garaids. Ma Air criochnacbadh saothair an lä dhomh." tha sibh deiseil tägaidh sinn an drasda agus seallaidh mi dhuibh doras na garaids. Tha Sin mar a sheinn Murchadh Thormaid chitheadh duine gun robh Murchadh 'na turadh ann." "nuair a thill e dhachaidh. "Nuair a bha c dhuine deannta 'na shcacaid dhubh-ghorm Agus leis a sin choisich an triuir a-mach a' stiiiireadh a’ chäir dhachaidh. bha eagail agus na dhungairidhe (dungarees), Bha baga dhan gharaids, an saor ’na shcacaid dhubh- air nach maircadh an ehr bochd air an rarhad uainc aige le chuid inncaian saoir. Bha e mu gorm is dungairidhc , . -
Ar Chiv'e, News
AR CHIV'E, NEWS ... ..., , ,... ............... , ..,. .,.,.,,,. .,.,.. ... ......,..... ... ., .. ,. ..- ,.,.,.. ..... , .. " ... ..., . ., ........... ,.-.................. ., VOL. 1 NO. 1 MAY 1989 BULLETIN OF THE TRANS-GENDER ARCHIVE A NEWS AND INFORMATION BULLETIN FOR THE INTERNATIONAL TRANS-GENDER COMMUNITY ..·.· .·.<-:-·.: -:-:.·.·.·.·. ·.·-.:-:-.:.·.· .. ·... :- :: ::::;/:/::~ : -:-:.:.:-:··· · -: ~ :>:<::::.:-:·. ··.·.·.·.·.·.·.·.. .....·.·. ·..· . -·.·.·.·.. .....·.·.·.·.. ...... .::):::::: : .: : ::::::: : ::::::$:~ ::::: : :::::·::::.·: .·.·. ·--:-:-:.:.:.:-:-:-:-:-:-:-:.:-:-:> << ·>.·.·>> .·:-:-:.:-:-.-.-:.:-:-:-:-:-:-:-:-:-:-:-:.:·.·.·' << ::: :wI®wA.. : .: > FOR PRIVATE CIRCULATION ONLY For circulation only to Trans-Gender groups, authorized medical, legal and media personnel, and researchers and contributors to the Trans-Gender Archive who.for the time being, are Friends of the Trans-Gender Archive, University of Ulster, Northland Road, L'Derry, Northern Ireland. ARCHIVE NEWS: BULLETIN OF THE TRANS-GENDER ARCHIVE Vol. 1 No. 1 Editor Hay 1989 Dr R Ekins ···:-:-:-:-::::::::::::::::::::::::::-::;::-:-;-·.·. ·.·:-::::::::::::::::::::::::::::::::::::::::::::::::::::::::::~:~:~:~:~:~:~: ~ :~ : ~:~:~:~:~~~}:~:::::::::::::.:- . CONTENTS Page Nos. ~ t ARCHIVE NEWS: AN INTRODUCTION Dr R Ekins 2 Miss P Kelly NEWS REPORTS: HASS MEDIA AND ARTS Miss P Kelly ·· :::·:::·:::::::::::::::: : ::::::::·::::::::::::::::::::::::::::::::::;::::::::::::~:~:: : ~:~:~:~:~:~::::: : :::;::: :: :-:-:-·. · . Media 5 Theatre 5 Transsexual: U.K. 6 Sunday -
Mass Media: Radio and Press
Министерство образования и науки Российской Федерации Федеральное агентство по образованию Федеральное государственное образовательное учреждение высшего профессионального образования «ЮЖНЫЙ ФЕДЕРАЛЬНЫЙ УНИВЕРСИТЕТ» MASS MEDIA: RADIO AND PRESS МЕТОДИЧЕСКИЕ УКАЗАНИЯ ПО ПРАКТИКЕ УСТНОЙ И ПИСЬМЕННОЙ РЕЧИ АНГЛИЙСКОГО ЯЗЫКА ДЛЯ СТУДЕНТОВ 2 КУРСА ФАКУЛЬТЕТА ФИЛОЛОГИИ И ЖУРНАЛИСТИКИ (СПЕЦИАЛЬНОСТЬ РОМАНО-ГЕРМАНСКАЯ ФИЛОЛОГИЯ) Ростов-на-Дону 2007 Методические указания обсуждены и утверждены на заседании кафедры романо- германской филологии факультета филологии и журналистики Южного Федерального Университета. Протокол № 8 от 29 марта 2007 Составили: С.Г. Николаев, доктор филол. наук, профессор; К.Ю.Колесина, канд.пед. наук, доцент, А.А. Григорьянц, преподаватель. Ответственный редактор: Т.А Шкуратова, канд. филол. наук, доцент. Настоящие методические указания отвечают основным целям обучения на 2 курсе факультетов и отделений иностранных языков и направлены на овладение, развитие и совершенствование профессиональных умений и навыков студентов в процессе их работы в аудитории под руководством преподавателя и самостоятельной работы. В основу построения данных методических указаний положен принцип интегрированного обучения иностранному языку, предполагающий комплексную организацию учебного материала для взаимосвязанного обучения сторонам речи и видам речевой деятельности. Указания составлены с учетом поаспектного обучения языку и предназначены для занятий по практике устной и письменной речи английского языка, что и определило их структуру и содержание отдельных разделов. Основная задача данного пособия – ввести наиболее частотную тематическую лексику по теме, отработать и закрепить ее при помощи коммуникативных заданий и обучить студентов устному и письменному общению на английском языке в различных сферах и ситуациях, с учетом адресата и характера взаимодействия партнеров, на основе планируемого коммуникативного намерения и с учетом перспектив использования иностранного языка как в профессиональной деятельности, так и в непосредственном общении с носителями языка. -
Adding Value Report Vol.1
ADDING VALUE a report by Northern Ireland Screen NORTHERN BOOSTING CELEBRATING ENHANCING CONTENTS THE THE THE IRELAND OUR OUR OUR CHILDREN'S ECONOMIC CULTURAL EDUCATIONAL SCREEN ECONOMY CULTURE EDUCATION VALUE VALUE VALUE 08 Large-scale Production 44 Writers 84 Creative Learning Centres 18 Independent Film 46 Short Film 90 Moving Image Arts (MIA) 22 Animation 48 ILBF / CCG 92 After School FilmClub 26 Factual / Entertainment 56 USBF 30 Television Drama 64 Film Culture 34 Gaming and Mobile 74 Heritage and Archive 38 Skills Development 78 Awards 04 05 INTROduCTION As the government-backed lead Of course certain activity intersects In a similar vein, the work of the agency in Northern Ireland for the film, more than one area and the inter- Education Department, with regard to television and digital content industry, connectivity of the agency’s work will its intervention through FilmClub, has Northern Ireland Screen is committed become apparent. For example, the value in both education and culture; as to maximising the economic, cultural development and production funding for children learn through film in a pure and educational value of the screen indigenous projects made in Northern educational sense as well as gain a wider industries for the benefit of Northern Ireland by Northern Ireland film-makers appreciation of film culture and of the Ireland. This goal is pursued through our and shown at a Northern Ireland festival, culture of Northern Ireland through mission to accelerate the development will have value in all areas. An obvious watching content-relevant films. of a dynamic and sustainable screen case in point is the feature film Good industry and culture in Northern Ireland. -
Werner Herzog Interview with a Legend
July/August 2019 Werner Herzog Interview with a legend David Harewood | Alex Scott | The South Bank Show CREATE MAXIMUM IMPACT WITH MUSIC A collection of epic music composed, recorded and produced specifically for film trailers and broadcast programming, from stirring emotional drama to apocalyptic action. AVAILABLE FOR LICENCE AT AUDIONETWORK.COM/DISCOVER/MAXIMUMIMPACT FIND OUT MORE: Rebecca Hodges [email protected] (0)207 566 1441 1012-RTS ADVERTS-MAX_IMPACT-V2.indd 1 25/06/2019 09:31 Journal of The Royal Television Society July/August 2019 l Volume 56/7 From the CEO We have just enjoyed We had a full house as some of televi- creative icon, Werner Herzog. His new two outstanding sion’s most successful storytellers BBC Arena film, focusing on his rela- national RTS events, shared their approaches to their craft. tionship with Bruce Chatwin, is some- the RTS Student Tele- I am very grateful to the event’s joint thing to look forward to this autumn. vision Awards and a organisers, Directors Cut Productions, Don’t miss Simon Shaps’s incisive live South Bank Show Sky Arts and Premier. review of a new book that analyses the special devoted to the I am thrilled that Alex Scott found the recent battle to own Sky, and Stewart art of screenwriting. Many thanks to time to write this edition’s Our Friend Purvis’s account of how the politics of all of you who worked hard to make column. The Women’s World Cup Brexit are challenging news broadcast- these happen. Congratulations to all really did capture and hold the pub- ers and what impartiality means in a the nominees and winners of the lic’s imagination: England’s semi-final fragmenting political landscape. -
Sociolinguistic Vitality of Manx After Extreme Language Shift: Authenticity Without Traditional Native Speakers
IJSL 2015; 231: 45 – 62 Open Access Tadhg Ó hIfearnáin Sociolinguistic vitality of Manx after extreme language shift: authenticity without traditional native speakers Abstract: This article draws on sociolinguistic fieldwork among speakers of one of Europe’s smallest indigenous language communities, a speaker group which persists after the loss of all of its “traditional speakers” within living memory. The extreme language shift experienced by Manx has not led to loss of the language as a spoken and literary medium due to the efforts of significant numbers of lan- guage activists and enthusiasts over several generations, from before the loss of the traditional language community to the present. Their actions have resulted in significant linguistic institutionalisation and a rapidly expanding number of speakers of various abilities, some of whom form a new “speaker community”. It discusses the constructions of linguistic authenticity and alternative models for the revival speaker, showing how core groups of speakers have been bestowed with authenticity by the wider non-speaker population, for whom linguists’ inter- est in language endangerment and language death are not primary concerns. The article shows how speakers appropriate and are accorded forms of authority and legitimacy in the absence of traditional native speakers. Keywords: authenticity, native speaker, language revitalization and regenera- tion, Manx Gaelic, Monegasque DOI 10.1515/ijsl-2014-0031 1 Introduction: sociolinguistic vitality after extreme language shift In this article I use the term extreme language shift (ELS) to refer to the process by which communities underwent a language shift from their historical native Tadhg Ó hIfearnáin: University of Limerick, Ireland. -
Manx Language Strategy 2017 - 2021 Strateysh Son Y Ghaelg 2017 - 2021 Manx Language Strateysh Son Strategy Y Ghaelg 2017-2021 2017-2021
Manx Language Strategy 2017 - 2021 Strateysh son y Ghaelg 2017 - 2021 Manx Language Strateysh son Strategy y Ghaelg 2017-2021 2017-2021 Manx Language Network Jeebin “Thinking back over the years I can’t remember a 6me when there was this much excitement and involvement with reviving Manx Gaelic, and I think it’s a great service to the Island now, and also for posterity.” Manx Language For All Gaelg son dy chooilley pheiagh !1 Manx Language Strategy 2017 - 2021 Strateysh son y Ghaelg 2017 - 2021 CONTENTS: Foreword Roie-raa …………………………………………………………………………………..………. 3 Introduction Goan Foslee Manx Language Yn Ghaelg ..……..………………………….……………..……………………………………. 4 Manx Language Network Members Olteynyn Key Stakeholders Parteeyn ………………………………………………………………………………………….. 5 Theme 1: Appropriate and Accessible Resources Cooish 1: Stoo-ynsee cooie ta ry gheddyn dy h-aashagh …………………………….. 7 Theme 2: Manx as an Important Part of National and Cultural Identity Cooish 2: Gaelg myr ayrn scanshoil jeh enney ashoonagh as cultooroil ……………8 Theme 3: Manx for the Manx Speaking Community Cooish 3: Gaelg son y theay Gaelgagh………………………………………………..….10 Theme 4: Lifelong Learning of Manx from Early to Later Years Cooish 4: Ynsagh fud bea voish lhiannooaght dys shenn-eash………………….……..11 “Learning is a treasure that will follow its owner everywhere; learning Manx isn’t just about language it’s about history, learning about the places we live, understanding why things are done the way they are and most importantly a pride and iden6ty of being part of the Isle of Man.” !2 Manx Language Strategy 2017 - 2021 Strateysh son y Ghaelg 2017 - 2021 MINISTERS’ FOREWORD ROIE-RAA In many ways, the Manx language is one of the Island’s success stories, both na:onally and interna:onally. -
Manx Music & Dance the Isle of Man’S History in Music, Song & Dance
lIbrary & archIve servIce ManX MusIc & Dance The Isle of Man’s hIsTory In MusIc, song & Dance Much of what we know about Manx music starts with early 19th century manuscripts and the earliest published source, the Mona Melodies, 1820 (J.48/2xf). however, many of the carvals (vernacular religious songs) and church music date from the 18th century, although very little was published. In the late 19th century, the Gill brothers, composer William This led to two publications of Manx dances by the English Henry and Deemster John Frederick, joined forces with Dr. Folk Dance Society and the eventual formation of the Manx John Clague on a rescue mission to collect Manx folk music Folk Dance Society in 1951. before it was forgotten. At the same time Arthur William Throughout this time the Isle of Man was flourishing as a Moore was conducting a similar project. In 1896 they tourist destination with large numbers of visitors from the UK published select pieces from their collections, edited for a late every year. To entertain them, large dance halls in Douglas Victorian audience as Manx National Songs (J.48) and Manx had daily performances for anything up to 6,000 people at a Ballads and Music. (J.48/14) time. Brothers Harry and Haydn Wood filled the demand for The 19th century also offers a variety of church music sources. music for these visitors and many of the music hall songs of The singing of carvals at oie’ll verrees (gatherings in the local the period are closely associated with the Isle of Man. -
2019 Sony Group Statement on UK Modern Slavery
Sony Group Statement on U.K. Modern Slavery Act We make this Statement pursuant to Section 54 of the United Kingdom (UK) Modern Slavery Act 2015 (the “Act”) to identify actions we have taken on a Sony Group-wide basis during the financial year ending March 31, 2019 to prevent slavery and human trafficking from occurring in our business operations and supply chains. Although not all Sony Group1 companies are subject to the Act, we have undertaken a Group-wide approach to our human rights commitment, and make this Statement on behalf of all Sony Group companies (sometimes collectively referred to as “Sony”). As such, this Statement covers all Sony Group companies operating in the United Kingdom, who are required by the Act to publish a statement, including but not limited to Sony Europe B.V., Sony Interactive Entertainment Europe Ltd., Sony Music Entertainment UK Ltd., Columbia Pictures Corporation Limited, Sony DADC Europe Limited and other subsidiaries of Sony Corporation. The list of Sony Group companies covered by this Statement as of March 31, 2019 is available in the Annex. Our Human Rights Commitment Slavery and human trafficking can occur in many forms, such as forced labor, child labor, domestic servitude, sex trafficking, and related forms of workplace abuse. In this Statement, we use the terms “slavery and human trafficking” to include all forms of slavery, servitude and forced or compulsory labor, and human trafficking. Sony is committed to maintaining and improving systems and processes to help ensure that there are no human rights violations related to our business operations or supply chains. -
Breton Patronyms and the British Heroic Age
Breton Patronyms and the British Heroic Age Gary D. German Centre de Recherche Bretonne et Celtique Introduction Of the three Brythonic-speaking nations, Brittany, Cornwall and Wales, it is the Bretons who have preserved the largest number of Celtic family names, many of which have their origins during the colonization of Armorica, a period which lasted roughly from the fourth to the eighth centuries. The purpose of this paper is to present an overview of the Breton naming system and to identify the ways in which it is tied to the earliest Welsh poetic traditions. The first point I would like to make is that there are two naming traditions in Brittany today, not just one. The first was codified in writing during the sixteenth and seventeenth centuries and it is this system that has given us the official hereditary family names as they are recorded in the town halls and telephone directories of Brittany. Although these names have been subjected to marked French orthographic practices, they reflect, in a fossilized form, the Breton oral tradition as it existed when the names were first set in writing over 400 years ago. For this reason, these names often contain lexical items that are no longer understood in the modern spoken language. We shall return to this point below. The second naming system stems directly from the oral tradition as it has come down to us today. Unlike the permanent hereditary names, it is characterized by its ephemeral, personal and extremely flexible nature. Such names disappear with the death of those who bear them. -
ANNA SARACKA AD CV.Docx
CALLBOX: 01932 592 572 www.callboxdiary.co.uk ANNA SARACKA Assistant Director COVID supervisor Mobile: 07460 335 305 Email: [email protected] FEATURE FILMS PRODUCTION COMPANY PRODUCER PRODUCT DIRECTOR 1st AD POSITION Emu Films Marleen Slot Silver Haze Sacha Polak Peter Bromfield 3rd AD (dailies) Mike Elliot Martyrs Lane Limited Katie Hodgkin Martyrs Lane Ruth Platt Peter Bromfield 3rd AD Dark Brood Pictures Sebastian Nanena Shadowland Simon Key Anna Saracka 1st AD Schemers Movie LTD Dave McLean Schemers Kyle Titterton, Hans Lucas Production Dave McLean Coordinator Peripheral The Movie Ltd Bill Kenwright Peripheral Paul Hyett Mark Chancellor 3rd AD Tim Clayton Craig Tuohy Apocalypse Pictures Ltd Ioanna Karavela REDCON-1 Chee Keung Cheung Lukas Kudapcenka 3rd AD Extras Coordinator Market Gallery, touchFILMS Aleksandra Wojtaszek Office for Monument Construction Karolina Bregula n/a AD Karolina Bregula TELEVISION PRODUCTION COMPANY PRODUCER PRODUCT DIRECTOR FM/ 1st AD POSITION Big Talk Productions Steven Merchant The Offenders (TV series) Alicia MacDonald Charlie Curran 3rd AD Steven Merchant Dom Davey (dailies) Comedy Unit Ltd for BBC Noddy Davidson The Scotts (TV series) Noddy Davidson Sean Boyle 2nd AD RoughCut TV for Channel 4 Bertie Peek Winning (pilot for a TV series) Sam Leifer Joe Starrs 2nd AD Dimension Studio Steve Jelley Notting Hill Carnival 2020 Chris Cowey Sarah Pearn AFM (broadcast) DSPTV for National Geographic Tansi Inayat Nazi Megastructures Sid Bennett Dom Davey 3rd AD (drama reconstruction series) Bitachon 360 for CBBC Sheldon Lazarus Got What It Takes (talent show) Tony Gregory Sarah Oldfield AFM This CV may be shared and kept on file for employment purposes.