Awards & Nominations
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In the Land of Blood and Honey What’S Fair Or Just in Love and War Crimes? Lessons for Transitional Justice* Carrie Menkel-Meadow
4 In The Land of Blood and Honey What’s Fair or Just in Love and War Crimes? Lessons for Transitional Justice* Carrie Menkel-Meadow n 1990, the University of California at Los Angeles (UCLA) held a conference on “Probing the Limits of Representation: Nazism and the IFinal Solution” during which leading international scholars of history, literature, cultural studies, philosophy, critical theory, arts, language, sociology, and psychology explored the question of whether the mass atrocities of Nazism and the Final Solution to exterminate all European Jewry could be represented in anything other than “factual” historical documentation and narrative (Friedlander 1992; White 1992; LaCapra 1996). This was some years after the first documentaries and “fictional- ized” films on the Holocaust had appeared, after Judgment at Nuremberg (Kramer 1961), but before Schindler’s List (Spielberg 1993) and after vari- ous cultural critics had said such things as “there can be no poetry after Auschwitz” (attributed to Theodor Adorno), and no morally acceptable artistic representation could be made of the Shoah (Friedlander 1992). The conference explored what were then called “limits to representation” of certain “truths,” so reprehensible, so mass and, at the same time, so spe- cific or so exceptional (the “German” problem; Maier 1988), that no genre could fully, morally, or “accurately” depict either the systematic evil or the mass pain, death, and injury that is the Holocaust. As the child of Holocaust survivors, I attended that conference as both scholar and one generation removed “victim,” having spent a lifetime listening to my family’s stories and seeing many visual images of both their own stories and the larger international one that was World War II. -
CONTRACT CONFLICT Guy A
COPYRIGHT © 2017 VIRGINIA LAW REVIEW ASSOCIATION COPYRIGHT SURVIVES: RETHINKING THE COPYRIGHT- CONTRACT CONFLICT Guy A. Rub* Twenty-one years ago, copyright died. More accurately, it was killed. In 1996, in ProCD v. Zeidenberg, Judge Easterbrook, writing for the Seventh Circuit, held that a contract that restricted the use of factual information was not preempted by the Copyright Act and therefore enforceable. The reaction among copyright scholars was swift and passionate. In dozens of articles and books, spreading over two decades, scholars cautioned that if the ProCD approach is broadly adopted, the results would be dire. Through contracts, the rights of copyright owners would run amok, expand, and in doing so they would invade, shrink, and possibly destroy the public domain. Contracts, we were repeatedly warned throughout the years, would kill copyright law. This Article challenges this scholarly consensus by studying the court opinions that have dealt with the copyright-contract conflict over the past four decades. This examination reveals surprising facts: notwithstanding the scholars’ warnings, ProCD’s approach won the day and was embraced by most federal circuit courts. The doomsday scenarios scholars warned against, however, did not materialize. The * Associate Professor, The Ohio State University Michael E. Moritz College of Law. I would like to thank Professors Clark Asay, Ian Ayres, Jonathan Baker, Scott Baker, Omri Ben-Shahar, Robert Brauneis, Wendy Gordon, David Hoffman, Robert Merges, Mark McKenna, Alan Michaels, Michael -
ICN 2020 Virtual Annual Conference Day
KnowledgeVision | ICN 2020 Day One Sept 14 CYNTHIA: Welcome to ICN 2020. We are delighted that you are joining us this week for the ICN Annual Conference. Today through Wednesday, we'll see two plenary discussions and related working group videos each day. On Thursday, we have special programming on ICN work related to NGAs, younger agencies, and economists. Each day you'll find the link to these session posted on the conference web page, just like you did today. If you have questions, suggestions, or just want to let us know that you're tuning in, you can email us at [email protected] and [email protected]. Follow ICN on Twitter. This week using the special hashtag ICN2020. And now it is my great pleasure to turn it over to [INAUDIBLE] president and ICN chair Andreas Mundt. ANDREAS Thanks a lot, Cynthia. Well, welcome to the 2020 ICN Annual Conference, a MUNDT: meeting of members of the ICN of our non-governmental advisors and many other people this time, because we take a chance and have more attendees than ever probably. We have four conference days ahead of us. We're going to have a host showcase. There will be working group plenaries. There will be special sessions for younger agencies for our non-governmental advisors for economists, and there will be a follow up program after the conference that will be organized by the working groups. There will be weekly events. Well, this is our first virtual conference. A virtual organization like the ICN and a virtual conference sounds easy, but in fact, it was hard to do that, to set up the program adjusted to the virtual world. -
Cashier Du Cinema
PROFILES CASHIER DU CINEMA After supermarkets, private equity, and politics, Ron Burkle makes a move on Hollywood. BY CONNIE BRUCK nside the towering iron gates of Green don’t want to think you’re in L.A., you’re Around that time, Burkle was seen at an Acres, a Beverly Hills estate built in not really in L.A.” L.A. night club, with “two drop-dead- theI nineteen-twenties by the silent-film Burkle turned Green Acres into the gorgeous girls, maybe twenty years old, actor Harold Lloyd, a narrow road climbs city’s premier political showcase. Shortly one on either arm,” a person who was at through eight acres of lawns and gardens after buying the estate, he hosted a fund- the club said. “It was such a statement: to a mansion modelled on the Villa Pal- raiser for Senator Dianne Feinstein, I can do whatever I want.” The New mieri, the Florentine palazzo where Boc- whose campaign he served as a finance York Post ran items about Burkle carous- caccio set the “Decameron.” One after- chair. The next year, he met Bill Clinton, ing with young models on his plane, noon in mid-June, the courtyard held a who was running for President, and the which had customized sleeping quarters. dozen gleaming sports cars—Lambor- two found a ready kinship. Although (Burkle, working with an F.B.I. sting, se- ghinis, Teslas, Ferraris, McLarens—ar- Burkle was a registered Republican until cretly videotaped the Post columnist ranged in a circular design, like giant steel 2004, by the mid-nineties he had be- Jared Paul Stern asking him for money petals. -
Facing the Future in Migration's Past
Double Time: Facing The Future in Migration’s Past Derek Duncan By picturing our wishes as fulfilled, dreams are after all leading us into the future. But this future, which the dreamer pictures as the present, has been moulded by his indestructible wish into a perfect likeness of the past. --Sigmund Freud, Interpretation of Dreams Trauma is not necessarily a single event, but a series of events that affects the imaginary and the symbolic. --Maureen Turim, Flashbacks in Film In La mia casa è dove sono, Igiaba Scego explores the imaginary and real geographies of memory and belonging as she maps the contours of her identity as an Italian woman of Somali origin. Scego paints a vivid picture of her native city’s new materiality: “Una Roma dove la globalizzazione si è fatta carne” (2010, 157). She recounts the astonishment of her brother on his first visit from England when he sees a group of Italian boys playing cricket with some Sri Lankan friends. Scego is quite happy with the new diversity reflecting that “[l]e mazze di cricket e i sari non sono altro che i segni di un futuro che non solo verrà, ma che è già qui da discreto tempo” (157). In the gendered symbolism of the cricket bats and the saris, Scego foresees a multicultural future that has already become past. In a gesture that is characteristic of many attempts to envisage what the nation will become, she then immediately returns to more distant times: “Qui ci sono passati tutti, arabi, normanni, francesi, austriaci. C’è passato Annibale, condottiero africano, con i suoi elefanti” (157-58), a historical fact, she reminds the reader, recalled relatively recently by the Neapolitan hip-hop band Almamegretta. -
Nabet-Abc Master Agreement
NABET-CWA/ABC Inc. 2017-2021 Master Agreement MASTER AGREEMENT TABLE OF CONTENTS General Articles Article I. Recognition and Warranty ............................................................... 2 II. No Discrimination ........................................................................... 2 III. Employment ..................................................................................... 3 IV. Check-Off ........................................................................................ 7 V. No Strikes or Lockouts .................................................................... 9 VI. Transfer of Work ............................................................................. 9 VII. Program Origination ...................................................................... 10 VIII. Work Schedule, Overtime and Penalties ....................................... 15 IX. Meal Periods .................................................................................. 22 X. Night Shift Differential .................................................................. 22 XI. Seniority, Layoffs and Rehires ...................................................... 23 XII. Transfers, Training and Temporary Upgrading ............................. 31 XIII. Leave of Absence .......................................................................... 33 XIV. Discharges ...................................................................................... 35 XV. Severance Pay ............................................................................... -
ND to Mntinue Need-B6nd Admissions Guzman
THE The Independent Newspaper Serving Notre Dame and Saint Mary's OLUME 43: ISSUE 53 FRIDAY, NOVEMBER 14,2008 NDSMCOBSERVER.COM ND to mntinue need-b6nd admissions Guzman As economy worsens, University financial aid office says policies will remain the same discusses United States in "typical Notre ByJENN METZ Dame fashion," Joseph Russo, ~ li'Jk!J (fXil[} ~ News Editor Director of Student Financial Pinochet Strategies in the Office of 7Jfiljjj~ With the stock market down, Student Financial Services told college affordability has The Observer. By IRENA ZAJICKOVA become a significant issue for "We're staying steady, News Writer li'!l9ijllfl@ffil (gi@01iji"jj) _- G:;If,J(qj ~@.~@ @}f)il(q) ~fi.,F,)!J'@: families across the country. focused in a positive direction Recent articles in national ... we're typically very deliber Juan Guzman, the Chilean newspapers like The New York ate and pretty conservative," judge famous for indicting dic 200/- $35,190 $9,290 $44,480 Times have examined the state he said. "In terms of our tator Augusto Pinochet, dis 2001:1 of financial aid and the feasi finances, we're one of the most cussed the human rights vio bility of a need-blind admis stable institutions in higher lated during Pinochet's dicta sions process in today's econo education." torship and how some human 2001:1- 4.9% lnccdasa 2009 my. Russo said he agrees with rights continue to be violated The University of Notre representatives from other col in Chile, at the Hesburgh Dame will remain committed leges and universities who say Center Thursday. -
Adventures in Film Music Redux Composer Profiles
Adventures in Film Music Redux - Composer Profiles ADVENTURES IN FILM MUSIC REDUX COMPOSER PROFILES A. R. RAHMAN Elizabeth: The Golden Age A.R. Rahman, in full Allah Rakha Rahman, original name A.S. Dileep Kumar, (born January 6, 1966, Madras [now Chennai], India), Indian composer whose extensive body of work for film and stage earned him the nickname “the Mozart of Madras.” Rahman continued his work for the screen, scoring films for Bollywood and, increasingly, Hollywood. He contributed a song to the soundtrack of Spike Lee’s Inside Man (2006) and co- wrote the score for Elizabeth: The Golden Age (2007). However, his true breakthrough to Western audiences came with Danny Boyle’s rags-to-riches saga Slumdog Millionaire (2008). Rahman’s score, which captured the frenzied pace of life in Mumbai’s underclass, dominated the awards circuit in 2009. He collected a British Academy of Film and Television Arts (BAFTA) Award for best music as well as a Golden Globe and an Academy Award for best score. He also won the Academy Award for best song for “Jai Ho,” a Latin-infused dance track that accompanied the film’s closing Bollywood-style dance number. Rahman’s streak continued at the Grammy Awards in 2010, where he collected the prize for best soundtrack and “Jai Ho” was again honoured as best song appearing on a soundtrack. Rahman’s later notable scores included those for the films 127 Hours (2010)—for which he received another Academy Award nomination—and the Hindi-language movies Rockstar (2011), Raanjhanaa (2013), Highway (2014), and Beyond the Clouds (2017). -
Best Selling Soundtrack of the 80S
Best selling soundtrack of the 80s Read 'The 20 greatest soundtracks of the '80s'. Here's 20 of the very best, as picked by team Empire. and Solomon Burke's Cry To Me chief among them) – and yet this still topped the charts and sold 42 million copies. You voted, and here they are: the top 80s movie soundtracks. 6: Flashdance 's Flashdance was a natural choice for best soundtrack. 1 (non consecutive) remains an all time record as does it 29 million copies sold. In Japan which had launched the CD in October , demand was far. It caused friction with another 80s soundtrack idol: Huey Lewis sued over The song was a monster hit, the second biggest selling of that year. The top 25 80s movie soundtracks. A definitive list of the songs that featured in all the best movies of the '80s. In a decade full of awesome best-selling soundtracks Pretty in Pink of us remember most about the '80s: high school movies and cool music. Starpulse recently ran a 'Top Ten 80s Albums' list, in which the inclusion of the Top inspired me to come up with a list of the 'Top Ten 80s Movie Soundtracks. 'Not Today': Arya Stark's Best Quotes From 'Game Of Thrones'. Like it or not, the soundtrack to the juggernaut that was the film Dirty Dancing is to this day one of the best selling albums of all time. During a pub trivia game last night, we were asked what the top selling movie soundtrack of all time is. I guessed the right answer, but I was. -
Justin Hayward All the Way, and More Tour
Presented in Cooperation with DANNY ZELISKO PRESENTS Justin Hayward All The Way, And More Tour Tuesday, August 27, 2019; 7:30 pm ABOUT There Somewhere,’ and ‘Your Wildest Dreams.’ These laid the foundation for the incredible success story of the Moody Having chalked up nearly fifty years at the peak of the music Blues — as well as his solo work — which continues to this day. and entertainment industry, Justin Hayward’s voice has When the Moody Blues took a break from touring in 1975, been heard the world over. Known principally as the vocalist, Justin worked on the Blue Jays album, followed by the hit lead guitarist and composer for the Moody Blues, his is an single ‘Blue Guitar’ (recorded with the members of 10cc). enduring talent that has helped to define the times in which Although the Moodies continued to record and tour at the he has worked. Over the last forty-five years, the band has highest level, Justin also found time to create several solo sold fifty-five million albums and received numerous awards. albums: Songwriter, Night Flight, Moving Mountains and The Commercial success has gone hand in hand with critical View From the Hill. acclaim, The Moody Blues are renowned the world over as innovators and trail blazers who have influenced any number Proving that he could write massive hits outside of the Moody of fellow artists. The band was inducted in to the Rock and Blues, Justin hit the Top Ten globally in 1978 with 'Forever Roll Hall of Fame class of 2018. Autumn’ — created for Jeff Wayne’s War of the Worlds album. -
Downloads on Ios and Android Combined
Call of Duty: Mobile Opens to Massive Launch October 4, 2019 Achieves #1 App Ranking on iOS in Over 100 Countries and Regions Surpasses More Than 35 Million Downloads on iOS and Android Combined SANTA MONICA, Calif.--(BUSINESS WIRE)--Oct. 4, 2019-- Activision’s Call of Duty®: Mobile has surpassed 35 million downloads faster than any other mobile First Person or Third Person Action games on App Store and Google Play.i Published by Activision, and developed by Tencent Games’ award-winning TiMi Studios, the new title has achieved the #1 app ranking on App Store based on downloads in over 100 countries and regions since launch.ii Call of Duty: Mobile delivers the definitive, free-to-play, first person action experience on mobile, bringing together the most beloved maps, competitive modes, iconic characters and signature weapons from across the franchise, including the Modern Warfare® and Black Ops universes, in one epic experience. “The response from fans across both Android and iOS has been amazing. Already, Call of Duty: Mobile has surpassed 35 million downloads on its way to becoming the #1 ranked iOS app in downloads overall, not only among games, but also among all apps, in 100 countries,” stated Rob Kostich, president, Activision. “This is an incredibly fun experience, and we’re only getting started. Congratulations to the teams at Activision and at our partner Tencent’s TiMi Studios for making such a great game for players. And special thanks to our fans for their continued support. There is a ton more to look forward to as we release more content and updates.” The title includes full head-to-head competitive Multiplayer modes, as well as an all-new Battle Royale experience, including classic locations from Call of Duty® featuring land, sea and air vehicles. -
Chapter Template
Copyright by Colleen Leigh Montgomery 2017 THE DISSERTATION COMMITTEE FOR COLLEEN LEIGH MONTGOMERY CERTIFIES THAT THIS IS THE APPROVED VERSION OF THE FOLLOWING DISSERTATION: ANIMATING THE VOICE: AN INDUSTRIAL ANALYSIS OF VOCAL PERFORMANCE IN DISNEY AND PIXAR FEATURE ANIMATION Committee: Thomas Schatz, Supervisor James Buhler, Co-Supervisor Caroline Frick Daniel Goldmark Jeff Smith Janet Staiger ANIMATING THE VOICE: AN INDUSTRIAL ANALYSIS OF VOCAL PERFORMANCE IN DISNEY AND PIXAR FEATURE ANIMATION by COLLEEN LEIGH MONTGOMERY 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 2017 Dedication To Dash and Magnus, who animate my life with so much joy. Acknowledgements This project would not have been possible without the invaluable support, patience, and guidance of my co-supervisors, Thomas Schatz and James Buhler, and my committee members, Caroline Frick, Daniel Goldmark, Jeff Smith, and Janet Staiger, who went above and beyond to see this project through to completion. I am humbled to have to had the opportunity to work with such an incredible group of academics whom I respect and admire. Thank you for so generously lending your time and expertise to this project—your whose scholarship, mentorship, and insights have immeasurably benefitted my work. I am also greatly indebted to Lisa Coulthard, who not only introduced me to the field of film sound studies and inspired me to pursue my intellectual interests but has also been an unwavering champion of my research for the past decade.