The Ethics of Preemptive Action
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Robert De Niro's Raging Bull
003.TAIT_20.1_TAIT 11-05-12 9:17 AM Page 20 R. COLIN TAIT ROBERT DE NIRO’S RAGING BULL: THE HISTORY OF A PERFORMANCE AND A PERFORMANCE OF HISTORY Résumé: Cet article fait une utilisation des archives de Robert De Niro, récemment acquises par le Harry Ransom Center, pour fournir une analyse théorique et histo- rique de la contribution singulière de l’acteur au film Raging Bull (Martin Scorcese, 1980). En utilisant les notes considérables de De Niro, cet article désire montrer que le travail de cheminement du comédien s’est étendu de la pré à la postproduction, ce qui est particulièrement bien démontré par la contribution significative mais non mentionnée au générique, de l’acteur au scénario. La performance de De Niro brouille les frontières des classes de l’auteur, de la « star » et du travail de collabo- ration et permet de faire un portrait plus nuancé du travail de réalisation d’un film. Cet article dresse le catalogue du processus, durant près de six ans, entrepris par le comédien pour jouer le rôle du boxeur Jacke LaMotta : De la phase d’écriture du scénario à sa victoire aux Oscars, en passant par l’entrainement d’un an à la boxe et par la prise de soixante livres. Enfin, en se fondant sur des données concrètes qui sont restées jusqu’à maintenant inaccessibles, en raison de la modestie et du désir du comédien de conserver sa vie privée, cet article apporte une nouvelle perspective pour considérer la contribution importante de De Niro à l’histoire américaine du jeu d’acteur. -
Bernard Herrmann's Score for Cape Fear
Bernard Herrmann’s Score for Cape Fear and its Continued Relevance for Young Film Composers A Master’s Thesis in Scoring for Film, Television and Video Games Aaron Ramsey Berklee College of Music Class of 2014 2 Thesis Goal Bernard Herrmann was an innovator in writing music to picture as an emotional narrative. He employed many techniques, in common usage today, that were not being used by the film composers of his day. His music was ahead of its time and is still relevant to the art and evolution of film music. My goal is to show what today’s young film composer can learn from this master composer’s approach to the score of Cape Fear. About the Film Cape Fear was released on April 12, 1962 and directed by J. Lee Thompson. This film is based on a novel called The Executioners written by John D. MacDonald. The story is about an attorney named Sam Bowden (Gregory Peck) whose family is stalked and terrorized by a criminal named Max Cady (Robert Mitchum) who was just released from jail. Cady holds Bowden personally responsible for his conviction of eight years after witnessing Cady in a crime of violence and testifying against him in court. 3 Bernard Herrmann’s Film Scoring Innovations A staple of Herrmann’s style of composition was his use of unorthodox ensembles. “He frequently used unusual instruments or unique combinations of instruments, sometimes adding to or eliminating whole orchestra sections, and was among the first film composers to 1 utilize electronic instruments”. Herrmann used a very unconventional ensemble to perform this score of Cape Fear. -
Bad Lawyers in the Movies
Nova Law Review Volume 24, Issue 2 2000 Article 3 Bad Lawyers in the Movies Michael Asimow∗ ∗ Copyright c 2000 by the authors. Nova Law Review is produced by The Berkeley Electronic Press (bepress). https://nsuworks.nova.edu/nlr Asimow: Bad Lawyers in the Movies Bad Lawyers In The Movies Michael Asimow* TABLE OF CONTENTS I. INTRODUCTION .............................................................................. 533 I. THE POPULAR PERCEPTION OF LAWYERS ..................................... 536 El. DOES POPULAR LEGAL CULTURE FOLLOW OR LEAD PUBLIC OPINION ABOUT LAWYERS? ......................................................... 549 A. PopularCulture as a Followerof Public Opinion ................ 549 B. PopularCulture as a Leader of Public Opinion-The Relevant Interpretive Community .......................................... 550 C. The CultivationEffect ............................................................ 553 D. Lawyer Portrayalson Television as Compared to Movies ....556 IV. PORTRAYALS OF LAWYERS IN THE MOVIES .................................. 561 A. Methodological Issues ........................................................... 562 B. Movie lawyers: 1929-1969................................................... 569 C. Movie lawyers: the 1970s ..................................................... 576 D. Movie lawyers: 1980s and 1990s.......................................... 576 1. Lawyers as Bad People ..................................................... 578 2. Lawyers as Bad Professionals .......................................... -
January 2011 Boulder County Bar Foundation
BOULDER COUNTY BAR NEWSLETTER J A N U A R Y 2 0 1 1 LEGAL AID FOUNDATION OF COLORADO IS AN ORGANIZATION WORKING TO PROVIDE FREE CIVIL LEGAL ASSISTANCE TO LOW-INCOME FAMILIES, SENIOR CITIZENS, DISABLED PERSONS AND VICTIMS OF DOMESTIC VIOLENCE. PREMIERE EVENT SPONSOR YOUR FIRM OR COMPANY SPONSORSHIP IS NEEDED FOR THIS EVENT PLEASE CONACT THE BAR OFFICE FOR TAX-DEDUCTIBLE DONATION INFORMATION 303.440.4758 TABLE OF CONTENTS CALENDAR OF EVENTS 2 FOUNDATION FELLOWS 3 PRESIDENT’S PAGE 5 LAWYER ANNOUNCEMENTS 6 & 7 PRO BONO PAGE 9 CLASSIFIED ADS 11 CALENDAR OF EVENTS Pre-registration is required for all BCBA CLE programs. Register by e-mailing [email protected], or pay online with a credit card at www.boulder-bar.org/calendar. You will be charged for your lunch if you make a reservation and do not cancel prior to the CLE meeting. BCBA CLE’s cost for members is $20 per credit hour, $10 for New/Young lawyers practicing three years or less. $25 for non-members. Tuesday, January 11 Tuesday, January 18 Thursday, January 20 Employment Law Paralegals and All Lawyers Bankruptcy Lunch and meeting Tax Issues for Employment Lawyers Casemaker: Making It Work For You Noon at Agave Presenter: Susan Lindley Presenter: Reba Nance Noon at Caplan and Earnest Noon at Caplan and Earnest Wednesday, January 26 1 CLE $20, $10 for new/young lawyers 1 CLE $20, $10 for new/young lawyers Taxation, Estate Planning and Probate Lunch $10 (turkey, veggie, beef or Lunch $10 The CLASS ACT: Community Living salad w/ or w/o meat) Assistance Services and Supports Wednesday, -
Cape Fear Movie Free Download
Cape fear movie free download Watch trailers, read customer and critic reviews, and buy Cape Fear () directed by Martin Open iTunes to preview, buy, and download this movie. DVD RIP. |. [18+] Cape Fear ( – Free Download) English MB DVD-RIP SQ Top free links to Download 'Cape Fear' full Movie. Watch Cape Fear movie online for free, download Cape Fear. Sam Bowden is a womanizing lawyer who has cheated on his burnt out, bitter wife Leigh. Cape Fear p p Movie Free Download – HD Popcorns Movies. Cape Fear No more posts. HD Popcorns Copyright © WP-Backgrounds. Cape Fear Movie HD free download. Download Cape Fear full movie p High Quality. you can watch movies online in high quality for free without annoying of advertising, just come and enjoy your movies online. You can also download movie. Cape Fear () unorthodox measures which lead to an unforgettable showdown on Cape Fear. HD Movie Player; Full Movie Player #1. Cape Fear () Full Movie Online. Report error Cape Fear 12 Apr APPROVED min Drama, Thriller. Crime · A convicted rapist, released from prison after serving a fourteen-year sentence, stalks the Cape Fear Poster. A convicted rapist, released from prison after serving a .. Q: How does the movie end? Q: What is "Cape Fear" about? See more (Spoiler. Close. Netflix Netflix. WATCH FREE FOR A MONTH. GET STARTED. SIGN IN. Cape Fear: A Netflix Original This movie is: Chilling Available to download. Watch Cape Fear () - Sam Bowden (Nick Nolte)is a small-town corporate Free movie Cape Fear () with English Subtitles online for free, putlocker Cape Fear (), xmovies8 Cape Fear (), download Cape Fear (). -
Readily Admits) That Was Provoked by a Growing Interest in the Female Sex
Martin Scorsese’s Divine Comedy Also available from Bloomsbury: The Bloomsbury Companion to Religion and Film, edited by William L. Blizek Dante’s Sacred Poem, Sheila J. Nayar The Sacred and the Cinema, Sheila J. Nayar Martin Scorsese’s Divine Comedy Movies and Religion Catherine O’Brien BLOOMSBURY ACADEMIC Bloomsbury Publishing Plc 50 Bedford Square, London, WC1B 3DP, UK 1385 Broadway, New York, NY 10018, USA BLOOMSBURY and the Diana logo are trademarks of Bloomsbury Publishing Plc First published in Great Britain 2018 Copyright © Catherine O'Brien, 2018 Catherine O'Brien has asserted her right under the Copyright, Designs and Patents Act, 1988, to be identified as Author of this work. For legal purposes the Acknowledgements on p. vi constitute an extension of this copyright page. Cover design by Catherine Wood Cover image © Appian Way / Paramount / Rex Shutterstock All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. A catalogue record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Names: O’Brien, Catherine, 1962- author. Title: Martin Scorsese’s divine comedy: movies and religion / Catherine O’Brien. Description: London; New York, NY : Bloomsbury Academic, 2018. | Includes bibliographical references and index. | Includes filmography. Identifiers: LCCN 2017051481| -
L'auteur Et Le Studio / Cape Fear De Martin Scorsese
Document generated on 09/26/2021 1:56 a.m. 24 images L’auteur et le studio Cape Fear de Martin Scorsese Jean-Claude Marineau David Cronenberg Number 59, Winter 1992 URI: https://id.erudit.org/iderudit/23323ac See table of contents Publisher(s) 24/30 I/S ISSN 0707-9389 (print) 1923-5097 (digital) Explore this journal Cite this review Marineau, J.-C. (1992). Review of [L’auteur et le studio / Cape Fear de Martin Scorsese]. 24 images, (59), 67–67. Tous droits réservés © 24 images inc., 1992 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ CAPE FEAR DE MARTIN SCORSESE L'AUTEUR ET LE STUDIO par Jean-Claude Marineau ans les années 50, quelque part du fera bel et bien partie du voyage. Max Cady D côté du 8 r arrondissement à Paris, n'a toujours, à sa sottie de prison, qu'une naquit une théorie qu'on connut plus tard seule idée en tête, celle de rendre infernale sous le nom de Politique des auteurs. La la vie familiale bourgeoise de l'avocat qui suite de l'histoire est un peu mieux connue : n'a pas su le faire acquictet dans une affaire ceux qui avaient revendiqué ledroi t d'aimer d'agression sexuelle quatorze ans plus tôt. -
Southern by the Grace of God:” Religion and Race in Hollywood’S South Since the 1960S
Northumbria Research Link Citation: Hunt, Megan (2016) “Southern by the grace of God:” religion and race in Hollywood’s South since the 1960s. Doctoral thesis, Northumbria University. This version was downloaded from Northumbria Research Link: http://nrl.northumbria.ac.uk/id/eprint/32576/ Northumbria University has developed Northumbria Research Link (NRL) to enable users to access the University’s research output. Copyright © and moral rights for items on NRL are retained by the individual author(s) and/or other copyright owners. Single copies of full items can be reproduced, displayed or performed, and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided the authors, title and full bibliographic details are given, as well as a hyperlink and/or URL to the original metadata page. The content must not be changed in any way. Full items must not be sold commercially in any format or medium without formal permission of the copyright holder. The full policy is available online: http://nrl.northumbria.ac.uk/policies.html “Southern by the grace of God:” religion and race in Hollywood’s South since the 1960s. M. HUNT PhD, History: American Studies 1/1/2016 2 “Southern by the grace of God:” religion and race in Hollywood’s South since the 1960s. Megan Hunt A thesis submitted in partial fulfillment of the requirements of the University of Northumbria at Newcastle for the degree of Doctor of Philosophy. Research undertaken in the Department of Humanities, Faculty of Arts, Design & Social Sciences. -
Cape Fear: Law's Inversion and Cathartic Justice Symposium: Picturing Justice: Images of Law and Lawyers in the Visual Media Richard K
digitalcommons.nyls.edu Faculty Scholarship Articles & Chapters 1995 Cape Fear: Law's Inversion and Cathartic Justice Symposium: Picturing Justice: Images of Law and Lawyers in the Visual Media Richard K. Sherwin New York Law School Follow this and additional works at: http://digitalcommons.nyls.edu/fac_articles_chapters Recommended Citation 30 U.S.F. L. Rev. 1023 (1995-1996) This Article is brought to you for free and open access by the Faculty Scholarship at DigitalCommons@NYLS. It has been accepted for inclusion in Articles & Chapters by an authorized administrator of DigitalCommons@NYLS. Cape Fear: Law's Inversion and Cathartic Justice By RICHARD K. SHERWIN* "[T]he truth tragedy tells is that we cannot protect ourselves, neither through the wisdom of self-control nor through the magic of wish. There is no defense against the self in its fate."' "[T]he outbreak of "real" violence is conditioned by a symbolic dead- lock. Real violence is a kind of acting out that emerges when the sym- '2 bolic fiction that guarantees the life of a community is in danger." "And o, steering spirits of law, goddesses of destiny .... 3 THREE DECADES is a long time in the history of modem film. Stories change, as does the storytelling process itself. These changes can tell us a good deal about the society we live in and who we are as a people. Popu- lar films often yield profound insight into the dominant social conflicts of the time and the changing beliefs and expectations that inform mainstream culture. This is certainly the case with respect to film depictions of law, lawyers, and the shifting currents of social justice. -
Film Noir •Or As We Prefer to Call It Around Here… •Murder …
Welcome to… • FILM NOIR •OR AS WE PREFER TO CALL IT AROUND HERE… •MURDER ….. •MAYHEM…. •and… ADULTERY! Thi Today’s Movie… In 2007, Newsweek selected Cady (Robert Mitchum’s character in Cape Fear) as one of the 10 best villains in cinema history. From Hard Boiled: Great Lines from Classic Noir Films: • “Why are we going this way?” • “Better scenery.” • “What do you know about scenery? Or beauty? Or any of the things that really make life worth living? You’re just an animal --- coarse, muscled, barbaric.” • “You keep right on talking, honey. I like the way you run me down like that.” •“What I like about you is you’re rock bottom. I wouldn’t expect you to understand this, but it’s a great comfort for a girl to know she could not possibly sink any lower.” From The Devil Thumbs a Ride and Other Unforgettable Films: • Mitchum is a giant of evil in this movie; a slithery, completely corrupt, malevolent force. Along with his role as the crazed preacher in The Night of the Hunter, this is arguably his finest performance. The supporting cast complements Mitchum admirably, but if anyone ever had any doubts about his ability to act, this film dispelled them. •…this is Mitchum’s meat. He’s the angel of death-with-pain, put on earth to give men pause. •Mitchum is The Other and there’s no ignoring him. •You won’t forget this movie… From Film Noir: The Dark Side of the Screen: • …Mitchum is both crafty and menacing. Even at his meanest, he has glint in his eye, and his threats are laced with a droll humor… • Mitchum works nonchalantly, with a seeming minimum of effort and an absence of any visible technique. -
Veterans Storm San Jose
41 ek SPARTAN DAIIX 97, No s.? Published for San lose State University since 1934 Tuesday, November 12, 1991 Safety questions plague Duncan Hall building also named as fire hazard Fire Marshal's It% 1ngela lull they don't know who owns the materi- rooms' doors so that "only FD&O warning calls lily stall NflICI als. people can get in. State fire inspectors have done all "No one really knows who has all for cleaning up Hidden fire dangers have lurked in they can do write up deficiency the keys," he said. Duncan Hall and the University Police reports and notify campus authorities Some of the mechanical workers motor rooms Deparunent building for more than a but with a reduced staff, follow-ups say they've been complaining about year and SJSU officials have known are difficult. the mess for a year and a half. about them all along. Yet nothing has Hank Hendrickson, SJSU director "(FD&O) have been through the By Angela Hill changed. of operations design and construction, buildings," Eugene Ludwico, SJSU Duly staff wnter It's a bureaucratic stalemate. said that in cases like this, quickness building service engineer for three Even though everyone seems to be of action depends on the risks years, said. A yellowed February 1991 Spartan playing his designated role, this easily- involved. "We've showed them, we've talked Daily lies on the floor in one ot cleaned-up problem, a problem cited "We have to weigh the risks," he to them. They say they'll do some- Duncan Hall's 12 mechanical room, by the California State Fire Marshal's said. -
Slasher, Serial Killer, and Psycho Movies
Notice warning concerning copyright restrictions The copyright law of the United States (title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction. One of these specific conditions is that the photocopy or reproduction is not to be ``used for any purpose other than private study, scholarship, or research. ''If a user makes a request for, or later uses, a photocopy or reproduction for purposes in excess of ``fair use,'' that user may be liable for copyright infringement. This institution reserves the right to refuse to accept a copying order if, in its judgment, fulfillment of the order would involve violation of copyright law. Copyright at UMD http://libguides.d.umn.edu/content.php?hs=a&pid=97624 Slasher, Serial Killer, and Psycho Movies Psychopaths sell like hotcakes. -Hack screenplay writer Joe Gillis in Sunset Boulevard First principles, Clarice. Read Marcus Aurelius. Of each par ticular thing ask: What is it in itself? What is its nature? What does he do, this man you seek? -Hannibal Lecter in Silence of the Lambs Cody Jarrett, the gangster protagonist of White Heat (1949), kills seven people in the course of his movie (not counting himself, in the final explosion); Bonnie Parker and Clyde Barrow, the bank robber pro tagonists of Bonnie and Clyde (1967), kill almost a dozen. Yet we do not think of these characters as serial killers or of their films as serial killer films, for their directors (Raoul Walsh and Arthur Penn, respec tively) did not frame the films that way.