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Evidence from Rio De Janeiro's Favelas
Drug Battles and School Achievement: Evidence from Rio de Janeiro's Favelas Joana Monteiro and Rudi Rocha∗ July 2013 Abstract This paper examines the effects of armed conflicts between drug gangs in Rio de Janeiro's favelas on student achievement. We explore variation in violence that occurs across time and space when gangs battle over territo- ries. Within-school estimates indicate that students from schools exposed to violence score less in math exams. Our findings suggest that the effect of vio- lence increases with conflict intensity, duration, and proximity to exam dates; and decreases with the distance between the school and the conflict location. Finally, we find that school supply is an important mechanism driving the achievement results; armed conflicts are associated with higher teacher absen- teeism, principal turnover, and temporary school closings. JEL: I25, K42, O12 Key words: slum, violence, drug gangs, student achievement. ∗Monteiro: Brazilian Institute of Economics, Get´ulioVargas Foundation (IBRE/FGV), Rio de Janeiro, Brazil ([email protected]). Rocha: Institute of Economics, Federal University of Rio de Janeiro (IE/UFRJ), Rio de Janeiro, Brazil ([email protected]). We thank Filipe Campante, Ign´acioCano, Melissa Dell, Claudio Ferraz, S´ergioFerreira, Asim Khwaja, Horacio Larreguy, Joana Naritomi, Rohini Pande, Dan Posner, Heather Schofield, Rodrigo Soares, David Yanagizawa-Drott and seminar participants at the 2012 NEUDC, MIT Political Economy Breakfast, the 33rd Meeting of the Brazilian Econometric Society, the 1st Meeting of AL CAPONE-Lacea, PUC-Rio, and Harvard Development Lunch for helpful comments. We are extremely grateful to Paulo Ferraz for his support over the project and Disque-Den´unciafor providing access to data. -
Quepasa.Osu.Edu
Volume 26 • Number 1 • Autumn 2017 quepasa.osu.edu Making Space for Latinx Scholarship and Community Spotlight on Latin American Film Studies Esquina de los editors Who We Are Quiénes somos What We Do Reyna Esquivel-King, Editor Ece Karaca, Art Director LATIN AMERICAN CINEMA Jacob N. Farr, Staff Writer Reyna Esquivel-King, Editor Yolanda Zepeda, Managing Director This is my first year editing Contributors at ¿Que Pasa, Ohio State?. This year Latino/as have been at the Cristina Rivera forefront of political debate. Evelin Nunez-Rodriguez Hispanics tend to be negatively Frederick Aldama mis-represented. However, Glen Martínez this is not new. My research on J. Marcela Hernández the history of Mexican cinema Joel Wainwright connects to a broader discussion Joclyn Cabanas of what it means and looks like to Johana Coronado be Latino/a in the United States. John Cruz Jumarie Figueroa In this issue, we decided to Laura Podalsky highlight Latin American Liane Dávila-Martin Cinema. Since the silent film Marlene Pérez era, Latino/a directors, actors, and producers have participated Nicole Espinoza in the cultivation in the images of race. Through film, we can see how Latino/as describe themselves and create a dialogue over Olivia Cosentino the construction of race and self. The stories and articles here The Office of Diversity and Inclusion connect to the theme of identity. publishes ¿Qué Pasa, Ohio State? each Our collage for this issue is a collection of Latin American Films autumn and spring semester. ¿Qué from various countries and time periods. The movies discuss Pasa, Ohio State? is proud to celebrate the achievements of Latinx in a variety diverse topics including, poverty, class, sexuality, gender, and of disciplines: art, politics, science, colonialism. -
Feature Films
NOMINATIONS AND AWARDS IN OTHER CATEGORIES FOR FOREIGN LANGUAGE (NON-ENGLISH) FEATURE FILMS [Updated thru 88th Awards (2/16)] [* indicates win] [FLF = Foreign Language Film category] NOTE: This document compiles statistics for foreign language (non-English) feature films (including documentaries) with nominations and awards in categories other than Foreign Language Film. A film's eligibility for and/or nomination in the Foreign Language Film category is not required for inclusion here. Award Category Noms Awards Actor – Leading Role ......................... 9 ........................... 1 Actress – Leading Role .................... 17 ........................... 2 Actress – Supporting Role .................. 1 ........................... 0 Animated Feature Film ....................... 8 ........................... 0 Art Direction .................................... 19 ........................... 3 Cinematography ............................... 19 ........................... 4 Costume Design ............................... 28 ........................... 6 Directing ........................................... 28 ........................... 0 Documentary (Feature) ..................... 30 ........................... 2 Film Editing ........................................ 7 ........................... 1 Makeup ............................................... 9 ........................... 3 Music – Scoring ............................... 16 ........................... 4 Music – Song ...................................... 6 .......................... -
Turkish German Muslims and Comedy Entertainment CURRENT ISSUES in ISLAM
Turkish German Muslims and Comedy Entertainment CURRENT ISSUES IN ISLAM Editiorial Board Baderin, Mashood, SOAS, University of London Fadil, Nadia, KU Leuven Goddeeris, Idesbald, KU Leuven Hashemi, Nader, University of Denver Leman, Johan, GCIS, emeritus, KU Leuven Nicaise, Ides, KU Leuven Pang, Ching Lin, University of Antwerp and KU Leuven Platti, Emilio, emeritus, KU Leuven Tayob, Abdulkader, University of Cape Town Stallaert, Christiane, University of Antwerp and KU Leuven Toğuşlu, Erkan, GCIS, KU Leuven Zemni, Sami, Universiteit Gent Turkish German Muslims and Comedy Entertainment Settling into Mainstream Culture in the 21st Century Benjamin Nickl Leuven University Press Published with the support of the Popular Culture Association of Australia and New Zealand University of Sydney and KU Leuven Fund for Fair Open Access Published in 2020 by Leuven University Press / Presses Universitaires de Louvain / Universitaire Pers Leuven. Minderbroedersstraat 4, B-3000 Leuven (Belgium). © Benjamin Nickl, 2020 This book is published under a Creative Commons Attribution Non-Commercial Non-Derivative 4.0 Licence. The licence allows you to share, copy, distribute and transmit the work for personal and non- commercial use providing author and publisher attribution is clearly stated. Attribution should include the following information: B. Nickl. 2019. Turkish German Muslims and Comedy Entertainment: Settling into Mainstream Culture in the 21st Century. Leuven, Leuven University Press. (CC BY-NC-ND 4.0) Further details about Creative Commons licences -
CULTURAL INGENUITY: STRENGTHENING the MUSLIM AMERICAN IDENTITY a Thesis Submitted to the Faculty of the School of Continuing St
CULTURAL INGENUITY: STRENGTHENING THE MUSLIM AMERICAN IDENTITY A Thesis submitted to the Faculty of The School of Continuing Studies and of The Graduate School of Arts and Sciences in partial fulfillment of the requirements for the degree of Masters of Arts in Liberal Studies By Lena Albibi, B.A. Georgetown University Washington, D.C. February 17, 2009 CULTURAL INGENUITY: STRENGTHENING THE MUSLIM AMERICAN IDENTITY Lena Albibi, B.A. Mentor: John L. Esposito, Ph.D. ABSTRACT Muslims in America must move beyond theological discourse and polemics to creating a dynamic apparatus that can promote indigenous and organic Muslim American culture and that accommodates ideological and cultural diversity. Muslims needs to move beyond attempting solely to correct their image and dispel stereotypes. While these are admirable goals, they cannot be the end goal for engaging in the creative arts, because such a narrowly defined, negative vision does not allow for an organic expression of the self. It is imperative that Muslims establish an artistic tradition in America, because to be an American Muslim is a creative process in itself. Laying the foundation for an expressive culture will ensure that Muslims celebrate their humanity and affirm their dignity, and they will then be free from having to define themselves in opposition to something else. A positive self-definition is what Muslims need. ii CONTENTS ABSTRACT ii CHAPTER I: CULTURAL INGENUITY: STRENGTHENING THE MUSLIM AMERICAN IDENTITY 1 CHAPTER II: ISLAM AND CULTURE 5 CHAPTER III: IMAGE OF MUSLIMS IN AMERICA: POST 9/11 22 CHAPTER IV: ISLAM IN AMERICA 30 Music 32 Comedy 35 TV and Film 38 Clothing 58 Muslim American Monuments and Sports Icons 61 Civic Engagement 64 Muslim American Education 66 CHAPTER V: GOALS FOR DEVELOPING A SUCESSFUL MUSLIM AMERICAN CULTURE 71 CHAPTER VI: CONCLUSION 79 BIBLIOGRAPHY 85 iii CHAPTER I CULTURAL INGENUITY: STRENGTHENING THE MUSLIM AMERICAN IDENTITY, AN INTRODUCTION The tragic events of September 11th thrust Islam and Muslims under the eye of public scrutiny. -
![Animation! [Page 8–9] 772535 293004 the TOWER 9> Playing in the Online Dark](https://docslib.b-cdn.net/cover/9735/animation-page-8-9-772535-293004-the-tower-9-playing-in-the-online-dark-289735.webp)
Animation! [Page 8–9] 772535 293004 the TOWER 9> Playing in the Online Dark
9 euro | SPRING 2020 MODERN TIMES REVIEW THE EUROPEAN DOCUMENTARY MAGAZINE CPH:DOX THESSALONIKI DF ONE WORLD CINÉMA DU RÉEL Copenhagen, Denmark Thessaloniki, Greece Prague, Czech Paris, France Intellectually stimulating and emotionally engaging? [page 10–11] THE PAINTER AND THE THIEF THE PAINTER HUMAN IDFF MAJORDOCS BOOKS PHOTOGRAPHY Oslo, Norway Palma, Mallorca New Big Tech, New Left Cinema The Self Portrait; Dear Mr. Picasso Animation! [page 8–9] 772535 293004 THE TOWER 9> Playing in the online dark In its more halcyon early days, nature of these interactions. ABUSE: In a radical the internet was welcomed Still, the messages and shared psychosocial experiment, into households for its utopi- (albeit blurred for us) images an possibilities. A constantly are highly disturbing, the bra- the scope of online updating trove of searchable zenness and sheer volume of child abuse in the Czech information made bound en- the approaches enough to sha- Republic is uncovered. cyclopaedia sets all but obso- ke anyone’s trust in basic hu- lete; email and social media manity to the core («potential- BY CARMEN GRAY promised to connect citizens ly triggering» is a word applied of the world, no longer seg- to films liberally these days, Caught in the Net mented into tribes by physical but if any film warrants it, it is distance, in greater cultural un- surely this one). Director Vit Klusák, Barbora derstanding. The make-up artist recog- Chalupová In the rush of enthusiasm, nises one of the men and is Czech Republic, Slovakia the old truth was suspended, chilled to witness this behav- that tools are only as enlight- iour from someone she knows, ened as their users. -
Newsletter-Archiv: September 2016
Newsletter-Archiv: September 2016 Filmnewsletter September Liebe Filmliebhaber, In der September-Edition geht es diesmal ein bisschen tiefer in die Materie – weniger Nachrichten, mehr Blick hinter die Kulissen. Zum einen ist da die Reihe des China Film Insider-Guides, die uns ab sofort durch das Labyrinth des chinesischen Filmemachens führt. Zum anderen geht es heute um Wang Xiaoshuai, da einer seiner letzten Filme in verschiedenen deutschen Städten im September gezeigt wird! Und die Blockbuster im spätsommerlichen Fernsehen? Siehe unten. Enjoy! Der neue China Film Insider-Guide Die amerikanische Webseite China Film Insider, ein lesenswertes Bindeglied zwischen Hollywood und der chinesischen Filmindustrie, hat Ende August eine 10-teilige Serie zu den wichtigsten Faktoren des Filmemachens in China gestartet. Schon die ersten beiden Beiträge, die nun jeden Freitag um eine neue Film-Kuriosität aus China erweitert werden, sind vielversprechend und überaus informativ, denn die Autoren arbeiten mit neuesten Fallbeispielen und aktuellen Zahlen. Obwohl es hier in erster Linie darum geht, die Eigenheiten, die der chinesische Markt für neue Regisseure, Produzenten, oder Drehbuchautoren birgt, herauszustellen, sind die Artikel auch für Laien hochspannend! Die ersten Artikel behandeln die Prozedur einer ausländischen Produktion in China: Wie man bereits ahnt, darf nichts sowohl im Fernsehen als auch auf der großen Leinwand ohne chinesische Strippenzieher produziert werden (Das beste Beispiel: die im letzten Newsletter erwähnte Ko-Produktion The Great Wall). Wie eine Art Checkliste geht es in der Serie weiter: Die „Dos & Don’ts“ bei der Zensur. Mit einschlägigen Beispielen wie Lust, Caution (⾊，戒) (2007) von Star-Regisseur Ang Lee oder Marvels Deadpool von letztem Jahr machen die Autoren deutlich, wie schnell Schlüsselszenen der Handlung oder einem ganzen Film (bekannterweise) der Garaus gemacht werden kann. -
28Apr2004p2.Pdf
144 NAXOS CATALOGUE 2004 | ALPHORN – BAROQUE ○○○○ ■ COLLECTIONS INVITATION TO THE DANCE Adam: Giselle (Acts I & II) • Delibes: Lakmé (Airs de ✦ ✦ danse) • Gounod: Faust • Ponchielli: La Gioconda ALPHORN (Dance of the Hours) • Weber: Invitation to the Dance ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Slovak RSO / Ondrej Lenárd . 8.550081 ■ ALPHORN CONCERTOS Daetwyler: Concerto for Alphorn and Orchestra • ■ RUSSIAN BALLET FAVOURITES Dialogue avec la nature for Alphorn, Piccolo and Glazunov: Raymonda (Grande valse–Pizzicato–Reprise Orchestra • Farkas: Concertino Rustico • L. Mozart: de la valse / Prélude et La Romanesca / Scène mimique / Sinfonia Pastorella Grand adagio / Grand pas espagnol) • Glière: The Red Jozsef Molnar, Alphorn / Capella Istropolitana / Slovak PO / Poppy (Coolies’ Dance / Phoenix–Adagio / Dance of the Urs Schneider . 8.555978 Chinese Women / Russian Sailors’ Dance) Khachaturian: Gayne (Sabre Dance) • Masquerade ✦ AMERICAN CLASSICS ✦ (Waltz) • Spartacus (Adagio of Spartacus and Phrygia) Prokofiev: Romeo and Juliet (Morning Dance / Masks / # DREAMER Dance of the Knights / Gavotte / Balcony Scene / A Portrait of Langston Hughes Romeo’s Variation / Love Dance / Act II Finale) Berger: Four Songs of Langston Hughes: Carolina Cabin Shostakovich: Age of Gold (Polka) •␣ Bonds: The Negro Speaks of Rivers • Three Dream Various artists . 8.554063 Portraits: Minstrel Man •␣ Burleigh: Lovely, Dark and Lonely One •␣ Davison: Fields of Wonder: In Time of ✦ ✦ Silver Rain •␣ Gordon: Genius Child: My People • BAROQUE Hughes: Evil • Madam and the Census Taker • My ■ BAROQUE FAVOURITES People • Negro • Sunday Morning Prophecy • Still Here J.S. Bach: ‘In dulci jubilo’, BWV 729 • ‘Nun komm, der •␣ Sylvester's Dying Bed • The Weary Blues •␣ Musto: Heiden Heiland’, BWV 659 • ‘O Haupt voll Blut und Shadow of the Blues: Island & Litany •␣ Owens: Heart on Wunden’ • Pastorale, BWV 590 • ‘Wachet auf’ (Cantata, the Wall: Heart •␣ Price: Song to the Dark Virgin BWV 140, No. -
1 Guises of Transnationalism in Israel/Palestine
Guises of Transnationalism in Israel/Palestine: A few notes on 5 Broken Camerasi Yael Friedman University of Portsmouth The discussion of Israeli cinema is governed, predominantly, by the perspective of national cinema. The dominant framework of analysis tends to be that of Zionism and, by and large, both in critical writing and exhibition contexts, a very clear dichotomy is maintained between Israeli and Palestinian cinemas and between Israeli cinema and cinemas of the Middle East. Such a governing perspective often excludes or distorts a critical discussion of the transnational in films that emerge both from Israel and Palestine. The changes brought about by processes of globalisation to the production, circulation and reception of films around the world also shape contemporary cinema in Israel/Palestine to a considerable extent. Throughout the history of Palestinian cinema its production and exhibition contexts were distinctively transnational, while Israel’s small-scale national film industry increasingly shifts towards transnational modes of production. The survival and the recent success of Israeli cinema, both internationally and domestically, is largely dependent upon co-production agreements, the involvement of European funders, and the global festival circuit. Despite this prominent trend, only a few recent publications address Israeli cinema from a transnational perspective.ii This short article follows in a similar vain. It offers a critical discussion of the acclaimed documentary 5 Broken Cameras (Emad Burnat and Guy Davidi, Israel/Palestine/France/Netherland, 2011), whose joint Palestinian-Israeli direction and transnational context of production, challenge the national boundaries of both Israeli and Palestinian cinemas while, at the same time, probelmatizing the notion of the transnational. -
Incongruous Surrealism Within Narrative Animated Film
University of Central Florida STARS Electronic Theses and Dissertations, 2020- 2021 Incongruous Surrealism within Narrative Animated Film Daniel McCabe University of Central Florida Part of the Film and Media Studies Commons Find similar works at: https://stars.library.ucf.edu/etd2020 University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2020- by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation McCabe, Daniel, "Incongruous Surrealism within Narrative Animated Film" (2021). Electronic Theses and Dissertations, 2020-. 529. https://stars.library.ucf.edu/etd2020/529 INCONGRUOUS SURREALISM WITHIN NARRATIVE ANIMATED FILM by DANIEL MCCABE B.A. University of Central Florida, 2018 B.S.B.A. University of Central Florida, 2018 A thesis submitted in partial fulfillment of the requirements for the degree of Masters of Fine Arts in the School of Visual Arts and Design in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2021 © Daniel Francis McCabe 2021 ii ABSTRACT A pop music video is a form of media containing incongruous surrealistic imagery with a narrative structure supplied by song lyrics. The lyrics’ presence allows filmmakers to digress from sequential imagery through introduction of nonlinear visual elements. I will analyze these surrealist film elements through several post-modern philosophies to better understand how this animated audio-visual synthesis resides in the larger world of art theory and its relationship to the popular music video. -
Spanish Videos Use the Find Function to Search This List
Spanish Videos Use the Find function to search this list Velázquez: The Nobleman of Painting 60 minutes, English. A compelling study of the Spanish artist and his relationship with King Philip IV, a patron of the arts who served as Velazquez’ sponsor. LLC Library – Call Number: SP 070 CALL NO. SP 070 Aguirre, The Wrath of God Director: Werner Herzog with Klaus Kinski. 1972, 94 minutes, German with English subtitles. A band of Spanish conquistadors travels into the Amazon jungle searching for the legendary city of El Dorado, but their leader’s obsessions soon turn to madness. LLC Library CALL NO. Look in German All About My Mother Director: Pedro Almodovar with Cecilia Roth, Penélope Cruz, Marisa Perdes, Candela Peña, Antonia San Juan. 1999, 102 minutes, Spanish with English subtitles. Pedro Almodovar delivers his finest film yet, a poignant masterpiece of unconditional love, survival and redemption. Manuela is the perfect mother. A hard-working nurse, she’s built a comfortable life for herself and her teenage son, an aspiring writer. But when tragedy strikes and her beloved only child is killed in a car accident, her world crumbles. The heartbroken woman learns her son’s final wish was to know of his father – the man she abandoned when she was pregnant 18 years earlier. Returning to Barcelona in search on him, Manuela overcomes her grief and becomes caregiver to a colorful extended family; a pregnant nun, a transvestite prostitute and two troubled actresses. With riveting performances, unforgettable characters and creative plot twists, this touching screwball melodrama is ‘an absolute stunner. -
Uzun-Katalog-Berlin-2014.Pdf
the lamb kuzu turkey, germany 2014, 85’, colour director-script Kutluğ Ataman cinematography Feza Çaldıran editing Ali Aga music Can Erdoğan-Sus cast Nesrin Cavadzade, Cahit Gök, Mert Taştan, Sıla Lara Cantürk, Nursel Köse, Taner Birsel, Güven Kıraç, Emel Göksu, Erdal Yıldız, Şerif Sezer production-distribution The Institute for the Readjustment of Clocks, Kutluğ Ataman, Fabian Gasmia, Henning Kamm, Ömer Rüştü Paşa Sok. No: 7 Nur Apt. D: 9 Teşvikiye Şişli 34365 Istanbul [email protected] Eastern Anatolian village tradition requires Kutluğ Ataman (Istanbul, 27-year-old Medine to serve oven-roasted lamb 1961) won rapid acclaim at her five-year-old son, Mert’s circumcision and awards for his first feast. Poor but determined, Medine puts feature, Serpent’s Tale. the family to work cutting branches to earn Lola+Bilidikid opened something towards the price of the sheep they the Panorama section need. Ismail, Medine’s unemployed husband, of the 49th Berlinale, won the Best Film award at is worried by his wife’s assertive behaviour. New York’s The New Festival and the Jury Special Envious of the attention Mert gets, his elder Prize in Berlin. 2 Girls confirmed his position in the sister, Vicdan, makes Mert believe that if a sheep top rank of Turkish filmmakers, national and inter- isn’t found, he will be slaughtered instead. national prizes. Journey to the Moon is a full-length film which, in its installation version, forms part of A singer-prostitute arrives in town. The village Ataman’s artwork series, ‘Mesopotamian Dramatur- leader finds Ismail a job at the slaughterhouse.