Why We Fight Study Guide
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Don't Try This at Home: Lessons from America's War on Drugs
Transcript Don’t Try This at Home: Lessons from America’s War on Drugs Eugene Jarecki Filmmaker; Director, The House I Live In Chair: Professor Alex Stevens Professor in Criminal Justice and Deputy Head of School, School of Social Policy, Sociology and Social Research, University of Kent 21 May 2013 The views expressed in this document are the sole responsibility of the author(s) and do not necessarily reflect the view of Chatham House, its staff, associates or Council. Chatham House is independent and owes no allegiance to any government or to any political body. It does not take institutional positions on policy issues. This document is issued on the understanding that if any extract is used, the author(s)/ speaker(s) and Chatham House should be credited, preferably with the date of the publication or details of the event. Where this document refers to or reports statements made by speakers at an event every effort has been made to provide a fair representation of their views and opinions, but the ultimate responsibility for accuracy lies with this document’s author(s). The published text of speeches and presentations may differ from delivery. Transcript: Lessons from America’s War on Drugs Alex Stevens: Good evening, everyone. Welcome to this fascinating event at Chatham House. My name is Alex Stevens; I’ll be chairing the event. I’m professor in criminal justice at the University of Kent and I’ve been working with Chatham House for the last year or so on their project on drugs and organized crime. I’m also a board member of the International Society for the Study of Drug Policy, and I’m just back from Bogota, Colombia, where we had our annual conference and discussed many of the issues that Eugene’s fascinating film touches upon. -
The Films of Raoul Walsh, Part 1
Contents Screen Valentines: Great Movie Romances Screen Valentines: Great Movie Romances .......... 2 February 7–March 20 Vivien Leigh 100th ......................................... 4 30th Anniversary! 60th Anniversary! Burt Lancaster, Part 1 ...................................... 5 In time for Valentine's Day, and continuing into March, 70mm Print! JOURNEY TO ITALY [Viaggio In Italia] Play Ball! Hollywood and the AFI Silver offers a selection of great movie romances from STARMAN Fri, Feb 21, 7:15; Sat, Feb 22, 1:00; Wed, Feb 26, 9:15 across the decades, from 1930s screwball comedy to Fri, Mar 7, 9:45; Wed, Mar 12, 9:15 British couple Ingrid Bergman and George Sanders see their American Pastime ........................................... 8 the quirky rom-coms of today. This year’s lineup is bigger Jeff Bridges earned a Best Actor Oscar nomination for his portrayal of an Courtesy of RKO Pictures strained marriage come undone on a trip to Naples to dispose Action! The Films of Raoul Walsh, Part 1 .......... 10 than ever, including a trio of screwball comedies from alien from outer space who adopts the human form of Karen Allen’s recently of Sanders’ deceased uncle’s estate. But after threatening each Courtesy of Hollywood Pictures the magical movie year of 1939, celebrating their 75th Raoul Peck Retrospective ............................... 12 deceased husband in this beguiling, romantic sci-fi from genre innovator John other with divorce and separating for most of the trip, the two anniversaries this year. Carpenter. His starship shot down by U.S. air defenses over Wisconsin, are surprised to find their union rekindled and their spirits moved Festival of New Spanish Cinema .................... -
Prism Vol. 9, No. 2 Prism About Vol
2 021 PRISMVOL. 9, NO. 2 | 2021 PRISM VOL. 9, NO. 2 NO. 9, VOL. THE JOURNAL OF COMPLEX OPER ATIONS PRISM ABOUT VOL. 9, NO. 2, 2021 PRISM, the quarterly journal of complex operations published at National Defense University (NDU), aims to illuminate and provoke debate on whole-of-government EDITOR IN CHIEF efforts to conduct reconstruction, stabilization, counterinsurgency, and irregular Mr. Michael Miklaucic warfare operations. Since the inaugural issue of PRISM in 2010, our readership has expanded to include more than 10,000 officials, servicemen and women, and practi- tioners from across the diplomatic, defense, and development communities in more COPYEDITOR than 80 countries. Ms. Andrea L. Connell PRISM is published with support from NDU’s Institute for National Strategic Studies (INSS). In 1984, Secretary of Defense Casper Weinberger established INSS EDITORIAL ASSISTANTS within NDU as a focal point for analysis of critical national security policy and Ms. Taylor Buck defense strategy issues. Today INSS conducts research in support of academic and Ms. Amanda Dawkins leadership programs at NDU; provides strategic support to the Secretary of Defense, Chairman of the Joint Chiefs of Staff, combatant commands, and armed services; Ms. Alexandra Fabre de la Grange and engages with the broader national and international security communities. Ms. Julia Humphrey COMMUNICATIONS INTERNET PUBLICATIONS PRISM welcomes unsolicited manuscripts from policymakers, practitioners, and EDITOR scholars, particularly those that present emerging thought, best practices, or train- Ms. Joanna E. Seich ing and education innovations. Publication threshold for articles and critiques varies but is largely determined by topical relevance, continuing education for national and DESIGN international security professionals, scholarly standards of argumentation, quality of Mr. -
The King Premieres on Independent Lens Monday, January 28 on PBS
FOR IMMEDIATE RELEASE CONTACT Tanya Leverault, ITVS 415-356-8383 [email protected] Mary Lugo 770-623-8190 [email protected] Cara White 843-881-1480 [email protected] For downloadable images, visit pbs.org/pressroom The King Premieres on Independent Lens Monday, January 28 on PBS Climb into Elvis’s 1963 Rolls-Royce for a Musical Road Trip and Timely Meditation on Modern America Online Streaming Begins January 29 (San Francisco, CA) — Forty years after the death of Elvis Presley, two-time Sundance Grand Jury winner Eugene Jarecki takes the King’s 1963 Rolls-Royce on a musical road trip across America. From Tupelo to Memphis to New York, Las Vegas, and countless points between, the journey explores the rise and fall of Elvis as a metaphor for the country he left behind. What emerges is a visionary portrait of the state of the American dream and a penetrating look at how the hell we got here. The King premieres on Independent Lens Monday, January 28, 2019, 9:00-10:30PM ET (check local listings) on PBS. Far more than a musical biopic, The King is a snapshot of Credit: David Kuhn America at a critical time in the nation’s history. Tracing Elvis’ life and career from his birth and meteoric rise in the deep south to his tragic and untimely end in Hollywood and Las Vegas, The King covers a vast distance across contemporary America, painting a parallel portrait of the nation’s own heights and depths, from its inspired origins to its perennial struggles with race, class, power, and money. -
Chapter 20 Ap® Focus & Annotated Chapter Outline Ap® Focus
CHAPTER 20 AP® FOCUS & ANNOTATED CHAPTER OUTLINE AP® FOCUS Period 7: 1890–1945 AP U.S. History Key Concepts 7.2 A revolution in technology created a new mass culture and spread “modern” values amid increasing cultural conflicts. • Wartime tensions and xenophobia led to legislation restricting immigration. • World Wars I and II contributed to increased migration, both internally and to the United States. 7.3 Global conflicts led to debates over the United States’ increasingly dominant role in the world. • American expansionism led to overseas involvement and acquisitions in the Western Hemisphere and the Pacific. • World War I increased debates over the proper role of the United States in the world. ANNOTATED CHAPTER OUTLINE The following annotated chapter outline will help you review the major topics covered in this chapter. I. From Expansion to Imperialism A. Foundations of Empire 1. Historians used to describe turn-of-the-twentieth-century U.S. imperialism as something new. Now they emphasize continuities between foreign policy in this era and the nation’s earlier, relentless expansion across the continent. 2. Policymakers beginning in the 1890s went on a determined quest for global markets. Industrialization and a modern navy provided tools for the United States to flex its muscle, and the economic crisis of the 1890s provided a spur. 3. Confronting high unemployment and mass protests, policymakers feared that American workers would embrace socialism or communism. The alternative, they believed, was overseas markets that would create jobs and prosperity at home. 4. Intellectual trends also favored imperialism. As early as 1885, Congregationalist minister Josiah Strong urged Protestants to proselytize overseas. -
Adolescents, Virtual War, and the Government-Gaming Nexus
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 Why We Still Fight: Adolescents, Virtual War, and the Government Gaming Nexus Margot A. Susca Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION AND INFORMATION WHY WE STILL FIGHT: ADOLESCENTS, VIRTUAL WAR, AND THE GOVERNMENT- GAMING NEXUS By MARGOT A. SUSCA A dissertation submitted to the School of Communication in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Degree Awarded: Spring Semester, 2012 Margot A. Susca defended this dissertation on February 29, 2012. The members of the supervisory committee were: Jennifer M. Proffitt Professor Directing Dissertation Ronald L. Mullis University Representative Stephen D. McDowell Committee Member Arthur A. Raney Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii For my mother iii ACKNOWLEDGEMENTS I would like to express my sincere appreciation to my major professor, Jennifer M. Proffitt, Ph.D., for her unending support, encouragement, and guidance throughout this process. I thank her for the endless hours of revision and counsel and for having chocolate in her office, where I spent more time than I would like to admit looking for words of inspiration and motivation. I also would like to thank my committee members, Stephen McDowell, Ph.D., Arthur Raney, Ph.D., and Ronald Mullis, Ph.D., who all offered valuable feedback and reassurance during these last two years. -
Nuclear Weapons
NUCLEAR WEAPONS america, north korea, iran & the world at a crossroad tuesday, november 28, 2017, 7 pm the nancy & paul ignatius program NUCLEAR WEAPONS america, north korea, iran & the world at a crossroad tuesday, november 28, 2017 7 pm WELCOME The Very Rev. Randolph Marshall Hollerith Cathedral Dean INTRODUCTION Amy L. Ignatius Associate Justice, New Hampshire Superior Court KEYNOTE ADDRESS William J. Perry PANEL DISCUSSION Susan Eisenhower Stephen Hadley John Kerry David Ignatius, moderator CONCLUSION Ray Suarez BENEDICTION The Very Rev. Randolph Marshall Hollerith participants WILLIAM J. PERRY’s career has spanned academia, JOHN KERRY served as the United States’ 68th industry, entrepreneurship, government and diplomacy. Secretary of State from 2013 to 2017. As America’s top Perry served as the 19th Secretary of Defense for the diplomat, he guided the department’s strategy on nuclear United States from February 1994 to January 1997. In 2007, nonproliferation, combating radical extremism and the Perry, George Shultz, Sam Nunn and Henry Kissinger threat of climate change. His tenure was marked by the together formed the Nuclear Security Project, articulating successful negotiation of the Iran nuclear deal and the Paris practical steps to reduce nuclear dangers. Perry founded Climate Agreement. From 1985 to 2013, he served as a U.S. the William J. Perry Project in 2013 to engage and educate Senator representing Massachusetts, and was chairman the public on the dangers of nuclear weapons. In 2015 of the Senate Foreign Relations Committee from 2009 to he published My Journey at the Nuclear Brink, a personal 2013. He served in the U.S. -
1997 Sundance Film Festival Awards Jurors
1997 SUNDANCE FILM FESTIVAL The 1997 Sundance Film Festival continued to attract crowds, international attention and an appreciative group of alumni fi lmmakers. Many of the Premiere fi lmmakers were returning directors (Errol Morris, Tom DiCillo, Victor Nunez, Gregg Araki, Kevin Smith), whose earlier, sometimes unknown, work had received a warm reception at Sundance. The Piper-Heidsieck tribute to independent vision went to actor/director Tim Robbins, and a major retrospective of the works of German New-Wave giant Rainer Werner Fassbinder was staged, with many of his original actors fl own in for forums. It was a fi tting tribute to both Fassbinder and the Festival and the ways that American independent cinema was indeed becoming international. AWARDS GRAND JURY PRIZE JURY PRIZE IN LATIN AMERICAN CINEMA Documentary—GIRLS LIKE US, directed by Jane C. Wagner and LANDSCAPES OF MEMORY (O SERTÃO DAS MEMÓRIAS), directed by José Araújo Tina DiFeliciantonio SPECIAL JURY AWARD IN LATIN AMERICAN CINEMA Dramatic—SUNDAY, directed by Jonathan Nossiter DEEP CRIMSON, directed by Arturo Ripstein AUDIENCE AWARD JURY PRIZE IN SHORT FILMMAKING Documentary—Paul Monette: THE BRINK OF SUMMER’S END, directed by MAN ABOUT TOWN, directed by Kris Isacsson Monte Bramer Dramatic—HURRICANE, directed by Morgan J. Freeman; and LOVE JONES, HONORABLE MENTIONS IN SHORT FILMMAKING directed by Theodore Witcher (shared) BIRDHOUSE, directed by Richard C. Zimmerman; and SYPHON-GUN, directed by KC Amos FILMMAKERS TROPHY Documentary—LICENSED TO KILL, directed by Arthur Dong Dramatic—IN THE COMPANY OF MEN, directed by Neil LaBute DIRECTING AWARD Documentary—ARTHUR DONG, director of Licensed To Kill Dramatic—MORGAN J. -
Espionage Act of 1917
Communication Law Review An Analysis of Congressional Arguments Limiting Free Speech Laura Long, University of Oklahoma The Alien and Sedition Acts, Espionage and Sedition Acts, and USA PATRIOT Act are all war-time acts passed by Congress which are viewed as blatant civil rights violations. This study identifies recurring arguments presented during congressional debates of these acts. Analysis of the arguments suggests that Terror Management Theory may explain why civil rights were given up in the name of security. Further, the citizen and non-citizen distinction in addition to political ramifications are discussed. The Alien and Sedition Acts of 1798 are considered by many as gross violations of civil liberties and constitutional rights. John Miller, in his book, Crisis in Freedom, described the Alien and Sedition Acts as a failure from every point of view. Miller explained the Federalists’ “disregard of the basic freedoms of Americans [completed] their ruin and cost them the confidence and respect of the people.”1 John Adams described the acts as “an ineffectual attempt to extinguish the fire of defamation, but it operated like oil upon the flames.”2 Other scholars have claimed that the acts were not simply unwise policy, but they were unconstitutional measures.3 In an article titled “Order vs. Liberty,” Larry Gragg argued that they were blatantly against the First Amendment protections outlined only seven years earlier.4 Despite popular opinion that the acts were unconstitutional and violated basic civil liberties, arguments used to pass the acts have resurfaced throughout United States history. Those arguments seek to instill fear in American citizens that foreigners will ultimately be the demise to the United States unless quick and decisive action is taken. -
Congressional Record—Senate S6036
S6036 CONGRESSIONAL RECORD — SENATE October 5, 2020 Force in Europe during World War II, ceremony included my fellow commis- This is a historic accomplishment for Dwight David Eisenhower. sioners, including vice chairman Rep- Wyoming. The Cheyenne National Without Ike, it is not a stretch to resentative MIKE THOMPSON of Cali- Cemetery is the first veterans ceme- imagine that the trajectory of Amer- fornia, Senator JOE MANCHIN of West tery in Wyoming that is run by the De- ican history might have been signifi- Virginia, Senator GARY PETERS Of partment of Veterans Affairs. Before I cantly altered. It was General Eisen- Michigan, Senator DAN SULLIVAN of became a Senator, Wyoming was cam- hower who commanded a successful D- Alaska, Representative SANFORD D. paigning for a national cemetery with- Day invasion, which became a pivotal BISHOP, JR., OF GEORGIA, REPRESENTA- in the State. Once I was in the Senate, turning point in the Second World War. TIVE MICHAEL K. SIMPSON of Idaho, I had the opportunity to help advance It was President Eisenhower who Representative WILLIAM M. ‘‘MAC’’ this project with the help of veterans, waged peace, regulated atomic power, THORNBERRY of Texas, former Senator F.E. Warren Air Force Base, and the and protected the world against the Robert J. ‘‘Bob’’ Dole of Kansas, Alfred patriotic people of Wyoming. They are growing spread of communism. Geduldig, Susan Banes Harris, and all to be congratulated, and I know all Through it all, it was not selfish ambi- Catherine Ann Stevens. are thankful this day is finally here. tion or prestige that guided him, but Again, with General Eisenhower as The opening of this national ceme- rather his character and sense of duty. -
The Broken Ideals of Love and Family in Film Noir
1 Murder, Mugs, Molls, Marriage: The Broken Ideals of Love and Family in Film Noir Noir is a conversation rather than a single genre or style, though it does have a history, a complex of overlapping styles and typical plots, and more central directors and films. It is also a conversation about its more common philosophies, socio-economic and sexual concerns, and more expansively its social imaginaries. MacIntyre's three rival versions suggest the different ways noir can be studied. Tradition's approach explains better the failure of the other two, as will as their more limited successes. Something like the Thomist understanding of people pursuing perceived (but faulty) goods better explains the neo- Marxist (or other power/conflict) model and the self-construction model. Each is dependent upon the materials of an earlier tradition to advance its claims/interpretations. [Styles-studio versus on location; expressionist versus classical three-point lighting; low-key versus high lighting; whites/blacks versus grays; depth versus flat; theatrical versus pseudo-documentary; variety of felt threat levels—investigative; detective, procedural, etc.; basic trust in ability to restore safety and order versus various pictures of unopposable corruption to a more systemic nihilism; melodramatic vs. colder, more distant; dialogue—more or less wordy, more or less contrived, more or less realistic; musical score—how much it guides and dictates emotions; presence or absence of humor, sentiment, romance, healthy family life; narrator, narratival flashback; motives for criminality and violence-- socio- economic (expressed by criminal with or without irony), moral corruption (greed, desire for power), psychological pathology; cinematography—classical vs. -
Film Noir - Danger, Darkness and Dames
Online Course: Film Noir - Danger, Darkness and Dames WRITTEN BY CHRIS GARCIA Welcome to Film Noir: Danger, Darkness and Dames! This online course was written by Chris Garcia, an Austin American-Statesman Film Critic. The course was originally offered through Barnes & Noble's online education program and is now available on The Midnight Palace with permission. There are a few ways to get the most out of this class. We certainly recommend registering on our message boards if you aren't currently a member. This will allow you to discuss Film Noir with the other members; we have a category specifically dedicated to noir. Secondly, we also recommend that you purchase the following books. They will serve as a companion to the knowledge offered in this course. You can click each cover to purchase directly. Both of these books are very well written and provide incredible insight in to Film Noir, its many faces, themes and undertones. This course is structured in a way that makes it easy for students to follow along and pick up where they leave off. There are a total of FIVE lessons. Each lesson contains lectures, summaries and an assignment. Note: this course is not graded. The sole purpose is to give students a greater understanding of Dark City, or, Film Noir to the novice gumshoe. Having said that, the assignments are optional but highly recommended. The most important thing is to have fun! Enjoy the course! Jump to a Lesson: Lesson 1, Lesson 2, Lesson 3, Lesson 4, Lesson 5 Lesson 1: The Seeds of Film Noir, and What Noir Means Social and artistic developments forged a new genre.