Bulletin Num. 50 Du 16-10-2012
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Literariness.Org-Mareike-Jenner-Auth
Crime Files Series General Editor: Clive Bloom Since its invention in the nineteenth century, detective fiction has never been more pop- ular. In novels, short stories, films, radio, television and now in computer games, private detectives and psychopaths, prim poisoners and overworked cops, tommy gun gangsters and cocaine criminals are the very stuff of modern imagination, and their creators one mainstay of popular consciousness. Crime Files is a ground-breaking series offering scholars, students and discerning readers a comprehensive set of guides to the world of crime and detective fiction. Every aspect of crime writing, detective fiction, gangster movie, true-crime exposé, police procedural and post-colonial investigation is explored through clear and informative texts offering comprehensive coverage and theoretical sophistication. Titles include: Maurizio Ascari A COUNTER-HISTORY OF CRIME FICTION Supernatural, Gothic, Sensational Pamela Bedore DIME NOVELS AND THE ROOTS OF AMERICAN DETECTIVE FICTION Hans Bertens and Theo D’haen CONTEMPORARY AMERICAN CRIME FICTION Anita Biressi CRIME, FEAR AND THE LAW IN TRUE CRIME STORIES Clare Clarke LATE VICTORIAN CRIME FICTION IN THE SHADOWS OF SHERLOCK Paul Cobley THE AMERICAN THRILLER Generic Innovation and Social Change in the 1970s Michael Cook NARRATIVES OF ENCLOSURE IN DETECTIVE FICTION The Locked Room Mystery Michael Cook DETECTIVE FICTION AND THE GHOST STORY The Haunted Text Barry Forshaw DEATH IN A COLD CLIMATE A Guide to Scandinavian Crime Fiction Barry Forshaw BRITISH CRIME FILM Subverting -
Virginia Tech Is Home of New Pi Phi Chapter
Legacies: A Chapter Dilemma! by ANNE'ITE MITCHELL MILLS, N.P. C. Delegate How many Pi Beta Phi legacies will be entering college recognize the value of legacies with their special loyalty and in 1982? It is impossible to know, but the number would appreciation of Pi Beta Phi history and tradition. Unfor be sizeable if it were possible to count the sisters, tunately it is not statistically possible for all legacies to be daughters, granddaughters, and even great granddaughters pledged. of the more than 130,000 women who have been initiated In the face of these harsh realities what can alumnae do into Pi Beta Phi. to help legacies in rush? They should by all means send The current interest in Greek membership is beneficial to rush information forms to the chapter concerned. Ob the fraternity system, but can be detrimental to legacies. In viously this does not guarantee a bid, but it is a positive the fall of 1981 more than 51 ,000 young women panici way in which alumnae can participate in the membership pated in rush on campuses where Pi Beta Phi chapters are selection process. The rushees and the chapter must make located. A number of college Panhellenics registered the ultimate decision. Alumnae cannot and should not try between 1,000 and 1,600 rushees. Consider the dilemma of to control the actual events of rush. They can and should chapters faced with the task of wisely selecting a pledge provide factual information to chapters and a supponive class from the large number of qualified rushees. -
Why Every Show Needs to Be More Like the Wire (“Not Just the Facts, Ma’Am”)
DIALOGUE WHY EVERY SHOW NEEDS TO BE MORE LIKE THE WIRE (“NOT JUST THE FACTS, MA’AM”) NEIL LANDAU University of California, Los Angeles (UCLA) The Wire (HBO, 2002-2008) upends the traditional po- ed the cop-drama universe. It was a pioneering season-long lice procedural by moving past basic plot points and “twists” procedural. Here are my top 10 reasons why Every Show in the case, diving deep into the lives of both the cops and Needs to Be More Like The Wire. the criminals they pursue. It comments on today’s America, employing characters who defy stereotype. In the words of — creator David Simon: 1. “THIS AMERICA, MAN” The grand theme here is nothing less than a nation- al existentialism: It is a police story set amid the As David Simon explains: dysfunction and indifference of an urban depart- ment—one that has failed to come to terms with In the first story arc, the episodes begin what the permanent nature of urban drug culture, one would seem to be the straightforward, albeit pro- in which thinking cops, and thinking street players, tracted, pursuit of a violent drug crew that controls must make their way independent of simple expla- a high-rise housing project. But within a brief span nations (Simon 2000: 2). of time, the officers who undertake the pursuit are forced to acknowledge truths about their de- Given the current political climate in the US and interna- partment, their role, the drug war and the city as tionally, it is timely to revisit the The Wire and how it expand- a whole. -
Talking Through the Wire Jennifer Fremlin, Huntingdon College
Talking Through the Wire Jennifer Fremlin, Huntingdon College I am at something of a critical loss when it comes to discussing The Wire. As a feminist media theorist especially interested in filmic representations of race and gender, I am pretty well trained at deconstructing hegemonic instantiations of the privileging of whiteness in movies and on t.v., especially those that seem to offer themselves as radical critiques but end up simply reinscribing familiar hierarchies. Popular culture—hit t.v. programs, award-winning movies, Hollywood stars—offers an endless supply of material on which to hone my knife. This is mostly shooting fish in a barrel, instead of any great testament to my mad skills. But The Wire, HBO’s critically acclaimed yet apparently largely unwatched series, leaves me a bit flummoxed. The problem is, first, that I loved watching it, reveling in its intricate, almost Shakespearian or Dickensian handling of interwoven plots and themes of power and corruption at all levels: economic, political, juridical, educational, racial, journalistic and sexual. Characters are complex and multidimensional, revealed in their working and personal lives to be neither good or bad, but some of both, often at the same moment, or neither, just like the rest of us. They sometimes try to do the right thing, even if by dubious means, or make more money, or get laid, or help others, but just as often they fuck up, and their motives are a nice messy stew of righteousness and self-serving. The show solicits me as a smart viewer, which on the one hand I critically distrust, but on the other hand flatters me to no end. -
The Wire the Complete Guide
The Wire The Complete Guide PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Tue, 29 Jan 2013 02:03:03 UTC Contents Articles Overview 1 The Wire 1 David Simon 24 Writers and directors 36 Awards and nominations 38 Seasons and episodes 42 List of The Wire episodes 42 Season 1 46 Season 2 54 Season 3 61 Season 4 70 Season 5 79 Characters 86 List of The Wire characters 86 Police 95 Police of The Wire 95 Jimmy McNulty 118 Kima Greggs 124 Bunk Moreland 128 Lester Freamon 131 Herc Hauk 135 Roland Pryzbylewski 138 Ellis Carver 141 Leander Sydnor 145 Beadie Russell 147 Cedric Daniels 150 William Rawls 156 Ervin Burrell 160 Stanislaus Valchek 165 Jay Landsman 168 Law enforcement 172 Law enforcement characters of The Wire 172 Rhonda Pearlman 178 Maurice Levy 181 Street-level characters 184 Street-level characters of The Wire 184 Omar Little 190 Bubbles 196 Dennis "Cutty" Wise 199 Stringer Bell 202 Avon Barksdale 206 Marlo Stanfield 212 Proposition Joe 218 Spiros Vondas 222 The Greek 224 Chris Partlow 226 Snoop (The Wire) 230 Wee-Bey Brice 232 Bodie Broadus 235 Poot Carr 239 D'Angelo Barksdale 242 Cheese Wagstaff 245 Wallace 247 Docks 249 Characters from the docks of The Wire 249 Frank Sobotka 254 Nick Sobotka 256 Ziggy Sobotka 258 Sergei Malatov 261 Politicians 263 Politicians of The Wire 263 Tommy Carcetti 271 Clarence Royce 275 Clay Davis 279 Norman Wilson 282 School 284 School system of The Wire 284 Howard "Bunny" Colvin 290 Michael Lee 293 Duquan "Dukie" Weems 296 Namond Brice 298 Randy Wagstaff 301 Journalists 304 Journalists of The Wire 304 Augustus Haynes 309 Scott Templeton 312 Alma Gutierrez 315 Miscellany 317 And All the Pieces Matter — Five Years of Music from The Wire 317 References Article Sources and Contributors 320 Image Sources, Licenses and Contributors 324 Article Licenses License 325 1 Overview The Wire The Wire Second season intertitle Genre Crime drama Format Serial drama Created by David Simon Starring Dominic West John Doman Idris Elba Frankie Faison Larry Gilliard, Jr. -
2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS
2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS BEST FIRST SCREENPLAY 2012 NOMINEES (Winners in bold) *Will Reiser 50/50 BEST FEATURE (Award given to the producer(s)) Mike Cahill & Brit Marling Another Earth *The Artist Thomas Langmann J.C. Chandor Margin Call 50/50 Evan Goldberg, Ben Karlin, Seth Rogen Patrick DeWitt Terri Beginners Miranda de Pencier, Lars Knudsen, Phil Johnston Cedar Rapids Leslie Urdang, Dean Vanech, Jay Van Hoy Drive Michel Litvak, John Palermo, BEST FEMALE LEAD Marc Platt, Gigi Pritzker, Adam Siegel *Michelle Williams My Week with Marilyn Take Shelter Tyler Davidson, Sophia Lin Lauren Ambrose Think of Me The Descendants Jim Burke, Alexander Payne, Jim Taylor Rachael Harris Natural Selection Adepero Oduye Pariah BEST FIRST FEATURE (Award given to the director and producer) Elizabeth Olsen Martha Marcy May Marlene *Margin Call Director: J.C. Chandor Producers: Robert Ogden Barnum, BEST MALE LEAD Michael Benaroya, Neal Dodson, Joe Jenckes, Corey Moosa, Zachary Quinto *Jean Dujardin The Artist Another Earth Director: Mike Cahill Demián Bichir A Better Life Producers: Mike Cahill, Hunter Gray, Brit Marling, Ryan Gosling Drive Nicholas Shumaker Woody Harrelson Rampart In The Family Director: Patrick Wang Michael Shannon Take Shelter Producers: Robert Tonino, Andrew van den Houten, Patrick Wang BEST SUPPORTING FEMALE Martha Marcy May Marlene Director: Sean Durkin Producers: Antonio Campos, Patrick Cunningham, *Shailene Woodley The Descendants Chris Maybach, Josh Mond Jessica Chastain Take Shelter -
35 Years of Nominees and Winners 36
3635 Years of Nominees and Winners 2021 Nominees (Winners in bold) BEST FEATURE JOHN CASSAVETES AWARD BEST MALE LEAD (Award given to the producer) (Award given to the best feature made for under *RIZ AHMED - Sound of Metal $500,000; award given to the writer, director, *NOMADLAND and producer) CHADWICK BOSEMAN - Ma Rainey’s Black Bottom PRODUCERS: Mollye Asher, Dan Janvey, ADARSH GOURAV - The White Tiger Frances McDormand, Peter Spears, Chloé Zhao *RESIDUE WRITER/DIRECTOR: Merawi Gerima ROB MORGAN - Bull FIRST COW PRODUCERS: Neil Kopp, Vincent Savino, THE KILLING OF TWO LOVERS STEVEN YEUN - Minari Anish Savjani WRITER/DIRECTOR/PRODUCER: Robert Machoian PRODUCERS: Scott Christopherson, BEST SUPPORTING FEMALE MA RAINEY’S BLACK BOTTOM Clayne Crawford PRODUCERS: Todd Black, Denzel Washington, *YUH-JUNG YOUN - Minari Dany Wolf LA LEYENDA NEGRA ALEXIS CHIKAEZE - Miss Juneteenth WRITER/DIRECTOR: Patricia Vidal Delgado MINARI YERI HAN - Minari PRODUCERS: Alicia Herder, Marcel Perez PRODUCERS: Dede Gardner, Jeremy Kleiner, VALERIE MAHAFFEY - French Exit Christina Oh LINGUA FRANCA WRITER/DIRECTOR/PRODUCER: Isabel Sandoval TALIA RYDER - Never Rarely Sometimes Always NEVER RARELY SOMETIMES ALWAYS PRODUCERS: Darlene Catly Malimas, Jhett Tolentino, PRODUCERS: Sara Murphy, Adele Romanski Carlo Velayo BEST SUPPORTING MALE BEST FIRST FEATURE SAINT FRANCES *PAUL RACI - Sound of Metal (Award given to the director and producer) DIRECTOR/PRODUCER: Alex Thompson COLMAN DOMINGO - Ma Rainey’s Black Bottom WRITER: Kelly O’Sullivan *SOUND OF METAL ORION LEE - First -
THE RUMPH and FREDERICK FAMILIES
THE RUMPH and FREDERICK FAMILIES GENEALOGICAL AND BIOGRAPHICAL with ALLIED FAMILIES OF Datwyler, Harrisperger, Hesse, Kaigler, Rickenbacker, Murph, Wolfe, Jamison, Carmichael, Cooner, Gholson, Pooser, Wannamaker, Glover, Walter, Farrior, Shuler, Fun ches, Feaster, Cart, Cain, Robinson, Felder, Slappey, Plant, Jones, Davenport, Walker, Everett, Haslam, Walker, Norris, Rowe, and Other Families. By LOUISE FREDERICK HAYS PRIVATELY PUBLISHED-LIMITED EDITION VoLUME No./ 7 'f PUBLISHED FOR: COPYRIGHT 1.942 BY LOUISE FREDERICK HAYS JOHN T. HANCOCK Publisher Atlanta, Georgia ,_·•- ~~-~.-:.:~,.~--.. .,.~ ~.r;'42!t f~ij...~.:·· --: ·:t,,,,,...., .. -· ~: ,,., 5-~·- ;~\- '.,., .· . "-"' . -- ··- . "l . ,,. - ¥'•;./: ·."t":=;!~-~ ~ ~.,. ..... """"' .,. \ ~:- " ...:«--._ ~-~ ,.,J •- • ...., • ,,- r - ~, -~ ......... ~ ---~ . -. ~ . ' -:' .............-. , . -.,. ...... l • ,. ~ .. --.e;.-~-..,II.~ • ... ~.;. ...,.,.__\ , ---· ♦-~ .... .;-: ~-"' :~~- t~ ... ~~ .•. , --~· .... ~~ . ·:. !J../ ;.- . ... ..' ... --...·· ,~ --·-..,II,· • ..... ... " ~~~::,,.·""' .• I . -~~ ,;e--.-.....,._-;. .,.., - ~·;:~tt-~ -........·----~- ... -....,.,.,.,~_....,_,. ~--;-' . ·-:: ...... ~~~ ..... ,.,; -- .,,,. ;.:~~,..--..... --- ....... _~,,. "• -~..,...&~"'•:... ... z:~}~:;?~.(~ .. -· :-.~;~:-:e .. --,,3-! St. John's Lutheran Church, Charleston, South Carolina Rcicrozd John George FricJcrick,, First ),ffoislcr DEDICATION To the Me,nory of ,,ny Father, Major Ja111es Daniel Frederick, a Descendant of both The Frederick and the Rumph Families, This Volume is Dedicated -
Lesbian Cop, Queer Killer: Leveraging Black Queer Women's Sexuality on HBO's the Wire
Jennifer DeClue Lesbian Cop, Queer Killer: Leveraging Black Queer Women’s Sexuality on HBO’s The Wire HBO’s drama series The Wire has been the subject systems of power that conspire through racialized of at least one academic conference, an online violence, failed education, nefarious politicians, academic journal, numerous college courses, several and law enforcement to subjugate marginalized scholarly articles, and as of this writing, there communities in the United States. Nearly every are rumors of a forthcoming book on the series. major character in The Wire has a rich emotional Although much has been written and probably interior that provides an entryway into the even more has been spoken about The Wire, complexities of life in Baltimore. The Wire’s creator, concerns have primarily been with the realistic David Simon, prides himself on linguistic accuracy manner in which institutionalized racism, political achieved through immersing his cast and crew in a corruption, and impoverished communities are city’s rhythms and sounds during production1. The depicted. I find it startling that fewer discussions rich realism with which Simon treats his characters have been concerned with the representation of is attributed to his long career as a crime reporter racialized genders and sexualities given that a host with the Baltimore Sun;through a mix of veracity of black queer characters populate this HBO series. and fiction, this HBO drama is habitually credited The five seasons of the controversial and with being the “real thing.”2 provocative series (2002-2008), expose the inner- During what Ron Becker calls the “gay workings of the Baltimore police department nineties,” prime-time television programs included through ongoing police investigations that utilize gay characters who were predominantly white, wire tapping (hence the title) to break codes of save Carter, a black gay character on Spin City. -
We, the Judges: the Legalized Subject and Narratives of Adjudication in Reality Television, 81 UMKC L. Rev. 1 (2012)
UIC School of Law UIC Law Open Access Repository UIC Law Open Access Faculty Scholarship 1-1-2012 We, the Judges: The Legalized Subject and Narratives of Adjudication in Reality Television, 81 UMKC L. Rev. 1 (2012) Cynthia D. Bond John Marshall Law School Follow this and additional works at: https://repository.law.uic.edu/facpubs Part of the Entertainment, Arts, and Sports Law Commons, Judges Commons, and the Law and Society Commons Recommended Citation Cynthia D. Bond, We, the Judges: The Legalized Subject and Narratives of Adjudication in Reality Television, 81 UMKC L. Rev. 1 (2012). https://repository.law.uic.edu/facpubs/331 This Article is brought to you for free and open access by UIC Law Open Access Repository. It has been accepted for inclusion in UIC Law Open Access Faculty Scholarship by an authorized administrator of UIC Law Open Access Repository. For more information, please contact [email protected]. "WE, THE JUDGES": THE LEGALIZED SUBJECT AND NARRATIVES OF ADJUDICATION IN REALITY TELEVISION CYNTHIA D. BOND* "Oh how we Americans gnash our teeth in bitter anger when we discover that the riveting truth that also played like a Sunday matinee was actually just a Sunday matinee." David Shields, Reality Hunger "We do have a judge; we have two million judges." Bethenny Frankel, The Real Housewives of New York City ABSTRACT At first a cultural oddity, reality television is now a cultural commonplace. These quasi-documentaries proliferate on a wide range of network and cable channels, proving adaptable to any audience demographic. Across a variety of types of "reality" offerings, narratives of adjudication- replete with "judges," "juries," and "verdicts"-abound. -
Facing History and Ourselves Annual Report 2013 Celebrating Milestones
Facing History and Ourselves Celebrating Milestones Annual Report 2013 facinghistory.org On the cover: Photography: Lewis Carbuccia is a 2013 Facing History School graduate. Lewis is attending Eric Antoniou, Rinze van Brug, Bob Carl, Emile Cohen, SUNY Cortland, and plans to major in physical education. Alex Ginsburg PHOTOgraphics, Kit Hedman, Nick Kozak, Bryon Malik (RSVP Event Photography), Maya Meyers Photography, Edward Lloyd Owen, Jeanette Palsa, Dan Rest, and Kathy Richland. TABLE OF CONTENTS A Year of Milestones 2 Message from the Executive Director 5 Message from the Chairs of the Board of Directors and Trustees 7 Donor Highlights 8 With Thanks 12 2013 Gift Report 17 Facing History and Ourselves Board 39 Facing History and Ourselves Staff 46 Financial Statements 51 Where We Work 56 A Year of Milestones Fiscal year 2013 was a year of great achievement for Facing History, with record-setting participation in our seminars, programs, workshops, and outreach. Over 31,000 educators used Facing History. Over 9,000 educators registered for more than 400 professional development offerings, which included in-depth seminars and in-person and online workshops. Over 1.5 million visits were made to facinghistory.org. 2 Facing History and Ourselves Annual Report 2013 More than 4,800 educators participated in online professional development. Our international network of educators reached an estimated 3.2 million students. We published over 120 resources for classroom use. Nearly 96% of students reported that Facing History helped them understand and feel for people who are different from them. 9,200 students and teachers heard firsthand accounts from individuals who survived the Holocaust and other witnesses to history. -
Leshauts Parleurs
COLLECTIF A MOTS DÉCOUVERTS LABORATOIRE VIVANT DE LA LESHAUTS PAROLE THÉÂTRALE PARLEURS 5 > 9 novembre 2014 Lectures-débats, au Grand Parquet tables-rondes, rencontres avec les auteurs, cabarets d’écrivains, apéros-impromptus, librairie. 5 jours au Grand Parquet pour fêter le théâtre qui s’écrit aujourd’hui Celles et ceux qui écrivent pour la scène nous le prouvent tous les jours, il existe bel et bien une parole d’aujourd’hui pour raconter notre monde et en faire théâtre. A Mots Découverts regroupe une cinquantaine d’artistes comédiens, écrivains, metteurs en scène et dramaturges. Toute l’année, nous accompagnons, découvrons et expérimentons de nouvelles dramaturgies, à la recherche de ce qui met en jeu et représente le mieux l’époque que nous traversons, ce présent sur la scène duquel nous vivons et espérons. Nous offrons pour cela aux auteurs la possibilité d’un dialogue dans le temps de l’écriture : retours écrits, lectures à la table, chantiers au plateau, résidences accompagnées pour entendre, débattre, éprouver chaque projet au plus près de sa singularité et de la scène. C’est ce laboratoire que nous ouvrons au public, là où foisonnent questions et devenirs, avec l’envie de placer au centre les auteurs eux-mêmes, ceux que l’on voit si peu d’ordinaire et qui seront invités, pour une fois, à prendre le micro et le plateau pour dire leurs ambitions, leurs rêves et leurs interrogations. Les Hauts Parleurs se veulent ce temps d’une parole théâtrale partagée : pièces à entendre et à discuter, rencontres avec les auteurs, tables rondes, prises de parole, librairie, cabarets d’écrivains, performances et impromptus scéniques.