Keynote Address Reclaiming Our Rightful Place: Reviving the Hero Image of the Public Defender Jonathan A
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Race, Markets, and Hollywood's Perpetual Antitrust Dilemma
Michigan Journal of Race and Law Volume 18 2012 Race, Markets, and Hollywood's Perpetual Antitrust Dilemma Hosea H. Harvey Temple University, James E. Beasley School of Law Follow this and additional works at: https://repository.law.umich.edu/mjrl Part of the Antitrust and Trade Regulation Commons, Civil Rights and Discrimination Commons, Entertainment, Arts, and Sports Law Commons, and the Law and Race Commons Recommended Citation Hosea H. Harvey, Race, Markets, and Hollywood's Perpetual Antitrust Dilemma, 18 MICH. J. RACE & L. 1 (2012). Available at: https://repository.law.umich.edu/mjrl/vol18/iss1/1 This Article is brought to you for free and open access by the Journals at University of Michigan Law School Scholarship Repository. It has been accepted for inclusion in Michigan Journal of Race and Law by an authorized editor of University of Michigan Law School Scholarship Repository. For more information, please contact [email protected]. RACE, MARKETS, AND HOLLYWOOD'S PERPETUAL ANTITRUST DILEMMA Hosea H. Harvey* This Article focuses on the oft-neglected intersection of racially skewed outcomes and anti-competitive markets. Through historical, contextual, and empirical analysis, the Article describes the state of Hollywood motion-picture distributionfrom its anti- competitive beginnings through the industry's role in creating an anti-competitive, racially divided market at the end of the last century. The Article's evidence suggests that race-based inefficiencies have plagued the film distribution process and such inefficiencies might likely be caused by the anti-competitive structure of the market itself, and not merely by overt or intentional racial-discrimination.After explaining why traditional anti-discrimination laws are ineffective remedies for such inefficiencies, the Article asks whether antitrust remedies and market mechanisms mght provide more robust solutions. -
Insight Cool Hand Luke Meets Attics
Insight—077 Cool Hand Luke Meets Attics environments and the freezing pipe issues associated with sprinkler systems. Insight The bad implications are that we can accumulate moisture in the attic and attic assemblies if we don’t have a means of removing the moisture. Cool Hand In what has become an amazing turn of events folks are figuring out how to construct tight ducts—even when Luke Meets they are located “inside”. Mastic rules (Photograph 1). All of this is good. The only place air should exit a duct or enter a duct is at a grille or register. So what is the Attics problem? “What we’ve got here is failure to communicate . .”1 An edited version of this Insight first appeared in the ASHRAE Journal. By Joseph W. Lstiburek, Ph.D., P.Eng., Fellow ASHRAE In what is turning out to be an unfortunate turn of phrase the terms “unvented attics” and “unvented roofs” have entered the lexicon. A lot of the blame for that goes to me and for that I am sorry. The “right” terms should have been “conditioned attics” and “conditioned roofs”2. When we move insulation to the underside of a roof deck3 the space below the insulation is now within the “conditioned space”. This has all kinds of implications…some good…some not so good. The good implications are that if we locate ductwork and air handlers and sprinklers in the attic space we don’t have to worry about the thermal penalties associated with duct leakage and the moisture penalties associated with induced negative pressures and the durability issues associated with locating equipment in hostile 1 This classic line comes from the 1967 movie Cool Hand Luke. -
"COOL HAND LUKE" Screenplay by Donn Pearce and Frank Pierson
"COOL HAND LUKE" Screenplay by Donn Pearce and Frank Pierson Based on the novel by Donn Pearce SHOOTING DRAFT FADE IN: EXT. SOUTHERN CITY STREET EXTREME CLOSEUP PARKING METER (NIGHT) Its irritating head opens a glaring red eye: the red flag pops across the entire screen: VIOLATION INSERT: PARKING METER SUPPORT (NIGHT) CLOSEUP of a pipe cutter attached to the meter neck, metal slivers curling out. From o.s. we HEAR -- LUCAS JACKSON cheerfully humming and mumbling Auld Lang Syne and then: LUKE Okay, Mister General, you son of a bitch. Sir. Think you can put things right with a piece of tin with a ribbon hangin' on it? Gonna put you right. CLOSEUP PARKING METER (NIGHT) as the meter head falls out of FRAME. NEW ANGLE ON METER (NIGHT) as it falls to the ground amidst a forest of meter stands and Luke's hand comes into the FRAME to pick it up and we SEE him in CLOSEUP for the first time. He is cheerful, drunk, wearing a faded GI Field jacket. A bottle opener hangs on a silver chain around his neck. He addresses the next meter. LUKE All right. Helen, honey. I lost my head over you. Now its your turn. Suddenly the beam of headlights crashes in, FLARING the SCREEN. ANGLE ON PROWL CAR (NIGHT) sliding up to us, headlights glaring, red toplight revolving menacingly. TWO OFFICERS, black shapes, get out and start warily toward Luke. ON LUKE (NIGHT) illuminated by the headlights. He grins as the Officers approach, lifts a bottle of beer, opens it and drinks, smiling. -
Syllabus Provides the Web Addresses
ETHN 189 , Wed 5-7:50, PCYNH 106 Jonathan Markovitz University of California, San Diego Office: Social Science Bldg 249 Winter, 2007 Office Hours: Tu 5:10-6:40; W 3:10-4:40 BLACK CINEMA Mainstream cinema has been one of the primary sites for the production and rearticulation of meanings of “blackness” since D.W. Griffith’s The Birth of a Nation (1915) and the dawn of the studio system. Griffith’s film consolidated and disseminated powerful racist myths to a national audience, helping to solidify white supremacy while providing ideological justification for lynching. While 1915 marks a low point in cinematic depictions of American race relations, much of the latter history of Hollywood film making is similarly problematic when it comes to representations of African Americans. There is, however, an alternative cinematic tradition that has only begun to receive the attention it is due. Just a few years after Birth, an African American film maker named Oscar Micheaux released Within Our Gates (1919), challenging the racism of Birth, and putting forward an alternative understanding of lynching and the brutality of white supremacy. In subsequent years and decades there has been a vibrant tradition of African American independent filmmaking. This course will examine that tradition, focusing on the work of filmmakers ranging from Micheaux to Gordon Parks to Spike Lee to Julie Dash. We will also venture briefly outside of the United States and address film making within the black diaspora. Throughout the course, we will focus on the social critiques posed by various black film makers, the relationships between mainstream and independent cinema, and the power of film as a social force. -
The Nesting Season June 1 - July 31, 1976
The Nesting Season June 1 - July 31, 1976 NORTHEASTERN MARITIME REGION SoA. /Davis W. Finch SeventeenNorth American reportstotaling 23 individuals of Black-browed and Yellow-nosed Mostof New Englandexperienced a hot, dry June-- it Albatrossprior to 1973have been carefullysum- was in fact the hottest and driest June in Massachusetts marized by McDaniel (Am. Birds 27:563-565), history.July was cooler and wetter,but theseconditions oneother convincing Gulf of Maine report(1968) seemedto have no detectableeffect on breedingbirds. being known to this editor. Sevensubsequent Writing of New Hampshire,Vera Hebert characterized reports appearingin Am. Birds involvedeight the periodquite succinctly: "Never has a nestingseason albatrossessighted from Maryland to Nova Sco- beenmore normal". Eventhe severalfirst statebreeding tia: five Black-broweds,two probable Black- recordsin NewEngland came only as gentle surprises. browedsand one positiveYellow-nosed, to which can be added this summer's Massachusetts birds. It mightbe notedthat of this overalltotal of 34 e. North American albatrosses (18, or more than half of them, in the Northeastern Maritime Region), 19 were identified as, and in five instancesproven to be, Yellow-nosed;that while Black-browedis the vagrant albatrossof the e. North Atlantic, North America'sonly provenone is still the 1935Greenland specimen; that aside fromthat bi•d all Black-broweds(11 plustwo "probables")have been reported since 1972; that consideringthe subtletiesof albatrossdiscrimina- tion curiouslyfew, in fact only two havenot been "identified" (see Warham, Bourne and Elliott, Albatross Identification in the North Atlantic-- Am. Birds28:585-603), and that consequentlyan unambiguousBIack-browed photograph would do wondersfor the persistentmalaise many feel regardingreports of this species. Happily, for the first time in over a year recordscam, OTHER TUBENOSES-- Followinga patternmore or fromalmost all partsof the Region,though in somecases less apparent in recent years, the withdrawal of N. -
The Reel Latina/O Soldier in American War Cinema
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 10-26-2012 12:00 AM The Reel Latina/o Soldier in American War Cinema Felipe Q. Quintanilla The University of Western Ontario Supervisor Dr. Rafael Montano The University of Western Ontario Graduate Program in Hispanic Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Felipe Q. Quintanilla 2012 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Film and Media Studies Commons Recommended Citation Quintanilla, Felipe Q., "The Reel Latina/o Soldier in American War Cinema" (2012). Electronic Thesis and Dissertation Repository. 928. https://ir.lib.uwo.ca/etd/928 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. THE REEL LATINA/O SOLDIER IN AMERICAN WAR CINEMA (Thesis format: Monograph) by Felipe Quetzalcoatl Quintanilla Graduate Program in Hispanic Studies A thesis submitted in partial fulfillment of the requirements for the degree of PhD in Hispanic Studies The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Felipe Quetzalcoatl Quintanilla 2012 THE UNIVERSITY OF WESTERN ONTARIO School of Graduate and Postdoctoral Studies CERTIFICATE OF EXAMINATION Supervisor Examiners ______________________________ -
Dictionary of Westerns in Cinema
PERFORMING ARTS • FILM HISTORICAL DICTIONARY OF Historical Dictionaries of Literature and the Arts, No. 26 VARNER When early filmgoers watched The Great Train Robbery in 1903, many shrieked in terror at the very last clip, when one of the outlaws turned toward the camera and seemingly fired a gun directly at the audience. The puff of WESTERNS smoke was sudden and hand-colored, and it looked real. Today we can look back at that primitive movie and see all the elements of what would evolve HISTORICAL into the Western genre. Perhaps the Western’s early origins—The Great Train DICTIONARY OF Robbery was the first narrative, commercial movie—or its formulaic yet enter- WESTERNS in Cinema taining structure has made the genre so popular. And with the recent success of films like 3:10 to Yuma and The Assassination of Jesse James by the Coward Robert Ford, the Western appears to be in no danger of disappearing. The story of the Western is told in this Historical Dictionary of Westerns in Cinema through a chronology, a bibliography, an introductory essay, and hundreds of cross-referenced dictionary entries on cinematographers; com- posers; producers; films like Butch Cassidy and the Sundance Kid, Dances with Wolves, The Good, the Bad, and the Ugly, High Noon, The Magnificent Seven, The Searchers, Tombstone, and Unforgiven; actors such as Gene Autry, in Cinema Cinema Kirk Douglas, Clint Eastwood, Henry Fonda, Jimmy Stewart, and John Wayne; and directors like John Ford and Sergio Leone. PAUL VARNER is professor of English at Abilene Christian University in Abilene, Texas. -
Menace II Society and the 1990'S Hood Film Cycle
Kino: The Western Undergraduate Journal of Film Studies Volume 2 | Issue 1 Article 3 2011 Realer than Reel: Menace II Society and the 1990’s Hood Film Cycle Timothy J. Edwards University of Western Ontario Abstract No abstract provided. Keywords African-American cinema, Hughes Brothers, Allen Hughes, Albert Hughes, hood film Recommended Citation Edwards, Timothy J. (2011) "Realer than Reel: Menace II Society and the 1990’s Hood Film Cycle," Kino: The Western Undergraduate Journal of Film Studies: Vol. 2 : Iss. 1 , Article 3. Edwards: Realer than Real Realer than Reel: Menace II Society and the 1990s Hood Film Cycle by Timothy J. Edwards The convergence of numerous industrial and social factors in the late 1960s saw Hollywood studios for the first time invest in films produced with African-Americans as the target audience. This wave of Black-focused product eventually became known as ‘Blaxploitation’ Cinema. Blaxploitation films use cinematic devices like: location shooting, hand held camera, and sync-sound along with a showcasing of distinctly Black cultural imagery, featuring urban fashion, slang, Black nationalist politics, and of course Black popular music to create a Black ghetto chronotope which is common to all Blaxploitation films (Massood 117). While the Black ghetto chronotope has its roots in Blaxploitation, it has since become an important tool which New Black Cinema directors like the Hughes brothers further develop to depict the streets of Watts with a sharp and uncompromising sense of realism. Allen and Albert Hughes spoke of being “outraged by the Hollywood sentimentality” of the hugely successful Boyz n the Hood (1991), which was released two years before Menace II Society (1993) (Massood 162). -
Rollover Beethoven and Tell Maestra Worby the News
c· • Glenville State College .erruru- Welcome Back for Spring Semester January 19, 1995 Vol. 66, No. 15 19951 RollOver Beethoven and Tell Maestra Worby the News by David Graham age and the Romantic era, was Beethoven mania? I think: completely deaf when he wrote so. The genius composer has his final (and often hailed great hit the big time with a Holly est) 9th Symphony. Beethoven's wood feature film and a cornu work is being well represented copia of concerts playing his by the Wheeling Symphony Or music around the world. chestra. Glenville State College is no The all Beethoven pro exception. gram includes many majestic The Wheeling Sym pieces which represent his iron phony, under the direction of will and determination. The MaestraRachael Wolby, is once "Egmont Overture," which leads again slated to appear in the the concert, was written by Fine Arts Building spotlight. Beethoven fora play by Goethe. As with every year, the sym "Concerto No.5, in E-flat Ma phony is striving for, and reach jor, Opus 73," has been named ing, new heights. 1994-95 the "Emperor" concerto because marks Rachael Wolby's ninth of its grand style and has been season as the music director of called one of his greatest com The tfllent find grflce ofRllssell Shennfln will join the Wheeling Symphony Orchestrfl in honoring Llldwig vfln Beethoven. the Wheeling Symphony and positions. there is no end in sight. "Symphony No.3, in E Maestra Wolby, besides flat Major, Opus 55" is nick 1990, Mr. Sherman joined the leading the symphony, is devel named "Eroica," which means faculty at Harvard University oping quite a mammoth amount heroic. -
Journalism 375/Communication 372 the Image of the Journalist in Popular Culture
JOURNALISM 375/COMMUNICATION 372 THE IMAGE OF THE JOURNALIST IN POPULAR CULTURE Journalism 375/Communication 372 Four Units – Tuesday-Thursday – 3:30 to 6 p.m. THH 301 – 47080R – Fall, 2000 JOUR 375/COMM 372 SYLLABUS – 2-2-2 © Joe Saltzman, 2000 JOURNALISM 375/COMMUNICATION 372 SYLLABUS THE IMAGE OF THE JOURNALIST IN POPULAR CULTURE Fall, 2000 – Tuesday-Thursday – 3:30 to 6 p.m. – THH 301 When did the men and women working for this nation’s media turn from good guys to bad guys in the eyes of the American public? When did the rascals of “The Front Page” turn into the scoundrels of “Absence of Malice”? Why did reporters stop being heroes played by Clark Gable, Bette Davis and Cary Grant and become bit actors playing rogues dogging at the heels of Bruce Willis and Goldie Hawn? It all happened in the dark as people watched movies and sat at home listening to radio and watching television. “The Image of the Journalist in Popular Culture” explores the continuing, evolving relationship between the American people and their media. It investigates the conflicting images of reporters in movies and television and demonstrates, decade by decade, their impact on the American public’s perception of newsgatherers in the 20th century. The class shows how it happened first on the big screen, then on the small screens in homes across the country. The class investigates the image of the cinematic newsgatherer from silent films to the 1990s, from Hildy Johnson of “The Front Page” and Charles Foster Kane of “Citizen Kane” to Jane Craig in “Broadcast News.” The reporter as the perfect movie hero. -
Walking Wounded
Walking Wounded: Cinematic Representations of Masculine, Post-Modern Anxiety in the Urban Space Penelope Eate B. Soc. Sc. (Hons) Thesis submitted for the degree of Doctor of Philosophy Department of Gender, Work and Social Inquiry, School of Social Sciences University of Adelaide February, 2012 TABLE OF CONTENTS Abstract ..................................................................................................................................... v Declaration ............................................................................................................................... vi Acknowledgements .................................................................................................................. vii INTRODUCTION __________________________________________ 1 CHAPTER ONE Going Nowhere: Urban Strolling as Masculine Anxiety In and Out of the Nineteenth Century __________________________________________ 18 Introduction .............................................................................................................................. 18 The Physiology of the Urban Sketcher.................................................................................... 19 Flânerie as Crisis ...................................................................................................................... 20 Detecting Dissent in Edgar Allan Poe‟s „The Man of The Crowd‟ (1845) ......................... 22 The Politics of Location: Gender and Public Space ............................................................. -
What's New in the Arts
THE SAN DIEGO UNION-TRIBUNE SUNDAY• MARCH 28, 2021 E9 V IRTUALLY SPEAKING UCTV University of California Televi- sion (UCTV) is making a host of videos available on its website (uctv.tv/life-of-the-mind) during What’s new this period of social distancing. Among them, with descriptions ARMCHAIR TRAVEL courtesy of UCTV (text written by the UCTV staff): in DININGthe arts “Tales of Human History Told by Neanderthal and Denisovan DNA”: It’s well known that as Celebrating 50 years of Queen with 50 weeks’ worth of free clips anatomically modern humans THEATER dispersed out of Africa, they BY DAVID L. CODDON encountered and mated with The film adaptation of playwright other hominins such as Neander- Kemp Powers’ “One Night in thals and Denisovans. The ability e’ve all got a list of those bands we wish we’d seen in concert but never did. Miami,” for which he wrote the to identify and excavate extinct screenplay, earned Powers an At the top of mine would be Queen with Freddie Mercury. hominin DNA from the genomes Oscar nomination. Having really It’s hard to believe it’ll be 30 years this November since the passing of of contemporary individuals enjoyed it, I looked forward Mercury, he of arguably the most distinctive voice in rock ’n’ roll history. reveals considerable information eagerly to streaming a staged W about human history and how The 2018 biopic “Bohemian Rhapsody” was a diverting reminder of Mercury’s talent, reading of Powers’ new play those encounters with Neander- “Christa McAuliffe’s Eyes Were but a new clips show on Queen’s official YouTube Channel honoring the group’s 50-year thals and Denisovans shaped the Blue.” anniversary is a gift for fans that will keep on giving — for 50 weeks.