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An Early History of Simpson County, Mississippi by Bee King
An Early History of Simpson County, Mississippi by Bee King Compiled by Frances B. Krechel AFFECTIONATELY DEDICATED TO: Mrs. L. H. Holyfield (Beulah Boggan) (Electronic version prepared by NP Computers for Mendenhall Public Library, Lu Ann Bailey Librarian) Due to her life-long (b. 1893) interest, and being a native Mississippian, Miss Beulah has gathered together many historical articles and books, and it is basically from this remarkable and vast collection that the enclosed material has been taken, her love of Mississippi history proved to be contagious. So it is with deep appreciation and a sincere “Thank You” for the special help and encouragement, that another chapter has been added to the extensive recording of the state’s heritage. Miss Beulah has also meticulously and lovingly chronicled the names and dates of her Boggan and related families and it is through this mutual family connection that the compiler became interested in the events concerning the early days. All of the stories have been selected from a series of articles written by the late Bee King, who was a well- known lawyer, historian and writer. The Simpson County News began running the series in their weekly newspaper in 1937 and continued until 1948. Mr. King’s writings are a graphic presentation of the life and times of early Simpson County. He interviewed the elderly citizens through out the area and uniquely recorded for posterity the experiences of the people in day to day living. The picture shows Mr. King in his office when he was Mayor of Mendenhall, the county seat of Simpson County. -
Dear Bookstore Owner, February 16, 2021 Hello! My Name Is Capt
Dear Bookstore Owner, February 16, 2021 Hello! My name is Capt. Christopher German and I would like to introduce you to Whither We Tend. Whither We Tend is a new novel that was released earlier this month by IngramSpark that I wrote at the close of last year, during the political strife that gripped our nation. The winds of political change inspired me one night in October, in a dream I had, where I envisioned what a second civil war might look like for the United States. It no doubt came to me in light of the current events of the end of 2020, especially with what appeared to be the eventual outcomes that have indeed occurred since that time. What came from that dream was a pair of men who represent some of the perspectives of modern Americans, as well as a President who is so committed to saving his America, that he is willing to stomp on the Constitution and the necks of Americans to do it. Here is an excerpt from the description, “Simon Gates is a mild-mannered insurance agent from Stratford, Connecticut. Major Gus Spiros is a war-weary ex-contractor for the US Government. The two men meet by accident and start a series of events that will lead them both toward a war that will attempt to reclaim America. ….Just as Lincoln asked of the people in his House divided speech, Whither We Tend asks the question, whether we are heading towards a war that will tear us apart or a war that will unite us as a stronger and better Nation. -
An Uncertain Homecoming Views of Syrian Refugees in Jordan on Return, Justice, and Coexistence
An Uncertain Homecoming Views of Syrian Refugees in Jordan on Return, Justice, and Coexistence INTERNATIONAL CENTER FOR TRANSITIONAL JUSTICE An Uncertain Homecoming Views of Syrian Refugees in Jordan on Return, Justice, and Coexistence RESEARCH REPORT Acknowledgments The International Center for Transitional Justice (ICTJ) acknowledges the support of the UK Department for International Development, which funded this research and publication. ICTJ and the authors of the report also gratefully acknowledge all of those who generously gave their time to be interviewed for this report and contributed their experiences and insights. About the Authors Cilina Nasser wrote sections V through XII of this report and led the development of the Introduction and Recommendations. Nasser is a Beirut-based independent researcher and expert on human rights who also works on transitional justice issues. She has worked extensively on investigating human rights abuses and violations of international humanitarian law, primarily in Syria, but also in other countries in the Middle East and North Africa region, such as Yemen, Libya, and Saudi Arabia. She was a researcher at Amnesty International focusing on countries in crisis and conflict from 2009 to 2015 and, before that, a journalist who covered major events in Lebanon. Zeina Jallad Charpentier wrote sections III, XIII, and XIV of this report. Jallad Charpentier is a legal consultant, researcher, and lecturer in law, whose work focuses on the intersection between international law, human rights law, social mobility, access to justice and resilience of disenfranchised populations, refugees, and impact litigation. She has worked in the United States, Tunisia, Morocco, Egypt, Jordan, Lebanon, Palestine, and Turkey. -
Quentin Tarantino Retro
ISSUE 59 AFI SILVER THEATRE AND CULTURAL CENTER FEBRUARY 1– APRIL 18, 2013 ISSUE 60 Reel Estate: The American Home on Film Loretta Young Centennial Environmental Film Festival in the Nation's Capital New African Films Festival Korean Film Festival DC Mr. & Mrs. Hitchcock Screen Valentines: Great Movie Romances Howard Hawks, Part 1 QUENTIN TARANTINO RETRO The Roots of Django AFI.com/Silver Contents Howard Hawks, Part 1 Howard Hawks, Part 1 ..............................2 February 1—April 18 Screen Valentines: Great Movie Romances ...5 Howard Hawks was one of Hollywood’s most consistently entertaining directors, and one of Quentin Tarantino Retro .............................6 the most versatile, directing exemplary comedies, melodramas, war pictures, gangster films, The Roots of Django ...................................7 films noir, Westerns, sci-fi thrillers and musicals, with several being landmark films in their genre. Reel Estate: The American Home on Film .....8 Korean Film Festival DC ............................9 Hawks never won an Oscar—in fact, he was nominated only once, as Best Director for 1941’s SERGEANT YORK (both he and Orson Welles lost to John Ford that year)—but his Mr. and Mrs. Hitchcock ..........................10 critical stature grew over the 1960s and '70s, even as his career was winding down, and in 1975 the Academy awarded him an honorary Oscar, declaring Hawks “a giant of the Environmental Film Festival ....................11 American cinema whose pictures, taken as a whole, represent one of the most consistent, Loretta Young Centennial .......................12 vivid and varied bodies of work in world cinema.” Howard Hawks, Part 2 continues in April. Special Engagements ....................13, 14 Courtesy of Everett Collection Calendar ...............................................15 “I consider Howard Hawks to be the greatest American director. -
Conversations with Friends in Times of Crisis, We Must All Decide Again and Again Whom We Love
SALLY ROONEY Conversations with Friends In times of crisis, we must all decide again and again whom we love. FRANK O’HARA Contents Title Page Epigraph PART ONE 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 PART TWO 18 19 20 21 22 23 24 25 26 27 28 29 30 31 Acknowledgements About the Author Copyright PART ONE 1 Bobbi and I first met Melissa at a poetry night in town, where we were performing together. Melissa took our photograph outside, with Bobbi smoking and me self-consciously holding my left wrist in my right hand, as if I was afraid the wrist was going to get away from me. Melissa used a big professional camera and kept lots of different lenses in a special camera pouch. She chatted and smoked while taking the pictures. She talked about our performance and we talked about her work, which we’d come across on the internet. Around midnight the bar closed. It was starting to rain then, and Melissa told us we were welcome to come back to her house for a drink. We all got into the back of a taxi together and started fixing up our seat belts. Bobbi sat in the middle, with her head turned to speak to Melissa, so I could see the back of her neck and her little spoon-like ear. Melissa gave the driver an address in Monkstown and I turned to look out the window. A voice came on the radio to say the words: eighties … pop … classics. -
Sony Pictures Classics Acquires Sundance Favorite Before Midnight
SONY PICTURES CLASSICS ACQUIRES SUNDANCE FAVORITE BEFORE MIDNIGHT NEW YORK (January 25, 2013) - Sony Pictures Classics announced today that they have acquired all North American and UK rights to Richard Linklater’s BEFORE MIDNIGHT, the third installment to BEFORE SUNRISE and BEFORE SUNSET, starring Ethan Hawke and Julie Delpy. Like BEFORE SUNSET, the third film is written by Academy Award® nominees Linklater, Hawke and Delpy. Premiering to critical acclaim in the Premieres Section on Sunday evening at the Sundance Film Festival, BEFORE MIDNIGHT has been one of the most talked about films at the festival. The film is produced by Linklater, Christos V. Konstantakopoulos and Sara Woodhatch and executive produced by Jacob Pechenik, Martin Shafer, Liz Glotzer, and John Sloss. The deal was negotiated by SPC and Cinetic Media on behalf of the filmmakers. In BEFORE MIDNIGHT, we meet Celine and Jesse 9 years on. Almost 2 decades have passed since that first meeting on a train bound for Vienna, and we now find them in their early 40's in Greece. Before the clock strikes midnight, we will again become part of their story. "In 1991 we were in Sundance with SLACKER and we witnessed the birth of a major American filmmaker. At Sundance 2013 with BEFORE MIDNIGHT, we have further confirmation that Richard Linklater is a film master at the peak of his form. This one has it all as entertainment and as a work of cinematic art. It is a perfect movie made by not one but three auteurs, Rick, Ethan Hawke, and Julie Delpy. This movie will be incredibly successful around the world. -
Safeguarding Digital Democracy Digital Innovation and Democracy Initiative Roadmap
DIDI Roadmap March 2020 | No. 4 Safeguarding Digital Democracy Digital Innovation and Democracy Initiative Roadmap Karen Kornbluh and Ellen P. Goodman with contributions by Eli Weiner Washington, DC Ankara Belgrade Berlin Brussels Bucharest Paris Warsaw DIDI Roadmap March 2020 | No. 4 The Digital Innovation and Democracy Initiative The Digital Innovation and Democracy Initiative works to foster innovation and ensure that technology strengthens Table of Contents democracy. DIDI leverages GMF’s transatlantic network and network of senior fellows to promote strategies for reforming policies for the digital age. 3 Executive summary Authors 8 Introduction Karen Kornbluh, former U.S. Ambassador to the Organiza- tion for Economic Cooperation and Development, is Senior 10 Politically motivated Fellow and Director of the Digital Innovation and Democracy disinformation campaigns Initiative at the German Marshall Fund of the United States. Ellen P. Goodman is a professor at Rutgers Law School, where 27 After tech utopianism she is co-director and co-founder of the Rutgers Institute for Information Policy & Law at Rutgers Law School, and Non-Resident Senior Fellow at the German Marshall Fund. 30 Policy roadmap for safeguarding digital democracy Eli Weiner is a research assistant with the Digital Innovation and Democracy Initiative at the German Marshall Fund of the United States. Karen Kornbluh & Ellen P. Goodman 2 DIDI Roadmap March 2020 | No. 4 Even before a global pandemic hit, the Bulletin of Atomic Scientists announced that the Doomsday Clock had advanced for the first time ever to 100 seconds before midnight. The Bulletin cited “information warfare” as a “threat multiplier” that is reducing trust and corrupting the information ecosystem needed for democratic debate. -
The Fate of the Couple in Modern Cinema by Dylan Caskie Senior
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Carolina Digital Repository The Fate of the Couple in Modern Cinema By Dylan Caskie Senior Honors Thesis Department of English & Comparative Literature University of North Carolina at Chapel Hill 03/27/2018 Approved: _______________ Dr. Rick Warner, Thesis Advisor Dr. Gregory Flaxman, Reader Dr. Shayne Legassie, Reader Acknowledgements I would like to thank my advisor, Dr. Rick Warner, for his undying commitment to my thesis and for pushing me to work harder than I ever have before; this thesis would not be possible without him. Thanks also to Dr. Gregory Flaxman and Dr. Shayne Legassie for their willingness to read and evaluate my thesis. Lastly, thanks to my dear friends for their support and my friend, Grace Han, for her help in coming up with the idea for this thesis in the first place. This thesis is dedicated to my parents, Mark & Pat, who raised me and helped me get to where I am today – thanks for introducing me to the movies. Table of Contents Introduction: A Couple Ahead of Its Time.….….………….….….…….…01 Chapter 1: Couples Lost in Time..………………….…….……….….……07 Chapter 2: Navigating Replayed Time….…….……….………….…….….27 Chapter 3: The Ticking Clock and Passing Moment…….…………...……47 Afterword: The Gates of Love, Opened…………..………………….…….63 Filmography…………………………….…………...…………….……….67 Bibliography……………………………….………………….……………70 1 INTRODUCTION A Couple Ahead of Its Time It would be misleading to consider classical Hollywood cinema without some reference to the romantic couple, a thematic and narrative staple embodied in the genres of romantic melodrama and romantic comedy. -
Spellbound Beginnings and Endings in American Literature and Film
Spellbound Beginnings and Endings in American Literature and Film Lecturer: Univ.-Prof. Dr. Stefan Brandt Course number: 512.312 Winter Term 2016/17 Selected Bibliography Primary Sources Films Annie Hall. Dir. Woody Allen. United Artists, 1977. Boyhood. Dir. Richard Linklater. Universal Pictures, 2014. Butch Cassidy and the Sundance Kid. Dir. George R. Hill. 20th Century Fox, 1969. Fight Club. Dir. David Fincher. 20th Century Fox, 1999. Inception. Dir. Christopher Nolan. Warner Bros. Pictures, 2010. Jaws. Dir. Steven Spielberg. Universal Pictures, 1975. Magnolia. Dir. Paul T. Anderson. New Line Cinema, 1999. Manhattan. Dir. Woody Allen. United Artists, 1979. Once Upon A Time in America. Dir. Sergio Leone. Warner Bros. Pictures, 1984. Psycho. Dir. Alfred Hitchcock. Paramount Pictures, 1960. Saw. Dir. James Wan. Lionsgate Films, 2004. Seven. Dir. David Fincher. New Line Cinema, 1995. Source Code. Dir. Duncan Jones. Summit Entertainment, 2011. Thelma & Louise. Dir. Ridley Scott. MGM, 1991. The Sixth Sense. Dir. M. Night Shyamalan. Buena Vista, 1999. Literary Sources Auster, Paul. The Brooklyn Follies 2005. London: Faber and Faber, 2011. Bellow, Saul. The Adventures of Augie March. 1949. New York: Penguin, 2001. Ellis, Bret Easton. American Psycho. New York: Vintage Books, 1991. Ellison, Ralph. Invisible Man. 1952. London: Penguin Classics, 2001. Harnid, Mohsin. The Reluctant Fundamentalist 2007. London: Penguin Books, 2008. Hemingway, Ernest. A Farewell to Arms. 1929. London: Vintage, 2013. Johnson, James Weldon. The Autobiography of an Ex-Colored Man. 1912. Ed. and Introd. William L. Andrews. New York: Penguin, 1990. Keller, Hellen. The Story of My Life. 1904. New York: Bantam Classic, 2005. Kincaid, Jamaica. The Autobiography of My Mother. -
Thought, Feeling, and the Cinema of Francis Ford Coppola: the Rain People As Exemplum
CHAPTER 12 THOUGHT, FEELING, AND THE CINEMA OF FRANCIS FORD COPPOLA: THE RAIN PEOPLE AS EXEMPLUM The Coppolas, Francis Ford and his daughter, Sophia, both have the same artistic problem: neither is a thinker. The father has always been short on thought; indeed, he stumbles when he thinks, when he thinks he’s thinking. The Godfather (1972, 1974, 1990) was strongest in its execution—also its executions—not in its adolescent implications of analogy between the Mafia and corporate capitalism (an analogy that ignores, among other things, the origins of the Mafia and its blood bonds of loyalty, which have nothing to do with capitalism). The Conversation (1974) faltered in its Orwellian idea-structure. And in Apocalypse Now (1979), the attempts to dramatize private moral agony and general moral abyss during the Vietnam War were disjointed, assumptive, weak, for all of Vittorio Storaro’s aptly hallucinogenic color cinematography. Even Coppola’s scripts for others have suffered from woolly thinking: his screenplay for Jack Clayton’s The Great Gatsby (1974), for example, turned Fitzgerald’s supple suggestiveness into mindless blatancy; and his scenario for Franklin Schaffner’s Patton (1970) presented the glaringly contradictory nature of this famous general as praiseworthy, even fathomless, complexity. That’s the top of the heap. From there, we head down to Coppola’s blotchy script for René Clément’s Is Paris Burning? (1966), a rambling, pseudo-documentary recreation of the liberation of Paris from Nazi occupation. Then we get to the adaptations of Tennessee Williams’ This Property Is Condemned and Carson McCullers’ Reflections in a Golden Eye, for Sydney Pollack (1966) and John Huston (1967) respectively, in which Coppola—who began his career in the early 1960s as a director of short sex films—manages to denude the world of Southern Gothicism of all but its trash, its kinkiness, and its pretense. -
Race in Hollywood: Quantifying the Effect of Race on Movie Performance
Race in Hollywood: Quantifying the Effect of Race on Movie Performance Kaden Lee Brown University 20 December 2014 Abstract I. Introduction This study investigates the effect of a movie’s racial The underrepresentation of minorities in Hollywood composition on three aspects of its performance: ticket films has long been an issue of social discussion and sales, critical reception, and audience satisfaction. Movies discontent. According to the Census Bureau, minorities featuring minority actors are classified as either composed 37.4% of the U.S. population in 2013, up ‘nonwhite films’ or ‘black films,’ with black films defined from 32.6% in 2004.3 Despite this, a study from USC’s as movies featuring predominantly black actors with Media, Diversity, & Social Change Initiative found that white actors playing peripheral roles. After controlling among 600 popular films, only 25.9% of speaking for various production, distribution, and industry factors, characters were from minority groups (Smith, Choueiti the study finds no statistically significant differences & Pieper 2013). Minorities are even more between films starring white and nonwhite leading actors underrepresented in top roles. Only 15.5% of 1,070 in all three aspects of movie performance. In contrast, movies released from 2004-2013 featured a minority black films outperform in estimated ticket sales by actor in the leading role. almost 40% and earn 5-6 more points on Metacritic’s Directors and production studios have often been 100-point Metascore, a composite score of various movie criticized for ‘whitewashing’ major films. In December critics’ reviews. 1 However, the black film factor reduces 2014, director Ridley Scott faced scrutiny for his movie the film’s Internet Movie Database (IMDb) user rating 2 by 0.6 points out of a scale of 10. -
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