THE PIRACY and COUNTERFEITI~T AMENDMENTS
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HERMIT International Art Symposium GROWTHRINGS
HERMIT international art symposium GROWTHRINGS time-place-rhythm-light-matter-energy from baroque till present LETOKRUHY cas-misto-rytmus-zvuk-svetlo-hmota-energie v promenach casu od baroka k dnesku under auspicies of Czech Ministery of Culture poradano s podporou Ministerstva Kultury Ceske Republiky PLASY 1th JUNE - 30th 1993 Bohe is The Monastery in Plasy The theme of the second international symposium-meeting-exposition and work- shop in the ancient cistercian monastery in Plasy (West Bohemia) will be the stintu- iation of interrelations between the seeing and heating, between the past and the present, between cctttrunt and province, high and low, matter and energy, relation between people and their cultural and natural environtent. 44 artists, musicians and intermedia artists from Czecho-Slowakia, Netherland, Belgium, USA, Australia, Germany and Great Britain took part in the first symposium HERMIT 92. The installations, sound sculptures, performances were mostly realised directly in the complex of this former monastery founded in 114?. Especially ill the huge building of the baroque convent rebuilt by the famous architect Jail Blazcj Santini-Aichl in the 18th century. The second location was the space of the early baroque granary. The building of the convent contains many different spaces - from dark my- sterious subleractian cellars with underground watcrsystcttts to light chapels and huge corridors . The ideal sonic conditions of the interiors were used for many sound insta llatious and music performances. The interiors of the granary with it's early gothic King's chapel are considered by artists as outstanding exhibition space for con- temporary art. In the four floors of this unique monumental building with old tower- clock are four big cellars and four large rooms with original wooden construction from 17th century. -
September-0Ctober 2013
september-0ctober 2013 On September 10, 1988, Museum of the As we enter our 25th anniversary year, I while doing the rounds through the Moving Image opened its doors to the can tell you that it has been a thrilling ride galleries, and then repair a video arcade public. At the time, years before the for the Museum, at least as action-packed game. He was a true professional, but will promise of the Internet and digital media as The Great Train Robbery. We have be best remembered as a great husband, were captured in the now-quaint phrase transformed and expanded over the years father, and friend, and he will be missed. “Information Superhighway,” the idea of a to serve a growing audience and to offer an We will pay tribute to Richie on October Museum, built on an historic site for movie increasingly ambitious slate of exhibitions, 4 at an event to mark the opening of a production, that would take a unified view screenings, and education programs. wonderful photo exhibit, The Booth, about of the disparate worlds of film, television, Our film programs range from the best projectionists and their workspaces. and video games, seemed as audacious as of classic Hollywood—as in our complete it was unprecedented. There was, simply, Howard Hawks retrospective—to the best Richie was a great showman; more than no museum like it in the world. It was an of contemporary world cinema—as in our anything at the Museum, he was obsessed innovative blend of a science museum, focus on the great French director Claire with making sure that we put on the best an art museum, a technology museum, Denis. -
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. -
Films Shown by Series
Films Shown by Series: Fall 1999 - Winter 2006 Winter 2006 Cine Brazil 2000s The Man Who Copied Children’s Classics Matinees City of God Mary Poppins Olga Babe Bus 174 The Great Muppet Caper Possible Loves The Lady and the Tramp Carandiru Wallace and Gromit in The Curse of the God is Brazilian Were-Rabbit Madam Satan Hans Staden The Overlooked Ford Central Station Up the River The Whole Town’s Talking Fosse Pilgrimage Kiss Me Kate Judge Priest / The Sun Shines Bright The A!airs of Dobie Gillis The Fugitive White Christmas Wagon Master My Sister Eileen The Wings of Eagles The Pajama Game Cheyenne Autumn How to Succeed in Business Without Really Seven Women Trying Sweet Charity Labor, Globalization, and the New Econ- Cabaret omy: Recent Films The Little Prince Bread and Roses All That Jazz The Corporation Enron: The Smartest Guys in the Room Shaolin Chop Sockey!! Human Resources Enter the Dragon Life and Debt Shaolin Temple The Take Blazing Temple Blind Shaft The 36th Chamber of Shaolin The Devil’s Miner / The Yes Men Shao Lin Tzu Darwin’s Nightmare Martial Arts of Shaolin Iron Monkey Erich von Stroheim Fong Sai Yuk The Unbeliever Shaolin Soccer Blind Husbands Shaolin vs. Evil Dead Foolish Wives Merry-Go-Round Fall 2005 Greed The Merry Widow From the Trenches: The Everyday Soldier The Wedding March All Quiet on the Western Front The Great Gabbo Fires on the Plain (Nobi) Queen Kelly The Big Red One: The Reconstruction Five Graves to Cairo Das Boot Taegukgi Hwinalrmyeo: The Brotherhood of War Platoon Jean-Luc Godard (JLG): The Early Films, -
Maquette Scar
L Y C É E N S A U C I N É M A E N R É G I O N C E N T R E Titre original Scarface, Shame of a Nation Production Howard Hawks et Howard Hughes pour Atlantic Pictures (Howard Hughes Production) et United Artists. Réalisation Howard Hawks carface Assistant mise en scène Richard Rosson S Scénario Ben Hecht par Joël MAGNY Seton I. Miller John Lee Mahin W. R. Burnett d’après le roman Scarface de Armitage Trail Scarface est incontestablement l’œuvre la plus représentative du Dir. de la photo Lee Garmes « film criminel » et plus précisément du « film de gangster ». Son L. William O’Connell Musique Adolph Tandler héros, Tony Camonte, dit « Scarface » (le Balafré), inspiré du Gus Arnheim célèbre Al Capone, fonde le personnage mythique du gangster, Décor Harry Oliver que le cinéma américain exploita dès les années 10 et qui perdu- Prise de son William Snyder re dans des films contemporains tels que la série des Parrain (F .F. Montage Edward Curtiss Coppola) ou Casino (Scorcese). Douglass Biggs Directeur de production Charles Stallings Le film d’Howard Hawks se présente comme une biographie telle que le cinéma hollywoodien en produira bien d’autres (Dillinger, Interprétation : Lucky Luciano, Legs Diamond…) : ascension et chute d’un caïd. Tony Camonte Paul Muni C’est en assassinant Louis Costillo, le patron de son supérieur Cesca Camonte Ann Dvorak Johnny Lovo, que Tony Camonte découvre les délices du pouvoir Poppy Karen Morley et de l’argent : appartements luxueux, costumes voyants, petite- Guino Rinaldo George Raft amie décorative.. -
Targeting the Twenty-First Century Outlaw
JANE Y. CHONG Targeting the Twenty-First Century Outlaw ABSTRACT. This Note proposes using outlawry proceedings to bring legitimacy to the government's targeted killing regime. Far from clearly contrary to the letter and spirit of American due process, outlawry endured for centuries at English common law and was used to sanction lethal force against fugitive felons in the United States until as recently as 1975. Because it was the outlaw's refusal to submit to the legal process that warranted the use of lethal force against him, the choice of process was necessarily preserved through basic protections such as charges and notice. This Note argues that these principles can be updated for the twenty-first century and used to subject the government's targeted killing of U.S. citizens to limited judicial review. AUTHOR. Yale Law School, J.D. 2014; Duke University, B.A. 2009. I am indebted to Professor Owen Fiss for the seminar that inspired this Note and his insightful feedback on earlier drafts; to Professor Steven Duke for his thoughtful comments; to my exceptional lead editor Amanda Lee and The Yale Law Journal for invaluable editorial assistance; and to Adam Hockensmith for encouraging the ideas from their inception. 724 NOTE CONTENTS INTRODUCTION 727 1. WHEREFORE OUTLAWRY? 731 A. Due Process Requires Judicial Process 731 B. Proposed Models of Judicial Review 736 1. Civil Action 737 2. Trial in Absentia 737 3. A Targeted Killing Court 739 II. A BRIEF HISTORY OF OUTLAWRY 743 A. Theory and Procedure at English Common Law 743 B. Judicial Outlawry in the American Colonies and the Individual States 748 C. -
Vertigo. Revista De Cine (Ateneo Da Coruña)
Vertigo. Revista de cine (Ateneo da Coruña) Título: Remake -intertextualidad Autor/es: Pena, Jaime J. Citar como: Pena, JJ. (1993). Remake -intertextualidad. Vértigo. Revista de cine. (7):24-28. Documento descargado de: http://hdl.handle.net/10251/42972 Copyright: Todos los derechos reservados. Reserva de todos los derechos (NO CC) La digitalización de este artículo se enmarca dentro del proyecto "Estudio y análisis para el desarrollo de una red de conocimiento sobre estudios fílmicos a través de plataformas web 2.0", financiado por el Plan Nacional de I+D+i del Ministerio de Economía y Competitividad del Gobierno de España (código HAR2010-18648), con el apoyo de Biblioteca y Documentación Científica y del Área de Sistemas de Información y Comunicaciones (ASIC) del Vicerrectorado de las Tecnologías de la Información y de las Comunicaciones de la Universitat Politècnica de València. Entidades colaboradoras: REMAKE / INTERTEXTUALIDAD JAIME J. PENA Joseph McBride: Usted hizo dos remakes de RIO BRAVO, EL DORADO y RIO LOBO. Howard Hawks: No eran remakes. (.. .) Sí hacemos una película que es un éxito, que gusta a la gente, nos sentimos inclinados a hacer una versión diferente de la misma película. Y sí un director tiene una historia que le gusta y la cuenta, muy a menudo ve la pelfcula y dice, "Podría hacerla mejor sí la volviera a hacer", así que yo la volví a hacer. 1.REMAKES Hawks según Hawks, pág. 152 Una breve ojeada al monumental -al menos en lo que se refiere al cine en lengua anglosajona- Cinema Sequels and Remakes, 1903-1987, de Robert 1 A. -
Targeting the Twenty-First-Century Outlaw
JANE Y. CHONG Targeting the Twenty-First Century Outlaw ABSTRACT. This Note proposes using outlawry proceedings to bring legitimacy to the government's targeted killing regime. Far from clearly contrary to the letter and spirit of American due process, outlawry endured for centuries at English common law and was used to sanction lethal force against fugitive felons in the United States until as recently as 1975. Because it was the outlaw's refusal to submit to the legal process that warranted the use of lethal force against him, the choice of process was necessarily preserved through basic protections such as charges and notice. This Note argues that these principles can be updated for the twenty-first century and used to subject the government's targeted killing of U.S. citizens to limited judicial review. AUTHOR. Yale Law School, J.D. 2014; Duke University, B.A. 2009. I am indebted to Professor Owen Fiss for the seminar that inspired this Note and his insightful feedback on earlier drafts; to Professor Steven Duke for his thoughtful comments; to my exceptional lead editor Amanda Lee and The Yale Law Journal for invaluable editorial assistance; and to Adam Hockensmith for encouraging the ideas from their inception. 724 NOTE CONTENTS INTRODUCTION 727 1. WHEREFORE OUTLAWRY? 731 A. Due Process Requires Judicial Process 731 B. Proposed Models of Judicial Review 736 1. Civil Action 737 2. Trial in Absentia 737 3. A Targeted Killing Court 739 II. A BRIEF HISTORY OF OUTLAWRY 743 A. Theory and Procedure at English Common Law 743 B. Judicial Outlawry in the American Colonies and the Individual States 748 C. -
The Legacy of Truth Criminal Justice in the Peruvian Transition Lisa
The Legacy of Truth Criminal Justice in the Peruvian Transition Lisa Magarrell and Leonardo Filippini / Editors In memory of Father Hubert Lanssiers and of all the victims to whom he dedicated his life and work Translated from Spanish by Catherine Jagoe Table of Contents Preface Introduction Lisa Magarrell and Leonardo Filippini Criminal Justice and Truth in the Transition to Democracy Gloria Cano and Karim Ninaquispe The Role of Civil Society in Demanding and Promoting Justice Javier Ciurlizza and Eduardo González Truth and Justice From the Perspective of the Truth and Reconciliation Commission Eduardo Vega Luna Criminal Responsibility of State Agents Luis E. Francia Sánchez Criminal Trials of Terrorist Organizations Katya Salazar Luzula Gender, Sexual Violence and Criminal Law in Post-Conflict Peru Ronald Gamarra Human Rights, Justice and the Transition to Democracy: Institutional Review Contributors Preface The publication of these essays on truth and criminal justice in Peru is a significant contribution to the much-needed analysis of how to strengthen democracy in our country. The goal of a strong democracy is worthy and feasible but it is not altogether certain at this point, due to the negligence and hostility that still confront the rigorous enforcement of the law that is essential to the democratic life we desire. There is a tendency to fall back on a simplification that has yielded very bad results for us in the past: the belief that to have a democracy, all one need do is hold elections periodically, which neglects the fact that democracy exists only to the extent that the citizens of a country experience it on a daily basis as something meaningful in their lives. -
Online Versions of the Goldenrod Handouts Have Color Images & Hot
Online versions of the Goldenrod Handouts have color images & hot links September 4, 2018 (XXXVII:2) http://csac.buffalo.edu/goldenrodhandouts.html Howard Hawks (and Richard Rossen): SCARFACE (1932, 93 min) DIRECTED BY Howard Hawks (Richard Rossen, co-director) WRITTEN BY Armitage Trail (based on the novel by), Ben Hecht (screen story), Seton I. Miller (continuity), John Lee Mahin (continuity), W.R. Burnett (continuity), Seton I. Miller (dialogue), John Lee Mahin (dialogue), W.R. Burnett (dialogue), Howard Hawks (uncredited) PRODUCED BY Howard Hawks (uncredited), Howard Hughes (uncredited) MUSIC BY Adolph Tandler (uncredited) CINEMATOGRAPHY Lee Garmes, L. William O'Connell FILM EDITING BY Edward Curtiss, Lewis Milestone (uncredited) VISUAL EFFECTS Howard A. Anderson (process photography) Selected for National Film Registry by the National Film Shark, and La foule hurle in 1932; Today We Live (1933) and Preservation Board, 1994 Barbary Coast (1935); The Road to Glory and Come and Get It in 1936. He would direct the comedy classic His Girl Friday in CAST 1940, and he would be nominated for a Best Director Oscar for Paul Muni...Tony Camonte Sergeant York (1941) in 1942. In the 1940s, he would also direct Ann Dvorak...Cesca Camonte such films as: Ball of Fire (1941) and The Outlaw (1943); To Karen Morley...Poppy Have and Have Not (1944) and The Big Sleep (1946); Red River Osgood Perkins...Johnny Lovo and A Song is Born (1948); and I Was a Male War Bride (1949). C. Henry Gordon...Police Inspector Guarino He would continue in the 1950s with films such as: The Big Sky George Raft.. -
Series 30:2) Howard Hawks, BRINGING up BABY (1938, 102 Minutes
3 February 2015 (Series 30:2) Howard Hawks, BRINGING UP BABY (1938, 102 minutes) 1990 National Film Preservation Board, National Film Registry Directed by Howard Hawks Written by Dudley Nichols (screenplay) and Hagar Wilde (screenplay, from the story by) Produced by Howard Hawks Music by Roy Webb Cinematography by Russell Metty Film Editing by George Hively Art Direction by Van Nest Polglase Costume Design by Jimmie Dundee Music by Roy Webb Leopard trained by Olga Celeste Katharine Hepburn ... Susan Cary Grant ... David Charles Ruggles ... Major Applegate Walter Catlett ... Slocum Barry Fitzgerald ... Mr. Gogarty Prefer Blondes, 1952 The Big Sky, 1949 I Was a Male War May Robson ... Aunt Elizabeth Bride, 1948 A Song Is Born, 1948 Red River, 1946 The Big Fritz Feld ... Dr. Lehman Sleep, 1944 To Have and Have Not, 1943 The Outlaw, 1941 Leona Roberts ... Mrs. Gogarty Sergeant York, 1940 His Girl Friday, 1939 Only Angels Have George Irving ... Mr. Peabody Wings, 1938 Bringing Up Baby, 1936 Come and Get It, 1936 The Tala Birell ... Mrs. Lehman Road to Glory, 1935 Barbary Coast, 1934 Twentieth Century, Virginia Walker ... Alice Swallow 1933 The Prizefighter and the Lady, 1933 Today We Live, 1932 John Kelly ... Elmer Scarface, 1930 The Dawn Patrol, 1929 Trent's Last Case, 1928 Ward Bond ... Motorcycle Cop at Jail A Girl in Every Port, 1926 Fig Leaves, and 1926 The Road to Jack Carson ... Circus Roustabout Glory. He has 26 writing credits, although most are uncredited. Nissa the Leopard ... Baby Some of them are 1983 Scarface (1932 screenplay), 1971 The French Connection, 1965 Red Line 7000, 1952 Monkey Business, Howard Hawks (director, producer) (b. -
Only Angels Have Wings” [Sólo Los Ángeles Tienen Alas] 1939
“–only Angels have wings” [Sólo los ángeles tienen alas] 1939 Ficha técnica general. Sumario: En un remoto puerto comercial sudamericano, el gerente de una empresa de transporte aéreo se ve obligado a arriesgar la vida de sus pilotos para ganar un importante contrato. Director: Howard Hawks Guion: Jules Furthman Reparto (las estrellas): Cary Grant como Geoff Carter Jean Arthur Bonnie Lee Reparto (otros protagonistas): Richard Barthelmess Bat MacPherson Rita Hayworth Judy MacPherson Thomas Mitchell Kid Dabb Reparto (los secundarios): Allyn Joslyn Les Peters Sig Ruman Dutchy Victor Kilian Sparks John Carroll Gent Shelton Don 'Red' Barry Tex Noah Beery Jr. Joe Souther Milisa Sierra Lily Lucio Villegas Doctor Pat Flaherty Mike Pedro Regas Pancho Pat West Baldy Manuel Álvarez Maciste The Singer Equipo y especificaciones técnicas: Producción: Columbia. Productor, Argumento original y Guion: HOWARD HAWKS. Guion: Jules Furthman. Fotografía: Joseph Walker. Fotografía aérea: Elmer Dyer. Efectos especiales: Roy Davidson y Edwin G. Hahn. Dirección artística: Lionel Banks. Diseño de vestuario: Robert Kalloch Maquillaje: Robert J. Schiffer Música: Dimitri Tiomkin. Dirección musical: M. W. Stoloff. Montaje: Viola Lawrence. Duración: 121 minutos; Longitud de película: 3.376,88 metros (12 rollos) Relación de aspecto: 1,37:1; Formato: 35 mm Fechas de producción: 20 de diciembre de 1938―24 de marzo de 1939 Estreno en Estados Unidos: 25 de mayo de 1939 (12 de mayo de 1939, en Nueva York) Estreno en España: 23 de septiembre de 1943, cine Callao. La filmografía