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October 2020 DAVID J. SCHEFFER 25 Mountain Top Road, Santa Fe, New Mexico 87595-9069 Mobile Phone: 708-497-0478; Email: [email protected]
October 2020 DAVID J. SCHEFFER 25 Mountain Top Road, Santa Fe, New Mexico 87595-9069 Mobile phone: 708-497-0478; Email: [email protected] ACADEMIC Clinical Professor Emeritus, Director Emeritus of the Center for International Human Rights, Northwestern University Pritzker School of Law, Sept. 2020-present. Global Law Professor (Spring 2021), KU Leuven University, Belgium. Int’l Criminal Tribunals. Mayer Brown/Robert A. Helman Professor of Law, 2006-2020, Visiting Professor of Law, 2005-2006, and Director of the Center for International Human Rights (2006-2019), Northwestern University Pritzker School of Law. Int’l Human Rights Law, Int’l Criminal Law, Corporate Social Responsibility, Human Rights in Transitional Democracies. DistinguisheD Guest Lecturer, International Law Summer Study Abroad Program of Thomas Jefferson School of Law (San Diego) and the University of Nice School of Law (France), Nice, France, July 2011. Lectures on international criminal law and corporate social responsibility. Faculty Member, The Summer Institute for Global Justice, University of Utrecht, The Netherlands, Summer 2005 (jointly administered by the Washington University School of Law (St. Louis) and Case Western Reserve University School of Law). Course instruction: Atrocity Law and Policy. Visiting Professor of Law, The George Washington University Law School, 2004-2005. Int’l Law I, Int’l Organizations Law, Int’l Criminal Law. Visiting Professor of Law, Georgetown University Law Center, 2003-2004. Int’l Law I, Int’l Institutions Law, Atrocity Law Seminar. Int’l Law I in GULC’s summer program at University College, Faculty of Laws, London (July-Aug. 2004). Visiting Lecturer, National University of Ireland (Galway), July 2003. -
African American Contributions to the American Film Industry”
Curriculum Units by Fellows of the Yale-New Haven Teachers Institute 1996 Volume III: Race and Representation in American Cinema In Their Own Words: African American Contributions to the American Film Industry” Curriculum Unit 96.03.14 by Gerene Freeman I believe it is safe to say that a large majority of my high school students are avid movie-goers. Most of them, if not all have a VCR in their homes. Amazingly many students are quite sagacious concerning matters pertaining to the blaxploitation films generated in the Sixties. Few, however, realize that African American involvement in film making had its inception as early as 1913. Through this curriculum unit it is my intention to provide high school students, at Cooperative High School for the Arts and Humanities, with an overview of two African American filmmakers and their contributions to film. Oscar Micheaux will be utilized as an example of African American contributions made to the silent era by African American pioneers in the film industry. Matty Rich will be used as an example of contemporary contributions. I have decided to look at Matty Rich as opposed to Spike Lee, John Singleton and/or Julie Dash for very specific reasons. First because he was so close to the age (18) many of my high school students are now when he made his first movie Straight Out of Brooklyn. Secondly, he emerged from an environment similar to that in which many of my student find themselves. Lastly, I believe he could represent for my students a reason to believe it is very possible for them to accomplish the same thing. -
Fort Lee Booklet
New Jersey and the Early Motion Picture Industry by Richard Koszarski, Fort Lee Film Commission The American motion picture industry was born and raised in New Jersey. Within a generation this powerful new medium passed from the laboratories of Thomas Edison to the one-reel masterworks of D.W. Griffith to the high-tech studio town of Fort Lee with rows of corporate film factories scattered along the local trolley lines. Although a new factory town was eventually established on the West Coast, most of the American cinema’s real pioneers first paid their dues on the stages (and streets) of New Jersey. On February 25, 1888, the Photographer Eadweard Muybridge lectured on the art of motion photography at New Jersey’s Orange Music Hall. He demonstrated his Zoopraxiscope, a simple projector designed to reanimate the high-speed still photographs of human and animal subjects that had occupied him for over a decade. Two days later he visited Thomas Alva Edison at his laboratory in West Orange, and the two men discussed the possibilities of linking the Zoopraxiscope with Edison’s phonograph. Edison decided to proceed on his own and assigned direction of the project to his staff photographer, William Kennedy Laurie Dickson. In 1891 Dickson became the first man to record sequential photographic images on a strip of transparent celluloid film. Two years later, in anticipation of commercialization of the new process, he designed and built the first photographic studio intended for the production of motion pictures, essentially a tar paper shack mounted on a revolving turntable (to allow his subjects to face the direct light of the sun). -
A Light in Darkness, Oscar Micheaux: Entrepreneur Intellectual Agitator Airic Hughes University of Arkansas, Fayetteville
University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 7-2015 A Light in Darkness, Oscar Micheaux: Entrepreneur Intellectual Agitator Airic Hughes University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/etd Part of the African American Studies Commons, African History Commons, American Film Studies Commons, and the American Literature Commons Recommended Citation Hughes, Airic, "A Light in Darkness, Oscar Micheaux: Entrepreneur Intellectual Agitator" (2015). Theses and Dissertations. 1317. http://scholarworks.uark.edu/etd/1317 This Thesis is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. A Light in Darkness, Oscar Micheaux: Entrepreneur Intellectual Agitator A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in History By Airic Hughes University of Arkansas Bachelor of Arts in History and African and African American Studies, 2011 July 2015 University of Arkansas This thesis is approved for recommendation to the Graduate Council. __________________ Dr. Calvin White Thesis Director __________________ __________________ Dr. Pearl Ford Dowe Dr. James Gigantino Committee Member Committee Member Abstract: Oscar Micheaux was a luminary who served as an agent of racial uplift, with a unique message to share with the world on behalf of the culturally marginalized African Americans. He produced projects that conveyed the complexity of the true black experience with passion and creative courage. His films empowered black audiences and challenged conventional stereotypes of black culture and potential. -
This Book Is a Compendium of New Wave Posters. It Is Organized Around the Designers (At Last!)
“This book is a compendium of new wave posters. It is organized around the designers (at last!). It emphasizes the key contribution of Eastern Europe as well as Western Europe, and beyond. And it is a very timely volume, assembled with R|A|P’s usual flair, style and understanding.” –CHRISTOPHER FRAYLING, FROM THE INTRODUCTION 2 artbook.com French New Wave A Revolution in Design Edited by Tony Nourmand. Introduction by Christopher Frayling. The French New Wave of the 1950s and 1960s is one of the most important movements in the history of film. Its fresh energy and vision changed the cinematic landscape, and its style has had a seminal impact on pop culture. The poster artists tasked with selling these Nouvelle Vague films to the masses—in France and internationally—helped to create this style, and in so doing found themselves at the forefront of a revolution in art, graphic design and photography. French New Wave: A Revolution in Design celebrates explosive and groundbreaking poster art that accompanied French New Wave films like The 400 Blows (1959), Jules and Jim (1962) and The Umbrellas of Cherbourg (1964). Featuring posters from over 20 countries, the imagery is accompanied by biographies on more than 100 artists, photographers and designers involved—the first time many of those responsible for promoting and portraying this movement have been properly recognized. This publication spotlights the poster designers who worked alongside directors, cinematographers and actors to define the look of the French New Wave. Artists presented in this volume include Jean-Michel Folon, Boris Grinsson, Waldemar Świerzy, Christian Broutin, Tomasz Rumiński, Hans Hillman, Georges Allard, René Ferracci, Bruno Rehak, Zdeněk Ziegler, Miroslav Vystrcil, Peter Strausfeld, Maciej Hibner, Andrzej Krajewski, Maciej Zbikowski, Josef Vylet’al, Sandro Simeoni, Averardo Ciriello, Marcello Colizzi and many more. -
ATLAS of MIGRATION Facts and Figures About People on the Move
ATLAS OF MIGRATION Facts and figures about people on the move ESCAPE, WORK, FUTURE IMPRINT The ATLAS OF MIGRATION is published by the Rosa-Luxemburg-Stiftung, Berlin, Germany Chief executive editors: Johanna Bussemer, Dorit Riethmüller Editors: Christian Jakob (coordination), Stefanie Kron, Wenke Christoph Managing editor: Dietmar Bartz Art Director: Ellen Stockmar English Editor: Paul Mundy Proofreader: Maria Lanman Fact checking: Infotext Berlin Contributors: Friedrich Burschel, Wenke Christoph, Johanna Elle, Sabine Hess, Christian Jakob, Bernd Kasparek, Stefanie Kron, Laura Lambert, Ramona Lenz, Carlos Lopes, Sowmya Maheswaran, Johanna Neuhauser, Mario Neumann, Jochen Oltmer, Maria Oshana, Massimo Perinelli, Maximilian Pichl, Matthias Schmidt-Sembdner, Helen Schwenken, Maurice Stierl, Christian Stock, and a team of authors. Cover image: Ellen Stockmar The views expressed in this publication are those of the authors and do not necessarily reflect the views of the publishing organization. Editorial responsibility (V. i. S. d. P.): Alrun Kaune-Nüßlein, Rosa Luxemburg Foundation Second English edition, October 2019 Produced by Bonifatius GmbH Druck – Buch – Verlag, Paderborn Climate-neutral printing on 100 percent recycled paper. This material (except the cover picture) is licensed under Creative Commons “Attribution-ShareAlike 4.0 Unported“ (CC BY-SA 4.0). For the licence agreement, see http://creativecommons.org/licenses/by-sa/4.0/legalcode, and a summary (not a substitute) at http://creativecommons.org/licenses/by-sa/4.0/deed.en. Individual graphics from this atlas may be reproduced if the attribution ”Bartz/Stockmar, CC BY 4.0“ is placed next to the graphic (in case of modification: ”Bartz/Stockmar (M), CC BY 4.0“). ATLAS DER MIGRATION Daten und Fakten über Menschen in Bewegung FOR FREE DELIVERIES AND DOWNLOADS: Rosa-Luxemburg-Stiftung, Franz-Mehring-Platz 1, 10243 Berlin, Germany www.rosalux.de/atlasofmigration FLUCHT, ARBEIT, The ATLAS OF MIGRATION is also published as ATLAS DER MIGRATION in German. -
STUDIES in CONTEMPORARY AFRICA (435) Founded: 1956
Directory 2011–12 pass 3 10/7/12 COLUMBIA UNIVERSITY THE UNIVERSITY SEMINARS DIRECTORY OF SEMINARS, SPEAKERS, AND TOPICS 2011–2012 1 Columbia University—The University Seminars Directory 2011–12 pass 3 10/7/12 ADVISORY COMMITTEE Robert L. Belknap Professor Emeritus of Russian, Columbia University, Director Emeritus of The University Seminars, Columbia University Susan Boynton Associate Professor of Music, Columbia University Ester Fuchs Professor, School of International and Public Affairs Columbia University Kenneth T. Jackson Jacques Barzun Professor of History and the Social Sciences Columbia University David Johnston Joseph Straus Professor of Political Philosophy Columbia University Lisa Keller Associate Professor of History, Purchase College, Adjunct Research Scholar of History, Columbia University David Magier Associate University Librarian for Collection Development Princeton University Peter V. Norden Professor of Industrial Engineering & Operations Research Columbia University Robert E. Remez Professor of Psychology, Barnard College Herbert Terrace Professor of Psychology, Columbia University StaFF Robert E. Pollack, Director [email protected] Alice Newton, Associate Director [email protected] Pamela Guardia, Administrative Assistant [email protected] Gesenia Alvarez-Lazauskas, Senior Finance Manager [email protected] Summer Hart, Archive and Web Administrator [email protected] THE UNIVERSITY SEMINARS COLUMBIA UNIVERSITY Faculty House 64 Morningside Drive, 2nd Floor MC 2302 New York, NY 10027 (212) 854-2389 universityseminars.columbia.edu [email protected] Directory 2011–12 pass 3 10/7/12 INTRODUCTION he University Seminars are groups of professors and Tother experts, from Columbia and elsewhere, who gather once a month to work together on problems that cross the boundaries between university departments. Each Seminar elects its own officers, plans its own program and selects its own Members from Columbia, Associate Members from elsewhere, and any speakers or other guests it invites to its sessions. -
Copyright by Yuri Andrew Campbell 2014
Copyright by Yuri Andrew Campbell 2014 The Dissertation Committee for Yuri Andrew Campbell Certifies that this is the approved version of the following dissertation: The Brothers Johnson: The Lincoln Motion Picture Company, Black Business, and the Negro Image During the Progressive Era Committee: _________________________________ Juliet E. K. Walker, Supervisor _________________________________ Toyin Falola _________________________________ Leonard Moore _________________________________ Karl Miller _________________________________ Johnny S. Butler The Brothers Johnson: The Lincoln Motion Picture Company, Black Business, and the Negro Image During the Progressive Era by Yuri Andrew Campbell, B.A., J.D. Dissertation Presented to the Faculty of the Graduate School of The University oF Texas at Austin In Partial FulFillment of the Requirements for the Degree of Doctor of Philosophy The University oF Texas at Austin May 2014 Abstract The Brothers Johnson: The Lincoln Motion Picture Company, Black Business, and the Negro Image During the Progressive Era Yuri Andrew Campbell, PhD. The University oF Texas at Austin, 2014 Supervisor: Juliet E. K. Walker This dissertation looks at the Lincoln Motion Picture Company, the first Filmmaking concern owned and operated by African Americans with the intention oF producing dramas depicting the race in a positive Fashion. By undertaking a micro-level inquiry oF the LMPC the study provides an unusually detailed assessment oF the strengths and weaknesses of a Progressive-Era black entrepreneurial endeavor whose national reach had macro-level economic and cultural eFFect within the African-American commercial realm. On the micro-level, the dissertation adheres to the Cole model oF entrepreneurial history by addressing the Family, social, and employment backgrounds oF the two brothers who owned and operated the Film venture, Noble and George Johnson. -
[Jan-Christopher Horak]. He Is the Director of the UCLA Film and Television Archive
Rachael Stoeltje: Our final presenter is Chris Horak [Jan-Christopher Horak]. He is the Director of the UCLA Film and Television Archive. And he has been running film archives for 30 years, about 30 years, somewhere in there. He is also responsible for preserving Oscar Micheaux’s Veiled Aristocrats and finding and preserving Rex Ingram’s Let My People Live. He and Jackie [Jacqueline Stewart] together have been co-curating this really great … Unknown: Ally [Allyson Nadia Field]… Rachael Stoeltje: Oh, and Ally [Allyson Nadia Field]? I’m sorry, Ally [Allyson Nadia Field], I keep leaving you out. Sorry. And Ally [Allyson Nadia Field], who’s right there, have put together the LA Rebellion series, which screens in the cinema tomorrow at 7 and another film Sunday at 3. Sorry, Ally. And, I guess I’ll just … yes, so, Chris Horak [Jan-Christopher Horak]. Jan-Christopher Horak: Thank you. And, thank you to, for Brian [Graney] for inviting me, and I’m glad to be here. I’m not going to talk about early black film, but rather about some of the experiences we had with the LA Rebellion. And the first provocative thing I’ll say is that while the issues of materiality are maybe the most exasperated in terms of early black film, the same problems exist throughout the history, whether we’re talking about Blaxploitation films in the 70’s, or independent films like the LA Rebellion films, literally up to the present. There may be a DVD copy of a particular film out on the market, but that doesn’t mean that it is a) preserved and in often times those are these, especially when we’re talking about things like the so-called Blaxploitation films, are made from one surviving print, because the companies that made these films for the most part were not the Hollywood majors but were smaller companies, many of which have gone out of business and the films, literally there’s no one there to keep the films. -
Jörg Nies Interviewed Bartolomeo Sorge. Interview Date: April 2019
Italy Jörg Nies interviewed Bartolomeo Sorge. Interview date: April 2019 Nies: Dear Bartolomeo Sorge, thanks for being here, and for agreeing to give us this interview for The European Archive of Voices. The purpose of this series of interviews is to collect the stories of people who lived during the development of a European community. You were born in 1929 on the Isle of Elba; you joined the Society of Jesus (sometimes called the Jesuits) in 1946; you're a religious leader and priest. You studied at various universities and were the editor of the magazine La Civiltà Cattolica [periodical published by the Jesuits in Rome, Italy, published since 1850, oldest of Catholic Italian periodicals] for more than ten years. Later, you founded the Institute of Political Formation in Palermo. After that, you edited a magazine called Aggiornamenti Sociali [Magazine and think tank of the Italian Jesuits]. Today, you live in a Jesuit community in Gallarate (Italy), which is where we're doing this interview. My name is Jörg Nies, from Germany, also a Jesuit. You and I met for the first time almost three years ago when I was completing an Italian course in Milan. In the meantime, I did a licentiate at the Pontifical Gregorian University and began a doctorate in theology at the same university. Thanks again for being here. Nies: What do you remember about your childhood? What was the environment that you grew up in? Sorge: Look, I think that, rather than remembering my distant childhood, it’d be worth talking about what I saw when I was older. -
Toward a Rule of Law Culture: Practical Guide
TOWARD A RULE OF LAW CULTURE Exploring Effective Responses to Justice and Security Challenges PRACTICAL GUIDE Leanne McKay TOWARD A RULE OF LAW CULTURE Exploring Effective Responses to Justice and Security Challenges PRACTICAL GUIDE Written by Leanne McKay and edited by Adewale Ajadi and Vivienne O’Connor With contributions by Adewale Ajadi, Diane de Gramont, Hamid Khan, Rachel Kleinfeld, George Lopez, Tom Parker, and Colette Rausch UNITED STATES INSTITUTE OF PEACE Washington, D.C. United States Institute of Peace 2301 Constitution Avenue, NW Washington, DC 20037 www.usip.org © 2015 by the Endowment of the United States Institute of Peace. All rights reserved. First published 2015 To request permission to photocopy or reprint materials for course use, contact the Copyright Clearance Center at www.copyright.com. For print, electronic media, and all other subsidiary rights e-mail [email protected] Printed in the United States of America The paper used in this publication meets the minimum requirements of American National Standards for Information Science—Permanence of Paper for Printed Library Materials, ANSI Z39.48-1984. This guide is available in English, Arabic, and French at www.usip.org. The views expressed in this publication are those of the author alone. They do not necessarily reflect the views of the United States Institute of Peace. ii TOWARD A RULE OF LAW CULTURE A RULE OF LAW TOWARD Contents List of Figures ............................................................................................................................. -
February 2020 100 Years of Christ, Community and Charity
March 1919 - February 2020 100 years of Christ, Community and Charity PRAY FOR THE SICK Romanita Abad, Louis Alloyne, Patricia Hayes Axtmayer, Madison Makenzie Baker, Monday-Saturday 8:00am masses in Chapel. Bill “ Ben,” Amelia Barone, Dennis Berger, Mark Frank Biondi, Patricia Boyle, Katherine Budd, Mathew L. Brandli ———means no intention at time to Jim & Marilyn Capaldo Tom Brady, Bryan Budd, print Michael Castro, Kyle Chalupa, Paul Burawa, ** means Offices are closed Angela Chiaorrmonte, Yolanda Celone, Francis X. Castellano, Garrett Carty, Saturday, January 25th,** Lillian Cestaro, Mary Collins, Brian Dale, Joey Diveck, 8:00am -------------------------- Neil Coogan, Kenny Cook, Johnathan Delvalle, 5:00pm ------------------------- Ginna Cooper, Kathleen Corrigan, Dennis Ryan Dooley, Tatiana Drawbridge, Sunday, January 26th,** Jeremy Ferguson, Josef Gerace, Airen Craig,Rita Cuozzo, 7:00 am -------------------------- Andrew Hughes, Joe Hwang , Frances Damara, Eileen Damico, Joseph Janssen, 8:30 am Spanish Mass Josephine Diaz, Tracey M. Kentoffio, 10:00am Jackie Lombardi Anna A. Ferello, Mike Flynn, Malena Garcete, Kevin Kiefer, Chris Klimek, 11:30am Parishioners of OLMC Deacon Anthony Graviano, Frankie Lopez, Monday, January 27th, Joseph Guyton, Roy Hanson, Adam McCarthy, 8:00am Delores Ellen Long Lisa Haus-McWilliams, Jeffery Haller, Eugene Mahan, Al Mediate, Tuesday, January 28th, Savannah Hoesterey, Anthony Ivancich, Daniel Murphy, 8:00am John Pacey Lori Ann M. Kaan, Desiree Keefe, Patrick Musumeci, Wednesday, January 29th, Jonathan