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The US Anti- Apartheid Movement and Civil Rights Memory
BRATYANSKI, JENNIFER A., Ph.D. Mainstreaming Movements: The U.S. Anti- Apartheid Movement and Civil Rights Memory (2012) Directed by Dr. Thomas F. Jackson. 190pp. By the time of Nelson Mandela’s release from prison, in 1990, television and film had brought South Africa’s history of racial injustice and human rights violations into living rooms and cinemas across the United States. New media formats such as satellite and cable television widened mobilization efforts for international opposition to apartheid. But at stake for the U.S. based anti-apartheid movement was avoiding the problems of media misrepresentation that previous transnational movements had experienced in previous decades. Movement participants and supporters needed to connect the liberation struggles in South Africa to the historical domestic struggles for racial justice. What resulted was the romanticizing of a domestic civil rights memory through the mediated images of the anti-apartheid struggle which appeared between 1968 and 1994. Ultimately, both the anti-apartheid and civil rights movements were sanitized of their radical roots, which threatened the ongoing struggles for black economic advancement in both countries. MAINSTREAMING MOVEMENTS: THE U.S. ANTI-APARTHEID MOVEMENT AND CIVIL RIGHTS MEMEORY by Jennifer A. Bratyanski A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Greensboro 2012 Approved by Thomas F. Jackson Committee -
UNITED STATES SECURITIES and EXCHANGE COMMISSION Washington, D.C
UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 FORM 10-K ☒ ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the fiscal year ended December 31, 2009 OR o TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the transition period from to Commission File Number 001-09553 CBS CORPORATION (Exact name of registrant as specified in its charter) DELAWARE 04-2949533 (State or other jurisdiction of (I.R.S. Employer incorporation or organization) Identification Number) 51 W. 52nd Street New York, NY 10019 (212) 975-4321 (Address, including zip code, and telephone number, including area code, of registrant's principal executive offices) Securities Registered Pursuant to Section 12(b) of the Act: Name of Each Exchange on Title of Each Class Which Registered Class A Common Stock, $0.001 par value New York Stock Exchange Class B Common Stock, $0.001 par value New York Stock Exchange 7.625% Senior Debentures due 2016 American Stock Exchange 7.25% Senior Notes due 2051 New York Stock Exchange 6.75% Senior Notes due 2056 New York Stock Exchange Securities Registered Pursuant to Section 12(g) of the Act: None (Title of Class) Indicate by check mark if the registrant is a well-known seasoned issuer (as defined in Rule 405 of the Securities Act of 1933). Yes ☒ No o Indicate by check mark if the registrant is not required to file reports pursuant to Section 13 or Section 15(d) of the Securities Exchange Act of 1934. -
Transcript a Pinewood Dialogue with Melvin And
TRANSCRIPT A PINEWOOD DIALOGUE WITH MELVIN AND MARIO VAN PEEBLES Legendary maverick Melvin Van Peebles is a novelist, composer, and filmmaker who has also worked in television, popular music, and theater. After spending the 1960s in Paris, he returned to the United States and made the groundbreaking 1971 film Sweet Sweetback’s Baadasssss Song . The stunning box-office success of this subversive and sexy film paved the way for filmmakers such as Mario Van Peebles, who directed New Jack City and Panther . Mario paid tribute to his father with his 2003 movie Baadasssss ; in this lively discussion, Van Peebles père et fils share a lifetime of experience and a playful father-son rivalry. A Pinewood Dialogue following a screening of course, when I made my first films, I went down to Sweet Sweetback’s Baadasssss Song , Hollywood and they offered me a job, but as an moderated by Chief Curator David Schwartz elevator operator. I said, “No, I don’t want—I want (May 8, 2004): to really be in front of the camera or doing creative things.” And that was—they offered me a job as a SCHWARTZ : Please welcome Melvin and Mario Van dancer. Peebles. (Applause) Anyway, long story short, I went to Holland. Melvin, your first experience in Hollywood was Through another fluke that’s too long to go into doing comedies. Of course, you did Watermelon here, my short films that had been turned down in Man . I guess you were with Universal for a while; Hollywood were seen in France, and France invited you were signed on. -
Morrie Gelman Papers, Ca
http://oac.cdlib.org/findaid/ark:/13030/c8959p15 No online items Morrie Gelman papers, ca. 1970s-ca. 1996 Finding aid prepared by Jennie Myers, Sarah Sherman, and Norma Vega with assistance from Julie Graham, 2005-2006; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA, 90095-1575 (310) 825-4988 [email protected] ©2016 The Regents of the University of California. All rights reserved. Morrie Gelman papers, ca. PASC 292 1 1970s-ca. 1996 Title: Morrie Gelman papers Collection number: PASC 292 Contributing Institution: UCLA Library Special Collections Language of Material: English Physical Description: 80.0 linear ft.(173 boxes and 2 flat boxes ) Date (inclusive): ca. 1970s-ca. 1996 Abstract: Morrie Gelman worked as a reporter and editor for over 40 years for companies including the Brooklyn Eagle, New York Post, Newsday, Broadcasting (now Broadcasting & Cable) magazine, Madison Avenue, Advertising Age, Electronic Media (now TV Week), and Daily Variety. The collection consists of writings, research files, and promotional and publicity material related to Gelman's career. Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Creator: Gelman, Morrie Restrictions on Access Open for research. STORED OFF-SITE AT SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UC Regents. Literary rights, including copyright, are retained by the creators and their heirs. -
If It's New Year's Eve, It Must Be Ryan Seacrest
Visit Our Showroom To Find The Perfect Lift Bed For You! Dec. 27, 2019 - Jan. 2, 2020 Ryan Seacrest hosts “Dick Clark’s New Year’s Rockin’ Eve With Ryan Seacrest“ Tuesday on ABC. 2 x 2" ad 300 N Beaton St | Corsicana | 903-874-82852 x 2" ad M-F 9am-5:30pm | Sat 9am-4pm milesfurniturecompany.com FREE DELIVERY IN LOCAL AREA WA-00114341 V A H R E G N F K N U F F G A Your Key 2 x 3" ad I Z F O Z J O S E P H E O T P B G O P E F A H T E O L V A R To Buying R T A W F P Z E P X L R U Y I and Selling! S L T R Q M A R T I N E Z L L 2 x 3.5" ad C L O J U S T I C E D Q D O M A D K S M C F F S H E E J R F P U I R A X M F L T D Y A K F O O T V S N C B L I U I W L E V J L L O Y G O R H C A Q A H Z A L I Z W H E J I L G M U L E I X C T N I K L U A A J S U B K G G A I E Z A E R N O U G E T E V F D C P X D S E N K A A S X A Y B E S K I L T R A B “Deputy” on Fox Bargain Box (Words in parentheses not in puzzle) Bill (Hollister) (Stephen) Dorff Los Angeles (County) Place your classified Classified Merchandise Specials Solution on page 13 Cade (Ward) (Brian) Van Holt Justice ad in the Waxahachie Daily Light, Merchandise High-End 2 x 3" ad Brianna (Bishop) (Bex) Taylor-Klaus Drama Midlothian Mirror and Ellis Joseph (Harris) (Shane Paul) McGhie Politics County Trading1 Post! x 4" ad Deal Merchandise Word Search Paula (Reyes) (Yara) Martinez (New) Sheriff Call (972) 937-3310 Run a single item Run a single item If it’s New Year’s Eve, it priced at $50-$300 priced at $301-$600 for only $7.50 per week for only $15 per week 6 lines runs in The Waxahachie Daily Light, must be Ryan Seacrest Midlothian Mirror and Ellis County Trading2 x 3.5" Post ad and online at waxahachietx.com All specials are pre-paid. -
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 ............................................................. -
The Problem of Female Antagonisms in Blaxploitation Cinema Melissa
1 Who’s Got the “Reel” Power? The Problem of Female Antagonisms in Blaxploitation Cinema Melissa DeAnn Seifert, University of Wisconsin-Milwaukee Abstract: Between 1973 and 1975, films starring Pam Grier and Tamara Dobson such as Cleopatra Jones (Jack Starrett, 1973), Coffy (Jack Hill, 1973) and Foxy Brown (Hill, 1974) introduced leading black women into the predominantly male blaxploitation scene as aggressive action heroines. Within the cinematic spaces of blaxploitation films which featured women as active agents, a racial and sexual divide exists. These films positioned women either inside or outside of gender tolerability by utilising binary constructions of identity based on race, sex and elementary constructions of good and evil, black and white, straight and gay, and feminine and butch. Popular representations of lesbianism and sisterhood within blaxploitation cinema reflect a dominant social view of American lesbianism as white while straight women are consistently represented as black. However, these spaces also constricted black and white female identities by limiting sexuality and morality to racial boundaries. This article seeks to question the unique solitude of these female heroines and interrogate a patriarchal cinematic world where sisterhood is often prohibited and lesbianism demonised. I don’t believe in [women’s lib] for black people … we’re trying to free our black men … I like being a woman. I have been discriminated against, but not because I’m a woman. It’s because I am black … before [people] see me as being female, they see me as being black. The stigma that’s been placed on you because you’re black gives you enough kill to get you through the woman thing … it’s much tougher being black than being a woman. -
The Big 6 Entertainment Corporations
THE BIG 6 ENTERTAINMENT CORPORATIONS ------------------------------------------------------------------------------------------------------------ News Corporation (abbreviated to News Corp) (NYSE: NWS) is one of the world's largest media conglomerates. Its chief executive officer is Rupert Murdoch, an influential and controversial media tycoon. News Corporation is a public company listed on the New York Stock Exchange and as a secondary listing on the London Stock Exchange (LSE: NCRA). Formerly incorporated in Adelaide, Australia, the company was re- incorporated in the United States state of Delaware after a majority of shareholders approved the move on 12 November 2004. The company is still listed on the Australian Stock Exchange (ASX: NWS). News Corporation's United States headquarters is on Sixth Avenue (Avenue of the Americas) in New York City, in the 1960s-1970s portion of the Rockefeller Center complex. Revenue for the year ended 30 June 2005 was $23.859 billion. This does not include News Corporation's share of the revenue of businesses in which it owns a minority stake, which include two of its most important assets, DirecTV and BSkyB. Almost 70% of the company's sales come from its US businesses. Holdings: Film/TV Production and Distribution 20th Century Fox 20th Century Fox Home 20th Century Fox TV Fox Filmed Entertainment Fox 2000 Blue Sky Studios Fox Searchlight Pictures Fox Animation Studios(defunct) Fox Family World Wide Fox Sports Fox News IGN Entertainment Inc New World Communications Direct TV News Papers/Magazines/Publishers (select) New York Post The Times(Eng) The Sun (Eng) HarperCollins Ecco Press Perennial The Weekly Standard TV Guide Radio/Multimedia (select) Sky Radio Fox Sports Radio News American The Street.com Line One Orbis ------------------------------------------------------------------------------------------------------------ The Walt Disney Company (most commonly known as Disney) (NYSE: DIS) is one of the largest media and entertainment corporations in the world. -
SHSU Video Archive Basic Inventory List Department of Library Science
SHSU Video Archive Basic Inventory List Department of Library Science A & E: The Songmakers Collection, Volume One – Hitmakers: The Teens Who Stole Pop Music. c2001. A & E: The Songmakers Collection, Volume One – Dionne Warwick: Don’t Make Me Over. c2001. A & E: The Songmakers Collection, Volume Two – Bobby Darin. c2001. A & E: The Songmakers Collection, Volume Two – [1] Leiber & Stoller; [2] Burt Bacharach. c2001. A & E Top 10. Show #109 – Fads, with commercial blacks. Broadcast 11/18/99. (Weller Grossman Productions) A & E, USA, Channel 13-Houston Segments. Sally Cruikshank cartoon, Jukeboxes, Popular Culture Collection – Jesse Jones Library Abbott & Costello In Hollywood. c1945. ABC News Nightline: John Lennon Murdered; Tuesday, December 9, 1980. (MPI Home Video) ABC News Nightline: Porn Rock; September 14, 1985. Interview with Frank Zappa and Donny Osmond. Abe Lincoln In Illinois. 1939. Raymond Massey, Gene Lockhart, Ruth Gordon. John Ford, director. (Nostalgia Merchant) The Abominable Dr. Phibes. 1971. Vincent Price, Joseph Cotton. Above The Rim. 1994. Duane Martin, Tupac Shakur, Leon. (New Line) Abraham Lincoln. 1930. Walter Huston, Una Merkel. D.W. Griffith, director. (KVC Entertaiment) Absolute Power. 1996. Clint Eastwood, Gene Hackman, Laura Linney. (Castle Rock Entertainment) The Abyss, Part 1 [Wide Screen Edition]. 1989. Ed Harris. (20th Century Fox) The Abyss, Part 2 [Wide Screen Edition]. 1989. Ed Harris. (20th Century Fox) The Abyss. 1989. (20th Century Fox) Includes: [1] documentary; [2] scripts. The Abyss. 1989. (20th Century Fox) Includes: scripts; special materials. The Abyss. 1989. (20th Century Fox) Includes: special features – I. The Abyss. 1989. (20th Century Fox) Includes: special features – II. Academy Award Winners: Animated Short Films. -
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. -
ABSTRACT TRUE CRIME DOES PAY: NARRATIVES of WRONGDOING in FILM and LITERATURE Andrew Burt, Ph.D. Department of English Norther
ABSTRACT TRUE CRIME DOES PAY: NARRATIVES OF WRONGDOING IN FILM AND LITERATURE Andrew Burt, Ph.D. Department of English Northern Illinois University, 2017 Scott Balcerzak, Director This dissertation examines true crime’s ubiquitous influence on literature, film, and culture. It dissects how true-crime narratives affect crime fiction and film, questioning how America’s continual obsession with crime underscores the interplay between true crime narratives and their fictional equivalents. Throughout the 20th century, these stories represent key political and social undercurrents such as movements in religious conservatism, issues of ethnic and racial identity, and developing discourses of psychology. While generally underexplored in discussions of true crime and crime fiction, these currents show consistent shifts from a liberal rehabilitative to a conservative punitive form of crime prevention and provide a new way to consider these undercurrents as culturally-engaged genre directives. I track these histories through representative, seminal texts, such as Theodore Dreiser’s An American Tragedy (1925), W.R. Burnett’s Little Caesar (1929, Jim Thompson’s The Killer Inside Me (1952), and Barry Michael Cooper’s 1980s new journalism pieces on the crack epidemic and early hip hop for the Village Voice, examining how basic crime narratives develop through cultural changes. In turn, this dissertation examines film adaptations of these narratives as well, including George Stevens’ A Place in the Sun (1951), Larry Cohen’s Black Caesar (1972), Michael Winterbottom’s The Killer Inside Me (2010), and Mario Van Peeble’s New Jack City (1991), accounting for how the medium changes the crime narrative. In doing so, I examine true crime’s enduring resonance on crime narratives by charting the influence of commonly overlooked early narratives, such as execution sermons and murder ballads. -
An Economic Analysis of the Prime Time Access Rule
BEFORE THE FEDERAL COMMUNICATIONS COMMISSION Washington, D.C. 20554 In re: Review of the Prime Time Access Rule, Section 73.658 (k) of the Commission’s } MM Docket No. 94-123 Rules AN ECONOMIC ANALYSIS OF THE PRIME TIME ACCESS RULE March 7, 1995 ECONOMISTS INCORPORATED WASHINGTON, D.C. CONTENTS I. Introduction……………………………...……………………………………………1 II. Is ABC, CBS or NBC Dominant Today? A. No single network dominates any market...........................................................5 B. Factors facilitating the growth of competing video distributors ................................................................................................7 1. Cable penetration ....................................................................................7 2. Number and strength of independent stations.........................................9 3. Other video outlets................................................................................12 C. Competing video distributors............................................................................13 1. New broadcast networks .......................................................................13 2. New cable networks..............................................................................16 3. First-run syndication .............................................................................17 D. Impact on networks of increased competition ..................................................18 1. Audience shares ....................................................................................18