Criminal Law for Paralegals: Chapter 8 Introduction
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TK TK TK TK the Change in Spain Is Mainly On
THE BUSINESS JOURNAL OF FILM, BROADCASTING, BROADBAND, PRODUCTION, DISTRIBUTION JANUARY/FEBRUARYJUNE/JULY 20102011 VOL. 3031 NO. 41 $9.75 In This Issue: A SusskindTK of TV Latin TVTK Directory ATF’s GentleTK Touch ToiletSección Paper en inEspañol Europe ® www.videoage.org Caracol’s TelenovelaTK Unfolds The ChangeTK In Spain Is Daily On andTK Off TV Screens Mainly On The Air By Dom Serafini TK By BoB JenkinheS Although, as David Esquinas, Research f Colombia’s Caracol planned to broadcast a telenovela on the Santo Domingo affaele Annechino, senior and Strategic Resources director at By Dom Serafini family, it would not be fiction, but reality: A real life telenovela produced by vice president and general Spanish ad agency Optimedia pointed rgentina’s the family itself, since it owns the Bogotá-based TV network. manager, MTV Iberia, out, even though “The final move to All the ingredients for a telenovela are there: Fabulous fortune; beautiful expressed his belief that, digital was made in April, this is a process “Spain is currently one people jet-setting around South America, North America and Europe, (Continued on Page 22)18) and a patriarch. Plus, of the most drama, love, nobility and T interesting, if glamour. Wrote The New York not the most interesting, MiracleTK NATPE I Rbroadcast markets in the Post last year in its popular “Page Comparing two marketsTK in Miami Beach: 1994, 2011 A world. This,” he explained, Six” gossip column, “The Santo “Is because all of the he above headline doesn’t refer to NATPE Domingos Take New York.” hris 2011, even though its renewed success could changes that are happening The patriarch in this case is be attributed to a miracle. -
A Textual Analysis of the Closer and Saving Grace: Feminist and Genre Theory in 21St Century Television
A TEXTUAL ANALYSIS OF THE CLOSER AND SAVING GRACE: FEMINIST AND GENRE THEORY IN 21ST CENTURY TELEVISION Lelia M. Stone, B.A., M.P.A. Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS December 2013 APPROVED: Harry Benshoff, Committee Chair George Larke-Walsh, Committee Member Sandra Spencer, Committee Member Albert Albarran, Chair of the Department of Radio, Television and Film Art Goven, Dean of the College of Arts and Sciences Mark Wardell, Dean of the Toulouse Graduate School Stone, Lelia M. A Textual Analysis of The Closer and Saving Grace: Feminist and Genre Theory in 21st Century Television. Master of Arts (Radio, Television and Film), December 2013, 89 pp., references 82 titles. Television is a universally popular medium that offers a myriad of choices to viewers around the world. American programs both reflect and influence the culture of the times. Two dramatic series, The Closer and Saving Grace, were presented on the same cable network and shared genre and design. Both featured female police detectives and demonstrated an acute awareness of postmodern feminism. The Closer was very successful, yet Saving Grace, was cancelled midway through the third season. A close study of plot lines and character development in the shows will elucidate their fundamental differences that serve to explain their widely disparate reception by the viewing public. Copyright 2013 by Lelia M. Stone ii TABLE OF CONTENTS Chapters Page 1 INTRODUCTION .............................................................................................. -
Legal, Literary, and Journalistic Textualities of Gender Violence in Post-War Nicaragua DISSERTATION P
Mediated Intimacies: Legal, Literary, and Journalistic Textualities of Gender Violence in Post-War Nicaragua DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Alicia Zoe Miklos, M.A. Graduate Program in Spanish and Portuguese The Ohio State University 2015 Dissertation Committee: Ileana Rodríguez, Advisor Ignacio Corona Laura Podalsky Copyright by Alicia Zoe Miklos 2015 Abstract My dissertation examines representations of femicide as gender violence in legal, journalistic, literary, and online cultural production in contemporary post-war Nicaragua. I begin with the passing of Law 779, the Integral Law Against Violence Towards Women, approved by the Nicaraguan National Assembly in February 2012. The law fills a legal vacuum in the country by codifying femicide, as well as sexual, psychological, patrimonial, and labor abuse into Nicaraguan law as gender specific crimes. Prohibiting the long-standing practice of police and judicial mediation between accusers and aggressors, Law 779 set out to endow women with judicial agency in what had been largely hostile and re-victimizing institutional spaces. The focus of the project is cultural, examining representations of gender violence as part of a social dialogue about Law 779, covering a variety of textual realms. The goal of the project is to explain how different mediums and social actors explain gender violence by studying discourse and narrative modes. The debate centered on Law 779’s re-balancing of power relations and its controversy stemmed from its challenge to existing family structures, which disguise masculine authority and impunity. The inertia of the status quo proved strong, with Law 779 being reformed and regulated between 2012 and 2014, reverting its original radical spirit. -
Winners BAFTA Children's Awards Announced Big CBS Prime Wants To
Inside TV International 280 November 26 - December 2, 2010 weekly magazine with a focus on content www.insidetv.info [email protected] I N T INTERNATIONAL E Winners BAFTA Children’s FremantleMedia ap- R points Kim Ardal as MD N A Awards announced of Blu in T The British Academy of Film and Television Arts has Denmark - p. 2 I NBC Universal Interna- Body Of Proof 4 unveiled the winners of the 2010 Children’s Awards. In O the Animation category Aardman Animations’ ‘Shaun The tional signs deal with N Sheep’ (CBBC) won. The BAFTA for best Comedy went to Canadian Lark A L ‘Horrible Histories’ (Lion TV/Citrus TV/CBBC) and best Productions - p. 3 Drama was CBBC’s ‘Tracy Beaker Returns’; while in the 2 Entertainment category CBBC’s ‘Relic: Guardians of the Museum’ was the winner. At the International front Nick- elodeon’s ‘The Penguins of Madagascar’ won the BAFTA. F (cont. page 2) FICTION Archer 5 Acorn Media acquires I Greenlit shows - p. 5 C Dexter close to renewal T Big CBS Prime wants to - p. 6 I Endemol signs distribu- O Indianise international shows tion deal for Leverage N Big CBS Networks, a joint venture between Reliance - p. 6 Broadcast Network Limited and CBS Studios Interna- 3 7 tional launches this week Big CBS Prime, an English general entertainment television channel for the Indian sub-continent.A key component of BIG CBS Networks’ programming strategy is to Indianise international shows KIDS for its Indian viewers. There is hardly any localization of Galaxy Pop is working K international formats in India, considerably limiting the on new comedy series I potential of consumer engagement. -
Levin 1 Representations of Victims, Suspects and Offenders: a Content
Levin 1 Representations of Victims, Suspects and Offenders: A Content Analysis of Four Television Crime Shows Jessica Levin University of Colorado at Boulder Sociology Department Spring 2013 Honors Committee Members: Dr. Joanne Belknap, Sociology (Chair) Dr. Liam Downey, Sociology Dr. Tracy Ferrell, Program for Writing and Rhetoric Levin 2 ABSTRACT This study draws on Social Learning Theory and uses a content analysis to critically examine the representations of victims, suspects and offenders on fictional crime television shows. Specifically, four such shows were studied: Law and Order: Special Victims Unit, Criminal Minds, Body of Proof and Rizzoli & Isles. Although some previous research assessed the representations of suspects and offenders on fictional crime television series, examination of the representations of victims is rare, and to date, no study has included such an extensive list of variables. There were two units of analysis used while coding. Coding of the entire show included the year of the episode, number of victims, number of suspects, number of offenders, type of crime and time of the crime. The second unit of analysis included individual victims, suspects and offenders. An extensive range of demographic data was recorded for each victim, suspect and offender. The results from this study indicate that a very narrow lens is used in television fictional crime show portrayals of victims, suspects and offenders. The findings include a relationship between the type of crime and the television show, the victims’ gender and survival rate, the victims’ race/ethnicity and socioeconomic status, the victims’ hair color and whether they were drugged, and the victims’ survival and whether they had children with the defendant. -
Amazon Originals Hand of God and Red Oaks Receive Greenlight for Full Seasons
Amazon Originals Hand of God and Red Oaks Receive Greenlight for Full Seasons October 3, 2014 New shows come from critically-acclaimed and award-winning creators Marc Forster (World War Z) David Gordon Green (Pineapple Express) and Steven Soderbergh (Traffic); casts include Ron Perlman (Sons of Anarchy), Dana Delany (Body of Proof), Paul Reiser (Mad About You), Jennifer Grey (It’s Like, You Know) and Richard Kind (Luck) LONDON 3rd October 2014 - Amazon today announced two more original pilots will return exclusively to Prime Instant Video next year as full series. Dramatic thriller, Hand of God written by Ben Watkins (Burn Notice) and created by Marc Forster (World War Z) along with Steven Soderbergh’s (The Knick, Traffic) coming-of-age comedy, Red Oaks, will become the next Amazon Original Series following rave customer reviews of the pilot episodes. What customers are saying: Hand of God “From the opening credits to the final scene, I was completely hooked and entertained. This may be Ron Perlman's best role yet.” “Perhaps the most thought provoking series since Breaking Bad.” “Brilliant pilot! It had me hooked from the first scene. I love the complexity of each of the main characters and the intensity of the storyline. Dana Delany and Ron Perlman both turn in wonderful performances. I hope we get to see more of this.” Red Oaks “This show is like a piece of 80's gold that found its way into the 21st century.” “I am really picky when it comes to good comedy, and this show had me in stitches by the 4th minute.” “Excellent. -
Literally, Right Before Aaron
SCREEN MEDIA FILMS PRESENTS LITERALLY, RIGHT BEFORE AARON A RIZK PICTURES PRODUCTION & IS THIS REEL FILM Directed, Written, and Edited by Ryan Eggold Theatrical Release Date: September 29, 2017 Running Time: 101 minutes Rating: Not rated Trailer: https://youtu.be/5zxz7JqyPyY Official Website: www.rightbeforeaaron.com Facebook: www.facebook.com/screenmediafilm Twitter: www.twitter.com/screenmediafilm To Download Materials: https://www.dropbox.com/sh/lb294xlzpd7uv0k/AABUTe- K5qWhBgZlIiOtubh_a?dl=0 Publicity/Press Contact: New York Los Angeles Falco Ink. Prodigy PR [email protected] Alex Klenert, [email protected] [email protected] Hanna Frankel, [email protected] Produced by Cassandra Kulukundis, Ryan Eggold, Alexandra Rizk Keane, Nancy Leopardi, Ross Kohn Co-Produced by Marcus Cole Associate Produced by Sean Rappleyea Starring Justin Long, Cobie Smulders, Ryan Hansen, John Cho, Kristen Schaal, Dana Delany, Peter Gallagher, Lea Thompson, and Luis Guzmán SYNOPSIS After Adam (Justin Long) gets a call from his ex-girlfriend Allison (Cobie Smulders) telling him she is getting married, Adam realizes he is just not ready to say goodbye. Against the advice of his best friend Mark (John Cho), Adam decides to drive back home to San Francisco to attend the wedding in hopes of convincing himself and everyone else, including her charming fiancé Aaron (Ryan Hansen), that he is truly happy for her. After a series of embarrassing, hilarious, and humbling situations, Adam discovers the comedy in romance, the tragedy of letting go and the hard truth about growing up. RYAN EGGOLD, DIRECTOR STATEMENT The disparity between the fantasy of love and the reality of relationships has always fascinated me. -
JUSTIFYING VIOLENCE in TELEVISION CRIME DRAMAS a Thesis Submit
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE UNDER COLOR OF AUTHORITY: JUSTIFYING VIOLENCE IN TELEVISION CRIME DRAMAS A thesis submitted in partial fulfillment of the requirements For the degree of Master of Arts in Communication Studies By Steven Gibson May, 2014 The thesis of Steven Gibson is approved: ________________________________ __________________ Peter J. Marston, Ph.D. Date _______________________________ __________________ John M. Kephart, III, Ph.D. Date _______________________________ __________________ Gina Giotta, Ph.D., Chair Date California State University, Northridge ii Dedication To the Communication Studies professors at CSUN who taught me to question my assumptions. iii Table of Contents Signature Page ii Dedication iii List of Tables vi Abstract vii Chapter I: Introduction 1 Who is Violent in Television Crime Dramas 1 What Television Violence this Research Highlights 5 When Television Violence has been Researched 7 Where Television and Society Overlap 9 How this Research Contributes to the Field 12 How this Research Presentation is Structured 14 Chapter II: Literature Review 17 Historical Perspectives on Media Violence 17 Media Violence 22 Content Analysis of Media Violence 26 Defining Violence 29 Color of Authority on Television 33 Relevance of the Literature to the Study 39 Chapter III: Methodology Discussion 40 Research Design 40 Research Questions and Hypotheses 41 iv Data Universe and Sample Selection 42 Content Analysis 47 Units of Analysis 48 Categorization and Coding Scheme 49 Validity of Study 52 Ethical discussion -
2015 Pilot Production Report
Each year between January and April, Los Angeles residents observe a marked increase in local on-location filming. New television pilots, produced in anticipation of May screenings for television advertisers, join continuing TV series, feature films and commercial projects in competition for talent, crews, stage 6255 W. Sunset Blvd. CREDITS: space and sought-after locations. 12th Floor Research Analysts: Hollywood, CA 90028 Adrian McDonald However, Los Angeles isn’t the only place in North America Corina Sandru hosting pilot production. Other jurisdictions, most notably New Graphic Design: York and the Canadian city of Vancouver have established http://www.filmla.com/ Shane Hirschman themselves as strong competitors for this lucrative part of @FilmLA Hollywood’s business tradition. Below these top competitors is FilmLA Photography: a second-tier of somewhat smaller players in Georgia, Louisiana Shutterstock and Ontario, Canada— home to Toronto. FilmL.A.’s official count shows that 202 broadcast, cable and digital pilots (111 Dramas, 91 Comedies) were produced during the 2014-15 development cycle, one less than the prior year, TABLE OF CONTENTS which was the most productive on record by a large margin. Out of those 202 pilots, a total of 91 projects (21 Dramas, 70 WHAT’S A PILOT? 3 Comedies) were filmed in the Los Angeles region. NETWORK, CABLE, AND DIGITAL 4 FilmL.A. defines a development cycle as the period leading up to GROWTH OF DIGITAL PILOTS 4 the earliest possible date that new pilots would air, post-pickup. DRAMA PILOTS 5 Thus, the 2013-14 development cycle includes production COMEDY PILOTS 5 activity that starts in 2013 and continues into 2014 for show THE MAINSTREAMING OF “STRAIGHT-TO-SERIES” PRODUCTION 6 starts at any time in 2014 (or later). -
Mammone to Star in Supernatural Thriller 4/2/14 11:17 AM
Mammone to star in supernatural thriller 4/2/14 11:17 AM VISIT OTHER INTERMEDIA SITES Search QUICK LINKS: IF Magazine Production Book IF FX Quarterly Home What's On In Production Production Book Professional Courses Survey IF FX PR Wire Film Distribution Television Digital Content Funding Festivals Production Video Content Marketing HotWare International Giveaways Advertise Film Reviews Partners Contact us Jobs News Categories In Production PR Wire (5534) Film (812) Production (314) Television (5) Marketing (2) Digital Content (93) Festivals (262) | Funding (181) Distribution (515) Most Recent Articles Mammone to star in supernatural thriller Aussies win $US70,000 in online competition [Mon 31/03/2014 11:43:27] First titles announced for SFF By Don Groves Australian films B.O. scorecard Fresh from playing the lead in Fat Tony & Co, Robert Mammone will play a homeless man Sneezing Baby Panda set for release in China who is confronted by a malevolent presence on a late-night commuter train in Bunny. Vale David Hannay Most Popular Articles This Week The supernatural thriller is due to start shooting in Sydney in May, the feature directing debut of US screenwriter Peter Schink, who wrote and was associate producer on the 2010 Newbie joins Strangerland cast pic Legion, which starred Paul Bettany and Dennis Quaid. Vale David Hannay Mammone, who came back last week after playing a Greek general in Russell Crowe’s The Gibney set to tackle The Killing Field Water Diviner, will also serve as an executive producer on Bunny. BBC First brings out the stars Screen Australia funds See-Saw Films, Goalpost The plot revolves around a group of strangers on the train who find the body of a young Pictures features junkie. -
Principles of Evidences by Jon Smibert
principles of evidence Jon Smibert Principles of Evidence Jon Smibert, J.D., LL.M. (Lond.) United States Department of Justice Pristina 2014 1 Publisher: United States Department of Justice Office of Overseas Prosecutorial Development, Assistance and Training Office of the Resident Legal Advisor United States Embassy, Pristina © Jon Smibert 2014 No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage or retrieval system, without the prior written approval of the Author or the United States Department of Justice, unless such copying is expressly permitted by the relevant copyright law. Translation: Linda Baleta (Albania), Julija Ivanovic (Serbian) Special Assistance: Benina Kusari Printing: Xhad Studio, Pristina 347.97/99 Smibert, Jon Principles of Evidence / Jon Smibert ; translacion Linda Baleta (albania), Julija Ivanovic (serbian).- Pristina : United States Department of Justice, Office of Overseas Prosecutorial Development, Assistance and Training, 2014.- 238 f. : ilustr. me ngjyra ; 21 cm. Glossary : f. 225-238 1. Baleta, Linda 2. Ivanovic, Julija ISBN 978-995-8686-2-4 2 To Arta 3 4 Principles of C riminal Evidence Introduction 7 Part I – Understanding Evidence and its Qualities 1) What is proof? 13 2) How is proof obtained? 25 3) Inferences and Objectives. 45 4) What is the quality of proof? 59 5) Review 81 Part II – Challenges and Inferences 6) How can proof be challenged? 89 7) Inferential Evidence: Judicial Notice, Judicial Admissions, and Presumptions. 111 8) Inferential Evidence: Statistical Evidence 125 9) Inferential Evidence: Expert Opinion Evidence 161 Part III – The Body of Evidence 10) The Essence of Evidence: Critical Thinking and Logic 189 11) A Holistic Approach to Evidence 211 12) Epilogue 219 Glossary 225 5 6 Principles of C riminal Evidence Introduction Any legal action requires evidence, especially in a criminal proceeding. -
Sonja Sohn, Actress, the Wire (July 18, 2012)
The Criminal Justice Conversations Podcast with David Onek Episode #37: Sonja Sohn, Actress, The Wire (July 18, 2012) Listen at www.law.berkeley.edu/cjconversations DAVID ONEK: Welcome to the Criminal Justice Conversations Podcast, a coproduction of Berkeley Law School and the Berkeley School of Journalism. I’m your host, David Onek. Criminal Justice Conversations, recorded in the Berkeley School of Journalism studios, features in depth interviews with a wide range of criminal justice leaders: law enforcement officials, policymakers, advocates, service providers, academics and others. The program gets behind the sound bites that far too often dominate the public dialog about criminal justice to have detailed, nuanced conversations about criminal justice policy. Today’s guest is actress Sonja Sohn. Sohn starred as Police Detective Kima Griggs on HBO’s The Wire, the series chronicling life on Baltimore’s streets. After The Wire ended, we cofounded Rewired for Change, a nonprofit supporting at risk youth in Baltimore from the same streets portrayed in The Wire. In 2011, Sohn testified before the US Justice Department’s National Taskforce on Children Exposed to Violence, also known as the Defending Childhood Taskforce, about her own exposure 1 to violence as a child. She is a two time NAACP Image Award nominee and recipient of the Harvard Black Men’s Forum 2011 Woman of the Year Award. These days, Sohn can be seen playing homicide detective Samantha Baker on ABC’s Body of Proof. And she joins us from a Baltimore studio this morning. Sonja Sohn, welcome to the program. SONJA SOHN: Hi. ONEK: Sonja, as you know, I’m a huge fan of The Wire, and we will talk about the show a little bit, but I want to start by asking about Rewired for Change.