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The Rules of #Metoo
University of Chicago Legal Forum Volume 2019 Article 3 2019 The Rules of #MeToo Jessica A. Clarke Follow this and additional works at: https://chicagounbound.uchicago.edu/uclf Part of the Law Commons Recommended Citation Clarke, Jessica A. (2019) "The Rules of #MeToo," University of Chicago Legal Forum: Vol. 2019 , Article 3. Available at: https://chicagounbound.uchicago.edu/uclf/vol2019/iss1/3 This Article is brought to you for free and open access by Chicago Unbound. It has been accepted for inclusion in University of Chicago Legal Forum by an authorized editor of Chicago Unbound. For more information, please contact [email protected]. The Rules of #MeToo Jessica A. Clarke† ABSTRACT Two revelations are central to the meaning of the #MeToo movement. First, sexual harassment and assault are ubiquitous. And second, traditional legal procedures have failed to redress these problems. In the absence of effective formal legal pro- cedures, a set of ad hoc processes have emerged for managing claims of sexual har- assment and assault against persons in high-level positions in business, media, and government. This Article sketches out the features of this informal process, in which journalists expose misconduct and employers, voters, audiences, consumers, or professional organizations are called upon to remove the accused from a position of power. Although this process exists largely in the shadow of the law, it has at- tracted criticisms in a legal register. President Trump tapped into a vein of popular backlash against the #MeToo movement in arguing that it is “a very scary time for young men in America” because “somebody could accuse you of something and you’re automatically guilty.” Yet this is not an apt characterization of #MeToo’s paradigm cases. -
Vide O Clipe: Forças E Sensações No Caos
UNIVERSIDADE ESTADUAL DE CAMPINAS FACULDADE DE EDUCAÇÃO DISSERTAÇÃO DE MESTRADO Vide o clipe: forças e sensações no caos Autor: Pamela Zacharias Sanches Oda Orientador: Prof. Dr. Antonio Carlos Rodrigues de Amorim Este exemplar corresponde à redação final da Dissertação defendida por Pamela Zacharias Sanches Oda e aprovada pela Comissão Julgadora. Data: 15 / 02 / 2011 2011 ii iii Ao Lucas, Meu amor, amigo e companheiro, que possibilitou através de seu incentivo, de seu olhar crítico e de sua imensa paciência a concretização deste trabalho. iv AGRADECIMENTOS Agradecer é estar em estado de graça. Assim me sinto ao traçar as últimas linhas dessa dissertação. Nesse momento, rememoro todo o trajeto do mestrado e percebo que o que me trouxe aqui se iniciou bem antes da escrita do projeto, bem antes de fazer minha inscrição para o processo seletivo. O início de tudo está em um tempo não situável e deve-se a tantos corpos que não haveria espaço para agradecê-los nestas páginas. Por isso o estado de graça, a gratidão ampla e imensurável por estar onde estou e poder deixar um registro de um pedacinho de minha vida no mundo, mesmo que perdido entre as estantes de uma biblioteca acadêmica. Isso porque este texto é apenas a materialidade simbólica de tudo o que este trabalho me trouxe e vai além, muito além do que ele apresenta. Agradeço, portanto, ao prof. dr. Antônio Carlos de Amorim, por ter se interessado em me orientar e ter me possibilitado tantos encontros teóricos e principalmente humanos; ao grupo de pesquisa OLHO e, em especial ,ao Humor -
+14 Days of Tv Listings Free
CINEMA VOD SPORTS TECH + 14 DAYS OF TV LISTINGS 1 JUNE 2015 ISSUE 2 TVGUIDE.CO.UK TVDAILY.COM Jurassic World Orange is the New Black Formula 1 Addictive Apps FREE 1 JUNE 2015 Issue 2 Contents TVGUIDE.CO.UK TVDAILY.COM EDITOR’S LETTER 4 Latest TV News 17 Food We are living in a The biggest news from the world of television. Your television dinners sorted with revolutionary age for inspiration from our favourite dramas. television. Not only is the way we watch television being challenged by the emergence of video on 18 Travel demand, but what we watch on television is Journey to the dizzying desert of Dorne or becoming increasingly take a trip to see the stunning setting of diverse and, thankfully, starting to catch up with Downton Abbey. real world demographics. With Orange Is The New Black back for another run on Netflix this month, we 19 Fashion decided to celebrate the 6 Top 100 WTF Steal some shadespiration from the arduous journey it’s taken to get to where we are in coolest sunglass-wearing dudes on TV. 2015 (p14). We still have a Moments (Part 2) long way to go, but we’re The final countdown of the most unbelievable getting there. Sports Susan Brett, Editor scenes ever to grace the small screen, 20 including the electrifying number one. All you need to know about the upcoming TVGuide.co.uk Formula 1 and MotoGP races. 104-08 Oxford Street, London, W1D 1LP [email protected] 8 Cinema CONTENT 22 Addictive Apps Editor: Susan Brett Everything you need to know about what’s Deputy Editor: Ally Russell A handy guide to all the best apps for Artistic Director: Francisco on at the Box Office right now. -
The Myth of Obsolete Obscenity (20160511) (Do Not Delete) 5/11/2016 1:33 PM
Kinsley, The Myth of Obsolete Obscenity (20160511) (Do Not Delete) 5/11/2016 1:33 PM THE MYTH OF OBSOLETE OBSCENITY JENNIFER M. KINSLEY* INTRODUCTION ................................................................................. 609 I. BACKGROUND................................................................................ 610 A. Federal Obscenity Laws ................................................... 610 1. Miller v. California..................................................... 611 2. Smith v. California ..................................................... 612 3. Pope v. Illinois ............................................................ 612 B. State Obscenity Laws and Local Ordinances ................... 612 C. Current Scholarship on Obscenity Prosecutions .............. 614 II. OBSCENITY PROSECUTIONS FROM 2000 TO PRESENT .................... 615 A. Federal Prosecutions ....................................................... 615 1. The Bush Administration Prosecutions: Cases Initiated and Concluded from 2003 to 2008 ............. 617 a. Extreme Associates ............................................... 617 b. The Ragsdales ....................................................... 618 c. Patrick J. O’Malley ............................................... 618 d. Jeffrey Kilbride and James Schaffer ..................... 619 e. Karen Fletcher ....................................................... 620 f. Adult DVD Empire................................................ 621 g. The Harb Cousins ................................................ -
Complicated Views: Mainstream Cinema's Representation of Non
University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. Data: Author (Year) Title. URI [dataset] University of Southampton Faculty of Arts and Humanities Film Studies Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. DOI: by Eliot W. Blades Thesis for the degree of Doctor of Philosophy May 2020 University of Southampton Abstract Faculty of Arts and Humanities Department of Film Studies Thesis for the degree of Doctor of Philosophy Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. by Eliot W. Blades This thesis examines a number of mainstream fiction feature films which incorporate imagery from non-cinematic moving image technologies. The period examined ranges from the era of the widespread success of television (i.e. -
Directors Guild of America Creative Rights Handbook 2011 - 2014
DIRECTORS GUILD OF AMERICA CREATIVE RIGHTS HANDBOOK 2011 - 2014 Los Angeles, CA (310) 289-2000 New York, NY (212) 581-0370 Chicago, IL (312) 644-5050 www.dga.org Taylor Hackford, President • Jay D. Roth, National Executive Director Dear Colleague, As Co-Chairs of the DGA Creative Rights Committee, we spend a lot of time talking to Directors about their Theatrical Creative Rights work problems. Often we nd that trouble begins with Committee TABLE OF CONTENTS those who are unclear about or unaware of creative Jonathan Mostow Steven Soderbergh rights protections they already have as members of the Co-Chair Co-Chair Directors Guild of America. David Ayer Taylor Hackford Donald Petrie CREATIVE RIGHTS CHECKLISTS Some DGA Directors have voiced frustration over Michael Bay John Lee Hancock Sam Raimi Checklists of DGA Directors’ creative rights, practices in the editing room; they did not know John Carpenter Curtis Hanson Brett Ratner codied in this handbook that the DGA Basic Agreement protects them from .…..................….…….…….…….…….….3 interference when they are preparing their cut. Some omas Carter Mary Lambert Jay Roach television Directors have expressed concern about being Martha Coolidge Jonathan Lynn Tom Shadyac excluded from the looping and dubbing process; they Wes Craven Michael Mann Brad Silberling were unaware that they, like feature Directors, have SUMMARY OF CREATIVE RIGHTS Andy Davis Frank Marshall Penelope Spheeris the right to participate in both. And many Directors A summary of a Director’s creative rights did not realize that, because they are Guild members, Roger Donaldson McG Betty omas under the Directors Guild of America Basic they have a right to additional cutting time if necessary David Fincher E. -
Jackass 3 Skuespiller (Cast) Liste : Stem P㥠Dine
Jackass 3 Skuespiller Liste (Cast) Ryan Dunn https://no.listvote.com/lists/film/actors/ryan-dunn-316036/movies Jukka Hilden https://no.listvote.com/lists/film/actors/jukka-hilden-2631010/movies Britney Spears https://no.listvote.com/lists/film/actors/britney-spears-11975/movies Jason Acuña https://no.listvote.com/lists/film/actors/jason-acu%C3%B1a-449850/movies Mike Judge https://no.listvote.com/lists/film/actors/mike-judge-434585/movies Dave England https://no.listvote.com/lists/film/actors/dave-england-934565/movies Phil Margera https://no.listvote.com/lists/film/actors/phil-margera-3390959/movies Lance Bangs https://no.listvote.com/lists/film/actors/lance-bangs-6483320/movies Jarno Laasala https://no.listvote.com/lists/film/actors/jarno-laasala-2632345/movies Rip Taylor https://no.listvote.com/lists/film/actors/rip-taylor-1354181/movies Steve-O https://no.listvote.com/lists/film/actors/steve-o-451501/movies Seann William https://no.listvote.com/lists/film/actors/seann-william-scott-193212/movies Scott Will Oldham https://no.listvote.com/lists/film/actors/will-oldham-709464/movies Preston Lacy https://no.listvote.com/lists/film/actors/preston-lacy-927638/movies Chris Pontius https://no.listvote.com/lists/film/actors/chris-pontius-445440/movies Jeff Tremaine https://no.listvote.com/lists/film/actors/jeff-tremaine-2394603/movies Johnny Knoxville https://no.listvote.com/lists/film/actors/johnny-knoxville-295034/movies Brandon Novak https://no.listvote.com/lists/film/actors/brandon-novak-606523/movies Spike Jonze https://no.listvote.com/lists/film/actors/spike-jonze-259913/movies Chris Raab https://no.listvote.com/lists/film/actors/chris-raab-919042/movies Bam Mangera https://no.listvote.com/lists/film/actors/bam-mangera-297173/movies Tony Hawk https://no.listvote.com/lists/film/actors/tony-hawk-295020/movies Ehren McGhehey https://no.listvote.com/lists/film/actors/ehren-mcghehey-704734/movies. -
Divx Na Cd Strona 1
Divx na cd 0000 0000 Original title/Tytul oryginalny 0000 Polish CD//Subt/Nap title/Tytul polski isy 10ThingsIHateAboutYou(1999) Zakochana zlosnica 1/pl 1492: Conquest of Paradise (AKA 1492: Odkrycie raju / 1492: Christophe1492:Wyprawa Colomb do / raju1492: La conquête du paradis / 1492: La conquista del paraíso) (1992) 2 Fast 2 Furious (2003) Za szybcy za wsciekli 1/pl 2046(2004) 2046 . 2/pl 21Grams (2003) 21 Gram 2/pl 25th Hour(2002) 25 godzina 2/pl 3000Miles toGraceland(2001) 3000 mil do Graceland 1/pl 50FirstDates(2004) 50 pierwszych randek 1/pl 54(1998) Klub 54 AboutSchmidt(2002) About Schmidt 2/pl Abrelosojos(AKA Open Your Eyes) (1997) Otworz oczy 1/pl Adaptation (2002) Adaptacja 2/pl Alfie(2004) Alfie 2/pl Ali(2001) Ali Alien3 (1992) Obcy 3 AlienResurrection (1997) 4 Obcy 4 – Przebudzenie Obcy 2 – Decydujace Aliens (1986) 2 starcie Alienvs. Predator(AKA Alienversus Predator/ AvP) (2004) Obcy Kontra Predator Amelia/ Fabuleux destin d'Amélie Poulain, Le (AKA Amelie from AmeliaMontmartre / Amelie of Montmartre / Fabelhafte Welt der Amelie, Die / Fabulous Destiny of Amelie Poulain / Amelie) (2001) AmericanBeauty(1999) American Beauty AmericanPsycho(2000) American Psycho Anaconda(1997) Anakonda AngelHeart (1987) Harry Angel AngerManagement(2003) Dwoch gniewnych ludzi Animal Farm (1999) Folwark zwierzecy Animatrix, The(2003) Animatrix AntwoneFisher(2002) Antwone Fisher Apocalypse Now(AKA Apocalypse Now: Redux(2001)) (1979) DirApokalipsa cut Aragami(2003) Aragami Atame(AKA Tie Me Up! Tie Me Down!) (1990) Zwiaz mnie Avalanche(AKA Nature -
THE PHILOSOPHY of STEVEN SODERBERGH the Philosophy of Popular Culture
THE PHILOSOPHY OF STEVEN SODERBERGH The Philosophy of Popular Culture Th e books published in the Philosophy of Popular Culture series will illuminate and explore philosophical themes and ideas that occur in popular culture. Th e goal of this series is to demonstrate how philosophical inquiry has been reinvigorated by increased scholarly interest in the intersection of popular culture and philosophy, as well as to explore through philosophical analysis beloved modes of entertainment, such as movies, TV shows, and music. Philosophical concepts will be made accessible to the general reader through examples in popular culture. Th is series seeks to publish both established and emerging scholars who will engage a major area of popular culture for philosophical interpretation and examine the philosophical underpinnings of its themes. Eschewing ephemeral trends of philosophical and cultural theory, authors will establish and elaborate on connections between traditional philosophical ideas from important thinkers and the ever-expanding world of popular culture. Series Editor Mark T. Conard, Marymount Manhattan College, NY Books in the Series Th e Philosophy of Stanley Kubrick, edited by Jerold J. Abrams Football and Philosophy, edited by Michael W. Austin Tennis and Philosophy, edited by David Baggett Th e Philosophy of the Coen Brothers, edited by Mark T. Conard Th e Philosophy of Film Noir, edited by Mark T. Conard Th e Philosophy of Martin Scorsese, edited by Mark T. Conard Th e Philosophy of Neo-Noir, edited by Mark T. Conard Th e Philosophy of Horror, edited by Th omas Fahy Th e Philosophy of Th e X-Files, edited by Dean A. -
Toxic Sludge Present Once Again at Lead Queen Mine by Marion Vendituoli Around the Portal and Fractures
MAY 2018 SERVING THE MOUNTAIN EMPIRE COMMUNITIES OF CANELO, ELGIN, PATAGONIA AND SONOITA VOL. 8, ISSUE 5 Toxic Sludge Present Once Again at Lead Queen Mine By Marion Vendituoli around the portal and fractures. In 2017, in response to the 2016 precipitation, a mine Toxic sludge is once again seeping out assessment of the Lead Queen adit was of the abandoned Lead Queen Mine off initiated to further study the inner work- Harshaw Road in Patagonia, despite efforts ings and better understand the geology by the Forest Service to contain it. The and hydrogeology of the adit. In order to sludge is evident along the drainage that is complete the assessment, it was necessary a tributary of Harshaw Creek. to excavate the portal and remove the The leakage was first observed in 2014 polyurethane foam previously installed in after heavy rains in September soaked the 2017.” area and flooded the tunnels of the mine. Eleven stone gabions had also been in- At that time, Floyd Gray, of the U.S. Geo- stalled along the creek bed to capture the logical Survey reported seeing “an iron- heavy metals in 2015. The gabions, which rich, gelatinous substance with chemical are rectangular blocks of stones placed frothing, four-to-six inches deep, running across streams to slow water down, were for nearly a mile down the creek,” as well set with beds of zeolite to try to prevent as high concentrations of lead, copper, zinc the metals from travelling further down- and arsenic. stream. In 2015, the Forest Service contracted Three years later, the gabions have to pack the adit, or entrance, to the mine, failed, either displaced by the force of the with zeolite, a mineral used to capture water running down the creek, or because heavy metals, and to seal the opening with of erosion of the creek bed that is allowing polyurethane foam. -
The Phenomenological Aesthetics of the French Action Film
Les Sensations fortes: The phenomenological aesthetics of the French action film DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Matthew Alexander Roesch Graduate Program in French and Italian The Ohio State University 2017 Dissertation Committee: Margaret Flinn, Advisor Patrick Bray Dana Renga Copyrighted by Matthew Alexander Roesch 2017 Abstract This dissertation treats les sensations fortes, or “thrills”, that can be accessed through the experience of viewing a French action film. Throughout the last few decades, French cinema has produced an increasing number of “genre” films, a trend that is remarked by the appearance of more generic variety and the increased labeling of these films – as generic variety – in France. Regardless of the critical or even public support for these projects, these films engage in a spectatorial experience that is unique to the action genre. But how do these films accomplish their experiential phenomenology? Starting with the appearance of Luc Besson in the 1980s, and following with the increased hybrid mixing of the genre with other popular genres, as well as the recurrence of sequels in the 2000s and 2010s, action films portray a growing emphasis on the importance of the film experience and its relation to everyday life. Rather than being direct copies of Hollywood or Hong Kong action cinema, French films are uniquely sensational based on their spectacular visuals, their narrative tendencies, and their presentation of the corporeal form. Relying on a phenomenological examination of the action film filtered through the philosophical texts of Maurice Merleau-Ponty, Paul Ricoeur, Mikel Dufrenne, and Jean- Luc Marion, in this dissertation I show that French action cinema is pre-eminently concerned with the thrill that comes from the experience, and less concerned with a ii political or ideological commentary on the state of French culture or cinema. -
8. Body-Space-Relation in Parkour: Street Practices and Visual Representations
8. Body-Space-Relation in Parkour : Street Practices and Visual Representations Ines Braune Abstract Parkour today is a global subcultural scene that combines street with media practices. Parkour consists of a local moment, fundamentally concerned with the materiality of the street, and simultaneously of a global digital discourse, which involves millions of parkour actors. While the spatial knowledge requires a very close knowledge and tactile contact of the surface’s nature of space, the media representations seem to reflect an opposite image, namely the detachedness of space. In this chapter, I will address the question of space-making and spatial practices in Morocco and the relation to parkour’s visual representations. Keywords: Morocco, parkour, body, street Today, parkour is a global cultural scene that combines the street with media practices. In that sense, parkour consists of a local moment, fundamentally concerned with the materiality of the street, and simultaneously of a global digital discourse involving millions of parkour actors, called traceurs, negotiat- ing and re-evaluating their navigation through both physical and digital space. The first and often only contact with parkour, from the point of view of non-practitioners, frequently comes through its visual representations. Spectacular images and videos depict the weightlessness of the body and its detachment from space. Scholars have also weighed in here, analysing the relationship between the body and public space – that is, the interaction and engagement between body and space – while also evaluating parkour as an online culture, assessing the relevance of (digital) media practices within parkour and other youth and sport cultures such as skateboarding (Borden 2001; Buckingham 2009) and surfing (Booth 1996; 2001).