Transcripts of President Clinton's Two Speeches Following the U.S. Air
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
New York / New York Film Festival, September 23 - October 9, 1994]
Document generated on 09/29/2021 7:21 p.m. ETC New York New York Film Festival, September 23 - October 9, 1994 Steven Kaplan La critique d’art : enjeux actuels 1 Number 29, February–May 1995 URI: https://id.erudit.org/iderudit/35725ac See table of contents Publisher(s) Revue d'art contemporain ETC inc. ISSN 0835-7641 (print) 1923-3205 (digital) Explore this journal Cite this review Kaplan, S. (1995). Review of [New York / New York Film Festival, September 23 - October 9, 1994]. ETC, (29), 23–27. Tous droits réservés © Revue d'art contemporain ETC inc., 1995 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ nm/AiMiiEi NEW YORK New York Film Festival, September 23 - October 9,1994 ike the universe at large, film festivals often find the invidious structure of white overseer (coach, recruiter) it reassuring to start up with a big bang. The recent feeding off the talents and aspirations of a black underclass. 32nd edition of the New York Film Festival opened As Arthur Agee and William Gates progress from the with the explosive Pulp Fiction, fresh from its hood to a lily white suburban Catholic school (a basketball success at Cannes, continuing the virtual powerhouse which graduated Isiah Thomas) and hence to Ldeification of writer-director Quentin Tarantino among college, we are aware of the sacrifices they and their the hip media establishment, and poising him for entry families make, the difficulties of growing up black and into a wider marketplace. -
Political Reelism: a Rhetorical Criticism of Reflection and Interpretation in Political Films
POLITICAL REELISM: A RHETORICAL CRITICISM OF REFLECTION AND INTERPRETATION IN POLITICAL FILMS Jennifer Lee Walton A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2006 Committee: John J. Makay, Advisor Richard Gebhardt Graduate Faculty Representative John T. Warren Alberto Gonzalez ii ABSTRACT John J. Makay, Advisor The purpose of this study is to discuss how political campaigns and politicians have been depicted in films, and how the films function rhetorically through the use of core values. By interpreting real life, political films entertain us, perhaps satirically poking fun at familiar people and events. However, the filmmakers complete this form of entertainment through the careful integration of American values or through the absence of, or attack on those values. This study provides a rhetorical criticism of movies about national politics, with a primary focus on the value judgments, political consciousness and political implications surrounding the films Mr. Smith Goes to Washington (1939), The Candidate (1972), The Contender (2000), Wag the Dog (1997), Power (1986), and Primary Colors (1998). iii ACKNOWLEDGMENTS I would like to thank everyone who made this endeavor possible. First and foremost, I thank Doctor John J. Makay; my committee chair, for believing in me from the start, always encouraging me to do my best, and assuring me that I could do it. I could not have done it without you. I wish to thank my committee members, Doctors John Warren and Alberto Gonzalez, for all of your support and advice over the past months. -
Report Draws from Written Responses Provided by the Companies in Response to This Investigation
Table of Contents Executive Summary Findings in Brief 1 Recommendations 3 Background 4 Investigation 8 Findings 9 Finding 1: Many surveyed e-cigarette companies are promoting their products through sponsorship of youth-oriented events, and some companies are offering free samples of e-cigarettes. 9 Finding 2: Surveyed e-cigarette companies market e-cigarettes in flavors that appear to be designed to appeal to youth. 11 Finding 3: E-cigarettes are available for purchase in stores and online by children and teenagers. 13 Finding 4: Surveyed e-cigarette manufacturers have significantly increased marketing expenditures. 15 Finding 5: Many surveyed e-cigarette companies air television and radio advertisements, often with celebrity spokespeople, including during events and programs with youth viewership. 16 Finding 6: Surveyed e-cigarette companies extensively utilize social media and product websites to promote their products. 18 Finding 7: E-cigarette product warning labels lack uniformity and may confuse or mislead consumers. 21 Finding 8: Most surveyed e-cigarette companies support some form of regulation. 22 Conclusions and Recommendations 23 List of Tables and Figures Table 1: Comparison of Federal Restrictions on Cigarettes and E-Cigarettes 5 Table 2: E-Cigarette Manufacturers Surveyed 8 Figure 1: Freedom Project poster 9 Figure 2: Photo of White Cloud team and models passing out Flings at the 2012 Red Bull Wake Open 10 Figure 3: Image featuring White Cloud peach pit flavor 11 Figure 4: Image featuring Green Smoke vanilla flavor 11 Table -
Downloaded from Yahoo Finance
Visualizing the Financial Impact of Presidential Tweets on Stock Markets Ujwal Kandi1, Sasikanth Gujjula2, Venkatesh Buddha3 and V S Bhagavn4* 1,2,3Department of Electronics and Computer Science Engineering, Koneru Lakshmaiah Education Foundation, Vaddeswaram, Guntur -522502, Andhra Pradesh, India. 4*Department of Mathematics, Koneru Lakshmaiah Education Foundation, Vaddeswaram, Guntur -522502, Andhra Pradesh, India. [email protected], [email protected], [email protected], 4*[email protected] Abstract As more and more data being created every day, all of it can help take better decisions with data analysis. It is not different with data generated in financial markets. Here we examine the process of how global economy is affected by the market sentiment influenced by the micro-blogging data (tweets) of the American President Donald Trump. The news feed is gathered from The Guardian and Bloomberg from the period between December 2016 and October 2019, which are used to further identify the potential tweets that influenced the markets as measured by changes in equity indices. Keywords: Stock Market Performance, Stock Price, President Trump, Tweets, Behavioral Finance. 1. Introduction When it comes to stock market volatility, one of the most fundamental questions for academics and practitioners is regarding the role played by information. The question of whether microblogging data is reflected in the social media-era stock market is an outstanding one. The paper will focus on the tweets by the US President, whose statements on Twitter are known to be controversial, and might have an impact over the stock markets, considerably. But, all this actions do not have an equal impact over the companies. -
The Crime Against Kansas. the Apologies for The
THE CHIME AGAINST KANSAS. THE APOLOGIES FOR THE CRIME, THE TRUE REMEDY. SPEECH OF HON. CHARLES SUMNER, IN THE SENATE OF THE UNITED STATES, 19th and 20th May, 1856. BOSTON: PUBLISHED BY JOHN P. JEWETT & COMPANY. CLEYELAND, OHIO: . JEWETT, PROCTOR & WORTHINGTON. NEW YOKE: SHELDON, BLAEEMAN & CO. 1856. /? (^ /Lo.^-, - ^'^<^'^^ THE CRIME AGAIKST KANSAS. THE APOLOaiES FOK THE CRIME. THE TRUE REMEDY. SPEECH OF HON. CHARLES SUMNEE, IN T H S SENATE OF THE UNITED STATES, 19th and 20th May, 1856. BOSTON: PUBLISHED BY JOHN P. JEWETT & COMPANY. CLEVELAND, OHIO: JEWETT, PROCTOR, & WORTHINGTON. NEW YORK : SHELDON, BLAKEMAN & CO 1856. In the Senate, 13th March, 1856, Mr, Douglas, from the Committee on Territories, presented and read a very long Report on affairs in Kansas. Mr. CoLLAMER also presented and read a Minority Report. As soon as the reading was completed, Mr. Sumner took the floor, and made the following remarks : ]Mr. Somner. In those two reports, the whole subject is presented character- istically on both sides. In the report of the majority, the true issue is smoth- ered ; in that of the minority, the true issue stands forth as a pillar of fire to guide the country. The first report proceeds from four senators ; but against it I put, fearlessly, the report signed by a single senator [Mr. Collamer], to whom I offer my thanks for this service. Let the two go abroad together. Error is harmless, while reason is left free to combat it. I have no desire to precipitate the debate on this important question, under which the country already shakes from side to side, and which threatens to scatter from its folds civil war. -
A Sociological Analysis of Strawberry and Chocolate Andrew Zachary Shultz University of Kentucky
Kaleidoscope Volume 8 Article 9 August 2015 The rC isis of Identity in Post-Revolutionary Cuban Film: A Sociological Analysis of Strawberry and Chocolate Andrew Zachary Shultz University of Kentucky Follow this and additional works at: https://uknowledge.uky.edu/kaleidoscope Part of the Film and Media Studies Commons, and the Sociology Commons Right click to open a feedback form in a new tab to let us know how this document benefits you. Recommended Citation Shultz, Andrew Zachary (2009) "The rC isis of Identity in Post-Revolutionary Cuban Film: A Sociological Analysis of Strawberry and Chocolate," Kaleidoscope: Vol. 8, Article 9. Available at: https://uknowledge.uky.edu/kaleidoscope/vol8/iss1/9 This Article is brought to you for free and open access by the The Office of Undergraduate Research at UKnowledge. It has been accepted for inclusion in Kaleidoscope by an authorized editor of UKnowledge. For more information, please contact [email protected]. AUTHOR Andrew Zachary Shultz am a senior Sociology and Spanish double major at the University of Kentucky and a member of The Crisis I the Kappa Alpha Delta International Sociology Honors Society. For this research project I was selected of Identity in as a recipient of the 2009 A. Lee Coleman Outstanding Sociology Senior award, the highest honor bestowed Post-Revolutionary on a student from the department. This project is the outcome of an ongoing research process that began as Cuban Film: a term paper for a graduate seminar class (SOC 735) taught by my faculty mentor and close friend, Dr. Ana A Sociological Liberato. Building on the influences of major cultural studies texts that I was introduced to in her class, I later combined the theory with subject Analysis of matter from film classes taught in the Department of Hispanic Studies, particularly the Latin American and Spanish Cinema courses offered Strawberry by Drs. -
“President Bartlet Special” Guest: Martin Sheen [Ad Insert] [Intro Music] HRISHI: You’Re Listening to the West Wing Weekly
The West Wing Weekly 4.00: “President Bartlet Special” Guest: Martin Sheen [ad insert] [Intro Music] HRISHI: You’re listening to The West Wing Weekly. My name is Hrishikesh Hirway. JOSH: And mine is Joshua Malina. This is a very special episode of Blossom, no, of The West Wing Weekly. We finally got to sit down with Martin Sheen and so we decided to celebrate. Let’s give him his own episode. The man deserves it. Hrishi and I were planning originally to pair our talk with Martin with our own conversation about the season opener “20 Hours in America” but then we decided to make an executive decision and give the president his own episode of the podcast. We hope you enjoy it. We think you will. HRISHI: Thank you so much for finding time to speak with us. MARTIN: I’m delighted. HRISHI: We actually have some gifts for you. MARTIN: You do? HRISHI: We do. Every president has a challenge coin and so we thought that President Bartlet deserves one too. MARTIN: Oh my…Thank you… HRISHI: [crosstalk] so here’s one. MARTIN: Look at that! Wow! Bartlet’s Army…ohh! Look at that…Do you know someone did a survey on the show for all of our seven years and do you know what the most frequent phrase was? “Hey.” ALL: [laughter] JOSH: That’s funny. That’s Sorkin’s legacy MARTIN: Exactly. How often do you remember saying it? I mean, did you ever do an episode where you didn’t say “hey” to somebody? JOSH: [crosstalk] That’s funny. -
Strawberry and Chocolate Cuba–Mexico–Spain, 1993, 110’, Colour
A CRITICAL FILMOGRAPHY OF CUBAN CINEMA CRISTINA VENEGAS, EDITOR FORTHCOMING FROM CABOOSE © CABOOSE 2010. REPRODUCTION WITHOUT PERMISSION PROHIBITED. Fresa y chocolate Strawberry and Chocolate Cuba–Mexico–Spain, 1993, 110’, colour Dirs Tomás Gutiérrez Alea (1928–1996) and Juan Carlos Tabío (b. 1943) Scr Senel Paz, from his short story of the same title (1991) Asst dir Mayra Segura Prod Georgina Balzaretti, Frank Cabrera, Nacho Cobo, Juan Muñoz and Carlos Vives Cinematog Mario García Joya Mus José María Vitier Prod design Fernando Pérez O’Reilly Sound Germinal Hernandez Edit Osvaldo Donatién, Rolando Martínez and Miriam Talavera Act Jorge Perugorría (Diego), Vladimir Cruz (David), Mirta Ibarra (Nancy), Francisco Gattorno (Miguel), Joel Angelino (German), Marilyn Solaya (Vivian), Andrés Cortina (Santeria priest), Antonio Carmona (boyfriend) Cuba’s most acclaimed filmmaker and one of the subtlest critics of the country’s revolutionary process, Tomás Gutiérrez Alea combined a sharp eye for social conflicts with an aesthetic that shifted our perception of them. Through aesthetic experiments, his films frequently addressed what he felt to be the most problematic aspects of Cuban society: complacency, corruption and bureaucracy. His approach is explicit in Memorias del subdesarrollo (Memories of Underdevelopment, 1968, q.v.) a critical landmark in the history of New Latin American Cinema and Cuban cinema. In Strawberry and Chocolate, the first film produced in Cuba under the auspices of the Instituto Cubano del Arte e Industria Cinematográficos -
Buyingguide July 2014
BUYINGGUIDE JULY 2014 Grapevines and lavender in Provence MARC LOBJOY/ALAMY MARC IN THIS MONTH’S GUIDE 2 PROVENCE 36 OTHER EUROPE 48 CALIFORNIA 19 ALSACE 36 ISRAEL 60 WASHINGTON 21 SPAIN 37 LEBANON 69 VIRGINIA 28 SOUTHERN ITALY 37 TURKEY 71 NEW YORK 32 SICILY & SARDINIA 38 SOUTH AFRICA 78 OTHER NORTH AMERICA 34 SLOVENIA 41 NEW ZEALAND 80 SPIRITS 35 CROATIA 44 ARGENTINA 82 BEER FOR ADDITIONAL RATINGS AND REVIEWS, VISIT BUYINGGUIDE.WINEMAG.COM WINEMAG.COM | 1 BUYINGGUIDE Château Vignelaure 2013 La Source Rosé (Co- teaux d’Aix-en-Provence). For full review see 91 page 12. Best Buy. abv: 13% Price: $15 PROVENCE Château de Calavon 2013 Rosé (Coteaux d’Aix-en-Provence). A rich wine, it adds a Time to think pink. 90 finely textured dimension to the red fruitiness and fresh acidity. With complex fruits, structure as well t’s been a great year for Provence rosé. The tant with Provence rosé, it’s the look as well. as the attractive crispness, it’s a dry wine, best producers in the sunny south of France Surprisingly versatile, these rosés can be drunk with food. Weygandt-Metzler. —R.V. want us all to know that, just in case the bad drunk as an apéritif (and there are plenty with abv: 12.5% Price: $25 stories coming out of Bordeaux about 2013 only 12.5% alcohol) or they can go with an im- Iare spoiling the party. pressive array of food. The French believe that Domaine de Valdition 2013 Vallon des Anges Rosé (Coteaux d’Aix-en-Provence). -
Cuban and Russian Film (1960-2000) Hillman, Anna
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Queen Mary Research Online Carnivals of Transition: Cuban and Russian Film (1960-2000) Hillman, Anna The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the author For additional information about this publication click this link. http://qmro.qmul.ac.uk/xmlui/handle/123456789/9733 Information about this research object was correct at the time of download; we occasionally make corrections to records, please therefore check the published record when citing. For more information contact [email protected] 1 Carnivals of Transition: Cuban and Russian Film (1960-2000) Anna M. Hillman Submitted in accordance with the requirements for the Ph.D. degree. Queen Mary, University of London, School of Languages, Linguistics and Film. The candidate confirms that the thesis does not exceed the word limit prescribed by the University of London, and that work submitted is her own and that appropriate credit has been given to research done by others. 2 ABSTRACT This thesis focuses on ‘carnivals of transition’, as it examines cinematic representations in relation to socio-political and cultural reforms, including globalization, from 1960 to 2000, in Cuban and Russian films. The comparative approach adopted in this study analyses films with similar aesthetics, paying particular attention to the historical periods and the directors chosen, namely Leonid Gaidai, Tomás Gutiérrez Alea, El’dar Riazanov, Juan Carlos Tabío, Iurii Mamin, Daniel Díaz Torres and Fernando Pérez. -
THE WEST WING by ANINDITA BISWAS
UNWRAPPING THE WINGS OF THE TELEVISION SHOW: THE WEST WING By ANINDITA BISWAS A Thesis Submitted to the Graduate Faculty of WAKE FOREST UNIVERSITY in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS in the Department of Communication December 2008 Winston-Salem, North Carolina Approved By: Mary M. Dalton, Ph.D., Advisor ____________________________________ Examining Committee: Allan Louden, Ph.D., ____________________________________ Wanda Balzano, Ph.D., _____________________________________ Acknowledgments Whatever I have achieved till now has been possible with the efforts, guidance, and wisdom of all those who have filled my life with their presence and will continue to do so in all my future endeavors. Dr.Mary Dalton : My advisor, an excellent academician, and the best teacher I have had to date. Thank you for encouraging me when I was losing my intellectual thinking. Thanks you for those long afternoon conversations/thesis meetings in your office, which always made me, feel better. Last, but not the least, thank you for baking the most wonderful cookies I have had till now. I have no words to describe how much your encouragement and criticism has enriched my life in the last two years. Dr. Allan Louden: Thank you for helping me get rid of my I-am-scared-of-Dr.Louden feeling. I have enjoyed all the conversations we had, loved all the books you recommended me to read, and enjoyed my foray into political communication, all because of you! Dr. Wanda Balzano : Thanks for all the constructive criticism and guidance that you have provided throughout this project. Dr. Ananda Mitra and Swati Basu: Thanks for all the encouragement, support, and motivation that helped me pull through the last two years of my stay in this country. -
Film and Cultures of Memory
cover_saravi_pontes_4_1511_Layout 1 04.12.2015 07:31 Seite 1 4 SARAVI PONTES – Beiträge zur internationalen Hochschulkooperation und zum interkulturellen Band 4 Wissenschaftsaustausch Film and Cultures of Memory This book investigates the multiple interconnections between film and Christoph Vatter different cultures of memory, presenting discussions of, amongst other things, the representation of memory, rememberance and oblivion in films, and the role of film in the construction of collective memory. It Oleksandr Pronkevich is the result of a close cooperation between Saarland University (Saar - brücken, Germany) and Petro Mohyla Black Sea State University in (eds.) Mykolaiv (Ukraine) and unites contributions of German and Ukrainian scholars of various disciplines. Their papers invite the reader to discover different cultures of memory through case studies about Russia, Spain, USA, Cuba and Germany, and illustrate various approaches in analyzing the relationship of the medium film to (collective) memory and rememberance. y r o m e M f o s e r u t l u C d n a m l i F universaar Universitätsverlag des Saarlandes Saarland University Press Presses Universitaires de la Sarre SARAVI PONTES – Beiträge zur internationalen Hochschulkooperation und zum interkulturellen Wissenschaftsaustausch Band 4 Christoph Vatter, Oleksandr Pronkevich (eds.) Film and Cultures of Memory universaar Universitätsverlag des Saarlandes Saarland University Press Presses Universitaires de la Sarre © 2015 universaar Universitätsverlag des Saarlandes Saarland University