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Research and Analysis Essay
Research and Analysis Essay OBJECTIVES The purpose of this essay is for you to: a) broaden your knowledge of 1970s American cinema and society and b) hone skills of writing and critical analysis. GUIDELINES You will choose one of the general topics provided below and carve out of it your own specific analysis. Try to be specific and focused. Construct a thesis in your introduction that outlines what you will argue and focus on; then, continually reinforce, point back to, and illustrate this thesis in the body; and wrap up your paper and thesis in the conclusion. Regardless of which topic you choose, this essay requires you to combine the following: A) research, whereby you will locate and cite scholarly writings that strengthen your study; and B) analysis, in which you will make sense of and think critically about the subject matter. Be sure, as well – again, regardless of topic – to examine in some way the relationship between American cinema and society in the 1970s. TOPICS Choose one of these below. Be careful not to tackle the entire topic, which would not be advisable in such a short paper. Instead find a topic below that interests you and go about finding a particular area within it that will permit you to accomplish the objectives and follow the guidelines. 1. New genres — Pick one of the new genres that came out of the 1970s. Consider why this genre and movie (could be as many as two movies) emerge during the 1970s. How does it generically address issues particularly relevant to 1970s America? And, in turn, how does the film generically determine its aesthetics, themes, and/or ideology? How is the film representative of that genre and of the decade? The films below are mere suggestions; you may find others.
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Dead Zone Back to the Beach I Scored! the 250 Greatest
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Allen Rostron, the Law and Order Theme in Political and Popular Culture
OCULREV Fall 2012 Rostron 323-395 (Do Not Delete) 12/17/2012 10:59 AM OKLAHOMA CITY UNIVERSITY LAW REVIEW VOLUME 37 FALL 2012 NUMBER 3 ARTICLES THE LAW AND ORDER THEME IN POLITICAL AND POPULAR CULTURE Allen Rostron I. INTRODUCTION “Law and order” became a potent theme in American politics in the 1960s. With that simple phrase, politicians evoked a litany of troubles plaguing the country, from street crime to racial unrest, urban riots, and unruly student protests. Calling for law and order became a shorthand way of expressing contempt for everything that was wrong with the modern permissive society and calling for a return to the discipline and values of the past. The law and order rallying cry also signified intense opposition to the Supreme Court’s expansion of the constitutional rights of accused criminals. In the eyes of law and order conservatives, judges needed to stop coddling criminals and letting them go free on legal technicalities. In 1968, Richard Nixon made himself the law and order candidate and won the White House, and his administration continued to trumpet the law and order theme and blame weak-kneed liberals, The William R. Jacques Constitutional Law Scholar and Professor of Law, University of Missouri–Kansas City School of Law. B.A. 1991, University of Virginia; J.D. 1994, Yale Law School. The UMKC Law Foundation generously supported the research and writing of this Article. 323 OCULREV Fall 2012 Rostron 323-395 (Do Not Delete) 12/17/2012 10:59 AM 324 Oklahoma City University Law Review [Vol. 37 particularly judges, for society’s ills.
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1-Abdul Haseeb Ansari
Journal of Criminal Justice and Law Review : Vol. 1 • No. 1 • June 2009 IDENTIFYING LARGE REPLICABLE FILM POPULATIONS IN SOCIAL SCIENCE FILM RESEARCH: A UNIFIED FILM POPULATION IDENTIFICATION METHODOLOGY FRANKLIN T. WILSON Indiana State University ABSTRACT: Historically, a dominant proportion of academic studies of social science issues in theatrically released films have focused on issues surrounding crime and the criminal justice system. Additionally, a dominant proportion has utilized non-probability sampling methods in identifying the films to be analyzed. Arguably one of the primary reasons film studies of social science issues have used non-probability samples may be that no one has established definitive operational definitions of populations of films, let alone develop datasets from which researchers can draw. In this article a new methodology for establishing film populations for both qualitative and quantitative research–the Unified Film Population Identification Methodology–is both described and demonstrated. This methodology was created and is presented here in hopes of expand the types of film studies utilized in the examination of social science issues to those communication theories that require the examination of large blocks of media. Further, it is anticipated that this methodology will help unify film studies of social science issues in the future and, as a result, increase the reliability, validity, and replicability of the said studies. Keywords: UFPIM, Film, Core Cop, Methodology, probability. Mass media research conducted in the academic realm has generally been theoretical in nature, utilizing public data, with research agendas emanating from the academic researchers themselves. Academic studies cover a gambit of areas including, but not limited to, antisocial and prosocial effects of specific media content, uses and gratifications, agenda setting by the media, and the cultivation of perceptions of social reality (Wimmer & Dominick, 2003).
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The Peer Review Process-The Good Bad and Ugly
The Hospital Medical Staff Peer Review Process: The Good, The Bad, and The Ugly Presented by: www.TheHealthLawFirm.com © Copyright 2017. George F. Indest III. All rights reserved. SUBTITLE: “Practical Matters the Physician Must Know When Confronted by a Medical Staff Peer Review/ Clinical Privileges/Fair Hearing Proceeding” Originally presented by George F. Indest III at an annual meeting of the American College of Surgeons Presented by: www.TheHealthLawFirm.com © Copyright 2017. George F. Indest III. All rights reserved. George F. Indest III, J.D., M.P.A., LL.M. Board Certified by the Florida Bar in the Legal Specialty of Health Law Website: www.TheHealthLawFirm.com Main Office: 1101 Douglas Avenue Altamonte Springs, Florida 32714 Phone: (407) 331-6620 Fax: (407) 331-3030 Website: www.TheHealthLawFirm.com “In the next fifteen minutes we have to create enough confusion to get out of here alive.” -Smith [Clint Eastwood] in “Where Eagles Dare” “If you want to play the game, you’d better know the rules….” -Inspector Harry Callahan [Clint Eastwood] in “The Dead Pool” TERMINOLOGY “Peer Review Hearing” a/k/a – Privileges Hearing – Fair Hearing – Medical Review Hearing – Credentials Hearing – Medical Staff Hearing – Disciplinary Hearing – Credentials Committee Hearing – Ad Hoc Committee Hearing The “Private Practice Physician” We are Discussing 1. Not a Hospital employee. 2. Does not have a direct contract with the Hospital. 3. Not a member of a group with an exclusive contract. 4. Does have clinical privileges at the Hospital. Two components of a physician’s medical staff relationship in a Hospital (often used interchangeably & incorrectly): 1.
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Introduction
Introduction Crime Film and the Messy City Many a commercial film or television production is a genuine achievement besides being a commodity. Germs of new beginnings may develop within a thoroughly alienated environment. —Siegfried Kracauer, Theory of Film ❧ n 1974, Vincent Canby wrote a piece for the New York Times, titled “New York Woes Are Good For Box Office,” that puzzled over the Ispate of films that had been made in the city over the last few years. What confused Canby was why so many recent films that portrayed New York so unfavorably—he cites Serpico (1973), The Super Cops (1974), Law and Disorder (1974), Mean Streets (1973), Death Wish (1974), For Pete’s Sake (1974), and The Taking of Pelham One Two Three (1974)—were seemingly so popular: New York is a mess, say these films. It’s run by fools. Its citi- zens are at the mercy of its criminals who, as often as not, are protected by an unholy alliance of civil libertarians and crooked cops. The air is foul. The traffic is impossible. Services are diminishing and the morale is such that ordering a cup of coffee in a diner can turn into a request for a fat lip. (1) 1 © 2018 State University of New York Press, Albany 2 Welcome to Fear City Pointing out that New York has been a mess for much of its history, Canby was less fretful about the negative portrayal of the city in these films than curious as to why, at this moment, the mess of the city had become a subject of interest.
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Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room.
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M2355 MAGNUM FORCE (USA, 1973) (Other Titles: 44 [I.E
M2355 MAGNUM FORCE (USA, 1973) (Other titles: 44 [i.e. quaranta quattro] Magnum per l’ispettore Callaghan) Credits: director, Ted Post ; writers, John Milius, Michael Cimino. Cast: Clint Eastwood, Hal Holbrook, Felton Perry, Mitchell Ryan, David Soul. Summary: Detective/mystery film set in contemporary San Francisco. A mysterious wave of assassinations is sweeping the San Francisco underworld. Detective ‘Dirty Harry’ Callahan (Eastwood) discovers why: sharpshooting rookie policemen have turned vigilante. Some of them are Vietnam veterans Adair, Gilbert. Vietnam on film [GB] (p. 131) Agan, Patrick. Clint Eastwood: the man behind the myth New York : Pyramid, 1975. [Reprinted, London : Hale, 1977; Sevenoaks [England] : Coronet, 1978] Allombert, Guy. “Magnum force” Revue du cinema 283 (Apr 1974), p. 129; 288-289 (Oct 1974), p. 212. Auster, Albert and Quart, Leonard. How the war was remembered: Hollywood & Vietnam [GB] (p. 48, 49) ___________________________. “Film review: Man and superman: Vietnam and the new American hero” Social policy [GB] Bingham, Dennis. Acting male: masculinities in the films of James Stewart, Jack Nicholson, and Clint Eastwood New Brunswick, N.J. : Rutgers Univ. Press, 1994. (p. 180-95) Butcher, Maryvonne. “Cinema” Tablet 228 (Jan 12, 1974), p. 37. Castell, David. “Magnum force” Films illustrated 3 (Jan 1974), p. 252. Cheatham, Richard Beau. Clint Eastwood: an ideological study of his films, star image, and popularity Thesis (Ph.D.)--University of Southern California, 1992. Cluny, Claude Michel. “Magnum force” Cinema 74 186 (Mar 1974), p. 38-9. Cole, Gerald and Williams, Peter. Clint Eastwood London : W.H. Allen, 1983. Coleman, John. “Outlaws incorporated” New statesman 86 (Dec 14, 1973), p.
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Ccaf Update Newsletter
OCT—DEC CCAF UPDATE NEWSLETTER The newsletter is a forum to keep education services personnel, affiliated schools, Air National Guard and Air Force Reserve Command training personnel, Air Force recruiters, and the community college’s constituents up-to-date with CCAF news, policies, and procedures. The newsletter may be reproduced and is located on the Air Force Portal or www.airuniversity.af.edu/Barnes/CCAF. INSIDE THIS EDITION… FROM THE COMMANDANT……………………………………………………………………..PAGE 2 FROM THE VICE COMMANDANT…………….. ………………….…………………..………..PAGE 4 FROM THE DEAN………………………………………………………………………………….PAGE 5 FROM MEDIA & DISTANCE LEARNING…..…………………………….……………………..PAGE 7 FROM AIR UNIVERSITY PUBLIC AFFAIRS……………………………………………….…..PAGE 12 IN THE SPOTLIGHT…………………………………………………………………………........PAGE 17 WEBSITES FOR ADDITIONAL INFORMATION………………………………………...…......PAGE 30 CCAF Contacts Mon–Fri 0730–1630 CCAF Phone Tree (334) 649-5000 Campus Affiliations 649-5069 Credentialing 649-5020 Curriculum 649-5061 Education Services 649-5021 Media & Distance Learning 649-5074 Services Degree 649-5030 Student Services 649-5066 Technical Degree 649-5050 Community College of the Air Force 100 South Turner Blvd, Bldg 826 Maxwell AFB, Gunter Annex AL 36114 For questions, contact CCAF Publications at 334-649-5075 The Community College of the Air Force is an institution of higher learning dedicated to the enlisted members of the Department of the Air Force. The Community College of the Air Force is accredited through Air University by the Southern Association of Colleges and Schools Commission on Colleges to award the associate degree. Next Page 1 FROM THE COMMANDANT ‘Five…Gold…Rings…Lines of effort’ I hope this finds you all well rested from the holidays of 2020… although quite a challenging year, we have much to be grateful for! The Community College of the Air Force (CCAF) has been charging ahead, paving the way for the future using five main lines of effort: 1.
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CRIME and GANGSTER FILMS Page 1 of 11
CRIME and GANGSTER FILMS Page 1 of 11 CRIME and GANGSTER FILMS Crime and Gangster Films are developed around the sinister actions of criminals or gangsters, particularly bankrobbers, underworld figures, or ruthless hoodlums who operate outside the law, stealing and violently murdering their way through life. In the 1940s, a new type of crime thriller emerged, more dark and cynical - see the section on film-noir for further examples of crime films. Criminal and gangster films are often categorized as post-war film noir or detective-mystery films - because of underlying similarities between these cinematic forms. Crime stories in this genre often highlight the life of a crime figure or a crime's victim(s). Or they glorify the rise and fall of a particular criminal(s), gang, bank robber, murderer or lawbreakers in personal power struggles or conflict with law and order figures, an underling or competitive colleague, or a rival gang. Headline-grabbing situations, real-life gangsters, or crime reports have often been used in crime films. Gangster/crime films are usually set in large, crowded cities, to provide a view of the secret world of the criminal: dark nightclubs or streets with lurid neon signs, fast cars, piles of cash, sleazy bars, contraband, seedy living quarters or rooming houses. Exotic locales for crimes often add an element of adventure and wealth. Writers dreamed up appropriate gangland jargon for the tales, such as "tommy guns" or "molls." Film gangsters are usually materialistic, street-smart, immoral, meglo-maniacal, and self-destructive. Rivalry with other criminals in gangster warfare is often a significant plot characteristic.
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The Bearing in Tbe Above-Entitled Matter Was Reconvened Pursuant
I COPYRIGHT ROYALTY TRIBUNAL lXL UI I 1 I I In the Matter og ~ CABLE COPYRIGHT ROYALTY CRT 85-4-84CD DISTRIBUTION PHASE II (This volume contains page 646 through 733) 10 llll 20th Street, Northwest Room 458 Washington, D. C. 12 Friday, October 31, 1986 13 The bearing in tbe above-entitled matter was reconvened pursuant. to adjournment, at 9:30 a.m. BEFORE EDWARD.W. RAY Chairman 20 MARI 0 F . AGUERO Commissioner 21 J. C. ARGETSINGER Commissioner 23 ROBERT CASSLER General Counsel 24 HEAL R. GROSS COURT REPORTERS AND TRANSCRIBERS 1323 RHODE ISLAND AVENUE, IW.W. {202) 234-4433 WASHINGTON, D.C. 20005 {202) 232-6600 647 APPEARANCES: 2 On beha'lf of MPAA: DENNIS LANE, ESQ. Wilner R Scheiner Suite 300 1200 New Hampshire Avenue, Northwest Washington, D. C. 20036 6 On behalf of NAB: JOHN STEWART, ESQ. ALEXANDRA WILSON, ESQ. Crowell S Moring 1100 Connecticut Avenue, Northwest Washington, D. C. 20036 On behalf of Warner Communicate.ons: ROBERT GARRETT, ESQ. Arnold a Porter 1200 New Hampshire Avenue, Northwest Washington, D. C. 20036 13 On behalf of Multimedia Entertainment: ARNOLD P. LUTZKER, ESQ. 15 Dow, Lohnes a Albertson. 1255 23rd Street, Northwest. Washington, D. C. 20037 On bahalf of ASCAP: I, FRED KOENIGSBERG, ESQ. Senior Attorney, OGC One Lincoln Plaza New York, New York 10023 20 22 23 24 HEAL R. GROSS COURT REPORTERS AND TRANSCRI8ERS I323 RHODE ISLAND AVENUE, N.W. (202) 234-4433 WASHINGTON, D.C. 20005 (202) 232-6600 648 CONTENTS WITNESS DIRECT 'CROSS VOIR 'DI'RE TR'QBUNAL 3 , ALLEN R. COOPER 649,664 By Ms.
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