Galuten/Richardson Aim for Records That Communicate by Charles Palkert I Felt There Was an Objective Ear Missing
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A LOOK BACK at WONDER WOMAN's FEMINIST (AND NOT-SO- FEMINIST) HISTORY Retour Sur L'histoire Féministe (Et Un Peu Moins Féministe) De Wonder Woman
Did you know? According to a recent media analysis, films with female stars earnt more at the box office between 2014 and 2017 than films with male heroes. THE INDEPENDENT MICHAEL CAVNA A LOOK BACK AT WONDER WOMAN'S FEMINIST (AND NOT-SO- FEMINIST) HISTORY Retour sur l'histoire féministe (et un peu moins féministe) de Wonder Woman uring World War II, as Superman Woman. Marston – whose scientific work their weakness. The obvious remedy is to and Batman arose as mainstream led to the development of the lie-detector test create a feminine character with all the Dpop symbols of strength and morality, the – also outfitted Wonder Woman with the strength of Superman plus all the allure of publisher that became DC Comics needed an empowering golden Lasso of a good and beautiful woman.” antidote to what a Harvard psychologist Truth, whose coils command Upon being hired as an edito- called superhero comic books’ worst crime: veracity from its captive. Ahead rial adviser at All-American/ “bloodcurdling masculinity.” Turns out that of the release of the new Won- Detective Comics, Marston sells psychologist, William Moulton Marston, had der Woman film here is a time- his Wonder Woman character a plan to combat such a crime – in the star- line of her feminist, and less- to the publisher with the agree- spangled form of a female warrior who could, than-feminist, history. ment that his tales will spot- time and again, escape the shackles of a man's light “the growth in the power world of inflated pride and prejudice. 1941: THE CREATION of women.” He teams with not 3. -
2020 Community Banking Study
FEDERAL DEPOSIT INSURANCE CORPORATION FDIC Community Banking Study December 2020 Table of Contents Foreword . I Acknowledgements . III Executive Summary . V Chapter 1: Community Bank Financial Performance . .. 1-1 Chapter 2: Structural Change Among Community and Noncommunity Banks . 2-1 Chapter 3: The Effects of Demographic Changes on Community Banks . 3-1 Chapter 4: Notable Lending Strengths of Community Banks . 4-1 Chapter 5: Regulatory Change and Community Banks . 5-1 Chapter 6: Technology in Community Banks . 6-1 Bibliography . i Appendix A: Study Definitions . A-1 Appendix B: Selected Federal Agency Actions Affecting Community Banks, 2008–2019 . B-1 FDIC COMMUNITY BANKING STUDY ■ DECEMBER 2020 Foreword Eight years ago, coming out of the financial crisis, the throughout this country, which is why I made this update FDIC conducted a study of community banks. This study to the 2012 Community Banking Study a research priority was the first large-scale review of community banks ever in 2020. I instructed my research team not only to update conducted, and it recognized the importance of community key aspects of the prior study, but also to consider new banks and their unique role in the banking industry. As topics that are important to community banks, such a result of that study, the FDIC changed its approach to as regulatory change and technology. By continuing to identifying community banks. In general, community study community banks and providing that research banks are those that provide traditional banking services to the public—our stakeholders—we can continue to in their local communities. As of year-end 2019, there were identify ways that the FDIC can provide support to 4,750 community banks in the country with more than these institutions. -
Why No Wonder Woman?
Why No Wonder Woman? A REPORT ON THE HISTORY OF WONDER WOMAN AND A CALL TO ACTION!! Created for Wonder Woman Fans Everywhere Introduction by Jacki Zehner with Report Written by Laura Moore April 15th, 2013 Wonder Woman - p. 2 April 15th, 2013 AN INTRODUCTION AND FRAMING “The destiny of the world is determined less by battles that are lost and won than by the stories it loves and believes in” – Harold Goddard. I believe in the story of Wonder Woman. I always have. Not the literal baby being made from clay story, but the metaphorical one. I believe in a story where a woman is the hero and not the victim. I believe in a story where a woman is strong and not weak. Where a woman can fall in love with a man, but she doesnʼt need a man. Where a woman can stand on her own two feet. And above all else, I believe in a story where a woman has superpowers that she uses to help others, and yes, I believe that a woman can help save the world. “Wonder Woman was created as a distinctly feminist role model whose mission was to bring the Amazon ideals of love, peace, and sexual equality to ʻa world torn by the hatred of men.ʼ”1 While the story of Wonder Woman began back in 1941, I did not discover her until much later, and my introduction didnʼt come at the hands of comic books. Instead, when I was a little girl I used to watch the television show starring Lynda Carter, and the animated television series, Super Friends. -
Reviewing Romcom: (100) Imdb Users and (500) Days of Summer
. Volume 8, Issue 2 November 2011 Reviewing Romcom: (100) IMDb Users and (500) Days of Summer Inger-Lise Kalviknes Bore Birmingham City University, UK Abstract This article contributes to academic debates around the romantic comedy genre and comedy audiences by examining IMDb user reviews of (500) Days of Summer (2009). Directed by Marc Webb for Fox Searchlight Pictures, (500) Days of Summer was promoted with the tagline ‘Boy meets girl. Boy falls in love. Girl doesn’t’. This presents the film as an unconventional romantic comedy in at least three ways: Firstly, it suggests that these two characters will not actually end up together, which challenges the idea of the romcom couple as ‘meant to be’. Secondly, it presents the possibility that audiences might not get the happy ending we usually expect from comedy. And finally, the tagline casts the boy, rather than the girl, in the role as yearning romantic, thereby challenging the traditional gender roles of heterosexual relationships. So how did audiences respond to this film? At the time of writing, it has been rated by 75,716 IMDb users, and has an average score of 8.0 out of 10. This clearly suggests a favourable reception, but the IMDb reviews also offer qualitative data that can shed further light on how the film has been evaluated. What kinds of criteria are in operation? What elements do reviewers highlight as important for their experiences of the film? How is the film seen to fail for some viewers? Drawing on previous studies of romantic comedy, the analysis will consider how these particular audience members articulated their responses to (500) Days of Summer, as well as their positions as reviewers. -
Fall 2013 Issue
TGen TodayFALL | 2013 A PUBLICATION OF THE TRANSLATIONAL GENOMICS RESEARCH INSTITUTE GRIDIRON GENOMICS S TUDY TACKLES BIOMARKERS ASSOCIATED WITH FOOTBALL CONCUSSIONS F ollow the Crowd Center provides TGen Clinical trials In Support of new hope for provide immediate Alzheimer’s children and patient benefit A Non-Profit Biomedical Research families Research Institute A Look Inside... Dear Friends, TGen scientists and doctors work tirelessly to provide those patients and their families who need our help the most with hope and answers. Of equal importance — and worthy of our thanks — are those civic-minded individuals and companies beyond the walls of our Institute who support our work through funding, events, and service on our Boards and Committees; a few are highlighted within these pages. Whether you are a child born with an unknown genetic disorder, a woman battling pancreatic cancer, a football player suffering from a concussion or a family coping with Alzheimer’s disease, by focusing on each individual’s unique genetic signature, TGen’s researchers are leading the way in the delivery of precision medicine, a bold new approach to more accurately diagnose and treat human disease. In this issue, you will read how precision medicine helped Pam Ryan, a Phoenix woman given just a few weeks to live following her pancreatic cancer diagnosis and how TGen physicians brought her hope and answers in the form of a breakthrough new treatment. The article detailing the benefits of this TGen-led clinical study appeared in the prestigious New England Journal of Medicine. Kendall Bayne’s story details the fight of a beautiful and talented South Carolina high school student whose family turned to TGen for help in her fight against adrenocortical carcinoma, a rare and aggressive cancer. -
Marvelous Myths: Marvel Superheroes and Everyday
Fall Series: “Marvelous Myths: Marvel Superheroes and Everyday Faith” Series Text: Jesus says, “Much will be demanded from everyone who has been given much, and from the one who has been entrusted with much, even more will be asked." -Luke 12:48 Sermon #6: “Wonder Woman - The Strength of Love” Scripture: 1 John 3:11-21 Sermon Text: “Now faith, hope, and love remain–these three things–and the greatest of these is love.” -1 Corinthians 13:13 Source: David Werner Theme: Wonder Woman offers an alternative to handling issues with aggressive strength and violence. Her character offers a different way to resolve problems: the strength and power of love, mercy, Forged in the WWII era, Wonder Woman becomes the archetype of the modern, liberated woman, and a welcomed alternative to violence. Blurb: Strength, power, and influence don’t have to be defined in terms of brawn, aggression and violence. In a world where we personally experience “might makes right” almost on a daily basis, we need a different approach. Our God calls us to be strong and mighty, but not in the ways the world operates. Wonder Woman, our superhero this week, offers an alternative, a way for us to see how we can live heroically in the strength and power of love, truth and justice. Hymn Sing Welcome - Pastor David Worship Songs - Sanctify Worship Prayer - Andrew Kid’s Invited to Kid’s Church - Pastor David Offering Video: “Wonder Woman Powers Tribute” https://www.youtube.com/watch?v=v5V1CYpdpjc 3:03 minutes PP#1: Image of Lynda Carter as Wonder Woman, and Linda Carter today That was Wonder Woman, played in the famous TV series from 1974-1979 by the beautiful–and still gorgeous!–Lynda Carter. -
Download File
SOWCmech2 12/9/99 5:29 PM Page 1 THE STATE OF THE WORLD’S CHILDREN 2000 e yne THE STATE OF THE WORLD’S CHILDREN 2000 The United Nations Children’s Fund (UNICEF) © The Library of Congress has catalogued this serial publication as follows: Any part of THE STATE OF THE WORLD’S CHILDREN 2000 The state of the world’s children 2000 may be freely reproduced with the appropriate acknowledgement. UNICEF, UNICEF House, 3 UN Plaza, New York, NY 10017, USA. ISBN 92-806-3532-8 E-mail: [email protected] Web site: www.unicef.org UNICEF, Palais des Nations, CH-1211 Geneva 10, Switzerland Cover photo UNICEF/92-702/Lemoyne Back cover photo UNICEF/91-0906/Lemoyne THE STATE OF THE WORLD’S CHILDREN 2000 Carol Bellamy, Executive Director, United Nations Children’s Fund Contents Foreword by Kofi A. Annan, Secretary-General of the United Nations 4 The State of the World’s Children 2000 Reporting on the lives of children at the end of the 20th century, The State of the World’s Children 5 2000 calls on the international community to undertake the urgent actions that are necessary to realize the rights of every child, everywhere – without exception. An urgent call to leadership: This section of The State of the World’s Children 2000 appeals to 7 governments, agencies of the United Nations system, civil society, the private sector and children and families to come together in a new international coalition on behalf of children. It summarizes the progress made over the last decade in meeting the goals established at the 1990 World Summit for Children and in keeping faith with the ideals of the Convention on the Rights of the Child. -
Limitations on Copyright Protection for Format Ideas in Reality Television Programming
For exclusive use of MLRC members and other parties specifically authorized by MLRC. © Media Law Resource Center, Inc. LIMITATIONS ON COPYRIGHT PROTECTION FOR FORMAT IDEAS IN REALITY TELEVISION PROGRAMMING By Kent R. Raygor and Edwin Komen* * Kent R. Raygor and Edwin Komen are partners in the Entertainment, Media, and Technology Group in the Century City, California and Washington, D.C. offices, respectively, of Sheppard Mullin Richter & Hampton LLP. The authors thank Ben Aigboboh, an associate in the Century City office, for his assistance with this article. 97 For exclusive use of MLRC members and other parties specifically authorized by MLRC. © Media Law Resource Center, Inc. LIMITATIONS ON COPYRIGHT PROTECTION FOR FORMAT IDEAS IN REALITY TELEVISION PROGRAMMING I. INTRODUCTION Television networks constantly compete to find and produce the next big hit. The shifting economic landscape forged by increasing competition between and among ever-proliferating media platforms, however, places extreme pressure on network profit margins. Fully scripted hour-long dramas and half-hour comedies have become increasingly costly, while delivering diminishing ratings in the key demographics most valued by advertisers. It therefore is not surprising that the reality television genre has become a staple of network schedules. New reality shows are churned out each season.1 The main appeal, of course, is that they are cheap to make and addictive to watch. Networks are able to take ordinary people and create a show without having to pay “A-list” actor salaries and hire teams of writers.2 Many of the most popular programs are unscripted, meaning lower cost for higher ratings. Even where the ratings are flat, such shows are capable of generating higher profit margins through advertising directed to large groups of more readily targeted viewers. -
Raising Children with Roots, Rights & Responsibilities
Raising Children With Roots, Rights & Responsibilities: Celebrating the United Nations Convention on the Rights of the Child Written by Lori DuPont, Joanne Foley, and Annette Gagliardi Founders of the Circle for the Child Project Edited and designed by Julie Penshorn, Co-Director, Growing Communities for Peace Published by University of Minnesota Human Rights Resource Center and the Stanley Foundation Copyright © 1999 Human Rights Resource Center, University of Minnesota The Human Rights Education Series is published by the Human Rights Resource Center at the University of Minnesota and the Stanley Foundation. The series provides resources for the ever-growing body of educators and activists working to build a culture of human rights in the United States and throughout the world. Raising Children with Roots, Rights, & Responsibilities: Celebrating the Convention on the Rights of the Child may be reproduced without permission for educational use only. No reproductions may be sold for profit. Excerpted or adapted material from this publication must include full citation of the source. To reproduce for any other purposes, a written request must be submitted to the Human Rights Resource Center. The Human Rights Education Series is edited by Nancy Flowers. Edited and designed by Julie Penshorn, Co-Director of Growing Communities for Peace. Illustrations by eleven-year-old Margaret Anne Gagliardi. Cover design donated by Nancy Hope. ISBN 0-9675334-1-3 To order further copies of Raising Children With Roots, Rights, & Responsibilities: Celebrating the Conven- tion on the Rights of the Child, contact: Human Rights Resource Center University of Minnesota 229 - 19th Avenue South, Room 439 Minneapolis, MN 55455 Tel: 1-888-HREDUC8 Fax: 612-625-2011 email: [email protected] http://www.hrusa.org and http://www.umn.edu/humanrts A contribution to the United Nations Decade for Human Rights Education, 1995-2004 Dedication This book is lovingly dedicated to our children: Jesse, Jacob, Rachel, Erica, Marian, Maggie, and Maria and to the children of the world. -
Generate Your Business Idea (GYB)Pdf
GENERATE YOUR BUSINESS IDEA generate YOUR BUSINESS IDEA This original publication was developed by the ILO Copyright © International Labour Organization 2015 First published 2015 This is an open access work distributed under the Creative Commons Attribution-ShareAlike 3.0 IGO License (http://creativecommons.org/licenses/by-sa/3.0/igo). Users can re-use, share, adapt and build upon the original work, even for commercial purposes, as detailed in the License. Any new works that use the original content must carry the same CC-BY-SA licence. The ILO must be clearly credited as the owner of the original work. The use of the emblem of the ILO is not permitted in connection with users’ work. Translations – In case of a translation of this work, the following disclaimer must be added along with the attribution: This translation was not created by the International Labour Office (ILO) and should not be considered an official ILO translation. The ILO is not responsible for the content or accuracy of this translation. Adaptations – In case of an adaptation of this work, the following disclaimer must be added along with the attribution: This is an adaptation of an original work by the International Labour Office (ILO). Responsibility for the views and opinions expressed in the adaptation rests solely with the author or authors of the adaptation and are not endorsed by the ILO. Adaptations not endorsed by the SME Unit of the ILO cannot use the SIYB brand name and logo. All queries on rights and licensing should be addressed to ILO Publications (Rights and Licensing), CH-1211 Geneva 22, Switzerland, or by email to [email protected]. -
An Analysis of the Cultural Dismissal of Wonder Woman Through Her 1975-1979 Television Series
Dickinson College Dickinson Scholar Faculty and Staff Publications By Year Faculty and Staff Publications Summer 2018 Casting a Wider Lasso: An Analysis of the Cultural Dismissal of Wonder Woman Through Her 1975-1979 Television Series Ian Boucher Dickinson College Follow this and additional works at: https://scholar.dickinson.edu/faculty_publications Part of the American Popular Culture Commons, Criminology and Criminal Justice Commons, Feminist, Gender, and Sexuality Studies Commons, Film and Media Studies Commons, and the Television Commons Recommended Citation Boucher, Ian. "Casting a Wider Lasso: An Analysis of the Cultural Dismissal of Wonder Woman Through Her 1975-1979 Television Series." Popular Culture Review 29, no. 2 (2018). https://popularculturereview.wordpress.com/29_2_2018/ianboucher/ This article is brought to you for free and open access by Dickinson Scholar. It has been accepted for inclusion by an authorized administrator. For more information, please contact [email protected]. Popular Culture Review Casting a Wider Lasso: An Analysis of the Cultural Dismissal of Wonder Woman Through Her 1975- 1979 Television Series By Ian Boucher “Every successful show has a multitude of fights, and that the shows are successful sometimes are because of those fights. And sometimes shows aren’t successful because those fights aren’t carried on long or hard enough.” -Douglas S. Cramer “And any civilization that does not recognize the female is doomed to destruction. Women are the wave of the future—and sisterhood is…stronger than anything.” -Wonder Woman, The New Original Wonder Woman (7 Nov. 1975) Abstract Live-action superhero films currently play a significant role at the box office, which means they also play a significant role in culture’s understandings about justice. -
Dear Mr. President” to Create Conversation
South Dakota State University Open PRAIRIE: Open Public Research Access Institutional Repository and Information Exchange Schultz-Werth Award Papers Van D. and Barbara B. Fishback Honors College 4-2020 Protest Music and Public Discourse: How P!NK Uses “Dear Mr. President” to Create Conversation Olivia R. Knippling South Dakota State University Follow this and additional works at: https://openprairie.sdstate.edu/schultz-werth Part of the Communication Commons, and the Music Commons Recommended Citation Knippling, Olivia R., "Protest Music and Public Discourse: How P!NK Uses “Dear Mr. President” to Create Conversation" (2020). Schultz-Werth Award Papers. 4. https://openprairie.sdstate.edu/schultz-werth/4 This Article is brought to you for free and open access by the Van D. and Barbara B. Fishback Honors College at Open PRAIRIE: Open Public Research Access Institutional Repository and Information Exchange. It has been accepted for inclusion in Schultz-Werth Award Papers by an authorized administrator of Open PRAIRIE: Open Public Research Access Institutional Repository and Information Exchange. For more information, please contact [email protected]. Protest music and public discourse 1 Protest music and public discourse: How P!NK uses “Dear Mr. President” to create conversation Olivia R. Knippling South Dakota State University Protest music and public discourse 2 Abstract In this paper, I explore the rhetorical devices of the popular artist P!NK during a live performance of her song “Dear Mr. President,” from 2007. Using the method of rhetorical descriptive analysis I answer the research question: How does P!NK combine rhetorical and musical strategies in “Dear Mr. President” to encourage public discourse? The findings indicate that P!NK crafted a unique protest song which effectively uses both rhetorical and musical devices to appeal to her audiences’ emotions and encourages participation in public discourse.