Racism and Fully Autonomous Weapons Introduction the Rise of Artificial Intelligence Is Largely Due to an Increase in Power
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L3700 LETHAL WEAPON (USA, 1987) (Other Titles: Arma Lethale; Arme Fatale; Dodbringende Veben; Zwei Stahlharte Profis)
L3700 LETHAL WEAPON (USA, 1987) (Other titles: Arma lethale; Arme fatale; Dodbringende veben; Zwei stahlharte profis) Credits: director, Richard Donner ; writer, Shane Black. Cast: Mel Gibson, Danny Glover, Gary Busey. Summary: Police thriller set in contemporary Los Angeles. Martin Riggs (Gibson) is no ordinary cop. He is a Vietnam veteran whose killing expertise and suicidal recklessness make him a lethal weapon to anyone he works against or with. Roger Murtaugh (Glover), also a veteran, is an easy-going homicide detective with a loving family, a big house, and a pension he does not want to lose. The only thing Murtaugh and Riggs have in common is that they hate to work with partners, but their partnership becomes the key to survival when a routine murder investigation turns into an all-out war with an international heroin ring. Ansen, David. “The arts: Movies: Urban Rambo” Newsweek 109 (May 16, 1987), p. 72. [Reprinted in Film review annual 1988] “L’Arme fatale” Cine-tele-revue 31 (Jul 30, 1987), p. 16-19. Boedeker, Hal. “Lethal weapon wastes Mel Gibson” Miami herald (Mar 6, 1987), p. 5D. Canby, Vincent. “Film view: Gun movies: Big bore and small caliber” New York times 136 (May 10, 1987), sec. 2, p. 17. Carr, Jay. “‘Lethal weapon’ is high-energy bullet ballet” Boston globe (Mar 6, 1987), Arts and film, p. 36. Christensen, Johs H. “Dodbringende veben” Levende billeder 3 (Sep 1, 1987), p. 51. Cunneff, T. [Lethal weapon] People weekly 27 (Mar 23, 1987), p. 8. Darnton, Nina. “At the movies: A new hit has the industry asking why” New York times 136 (Apr 3, 1987), p. -
L3702 LETHAL WEAPON 2 (USA, 1989) (Other Titles: Arma Lethale 2; Arme Fatale 2; Brennpunkt L.A.; Dodbringende Veben 2)
L3702 LETHAL WEAPON 2 (USA, 1989) (Other titles: Arma lethale 2; Arme fatale 2; Brennpunkt L.A.; Dodbringende veben 2) Credits: director, Richard Donner ; writer, Jeffrey Boam. Cast: Mel Gibson, Danny Glover, Joe Pesci, Joss Ackland. Summary: Police thriller set in contemporary Los Angeles. Detectives Riggs (Gibson) and Murtaugh (Glover) must guard a free-wheeling witness (Pesci) in a drug money laundering scheme run by South African diplomats. A comedy of car chases, gun battles, and under-water escapes. Ansen, David. “The arts: Movies: Gibson and Glover return: ‘Lethal weapon 2’ serves up sadism with a smile” 114 Newsweek (Jul 17, 1989), p. 53. [Reprinted in Film review annual 1990] Avins, Mimi. “Shot by shot” Premiere 2/12 (Aug 1989), p. 72-6. Baumann, Paul D. “Screen: Scorching the screen” Commonweal 116 (Oct 6, 1989), p. 529-30. Blair, Iain. “Movies: Mel’s lethal appeal: He’s got killer looks, but shucks, Gibson’s just one of the guys” Chicago tribune (Jul 9, 1989), Arts, p. 4. Blois, Marco de. “Lethal weapon II” 24 images 44-45 (autumn 1989), p. 109. Broeske, Pat H. “A high-caliber Danny Glover” Los Angeles times (Jul 11, 1989), Calendar, p. 1. “Business: Talk about placements” Newsweek 114 (Jul 31, 1989), p. 50. Carr, Jay. “Three stooges with guns” Boston globe (Jul 7, 1989), Arts and film, p. 41. Christensen, Johs H. “Dodbringende veben 2” Levende billeder 5 (Sep 1989), p. 47. Clark, Mike. “‘Lethal 2’ is loaded with bang and blanks” USA today (Jul 7, 1989), p. 1D. Cliff, Paul. “Movie trax” Film monthly 1 (Dec 1989), p. -
Will #Blacklivesmatter to Robocop?1
***PRELIMINARY DRAFT***3-28-16***DO NOT CITE WITHOUT PERMISSION**** Will #BlackLivesMatter to Robocop?1 Peter Asaro School of Media Studies, The New School Center for Information Technology Policy, Princeton University Center for Internet and Society, Stanford Law School Abstract Introduction #BlackLivesMatter is a Twitter hashtag and grassroots political movement that challenges the institutional structures surrounding the legitimacy of the application of state-sanction violence against people of color, and seeks just accountability from the individuals who exercise that violence. It has also challenged the institutional racism manifest in housing, schooling and the prison-industrial complex. It was started by the black activists Alicia Garza, Patrisse Cullors, and Opal Tometi, following the acquittal of the vigilante George Zimmerman in the fatal shooting of Trayvon Martin in 2013.2 The movement gained momentum following a series of highly publicized killings of blacks by police officers, many of which were captured on video from CCTV, police dashcams, and witness cellphones which later went viral on social media. #BlackLivesMatter has organized numerous marches, demonstrations, and direct actions of civil disobedience in response to the police killings of people of color.3 In many of these cases, particularly those captured on camera, the individuals who are killed by police do not appear to be acting in the ways described in official police reports, do not appear to be threatening or dangerous, and sometimes even appear to be cooperating with police or trying to follow police orders. While the #BlackLivesMatter movement aims to address a broad range of racial justice issues, it has been most successful at drawing attention to the disproportionate use of violent and lethal force by police against people of color.4 The sense of “disproportionate use” includes both the excessive 1In keeping with Betteridge’s law of headlines, one could simply answer “no.” But investigating why this is the case is still worthwhile. -
Feature Films
Libraries FEATURE FILMS The Media and Reserve Library, located in the lower level of the west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. 0.5mm DVD-8746 2012 DVD-4759 10 Things I Hate About You DVD-0812 21 Grams DVD-8358 1000 Eyes of Dr. Mabuse DVD-0048 21 Up South Africa DVD-3691 10th Victim DVD-5591 24 Hour Party People DVD-8359 12 DVD-1200 24 Season 1 (Discs 1-3) DVD-2780 Discs 12 and Holding DVD-5110 25th Hour DVD-2291 12 Angry Men DVD-0850 25th Hour c.2 DVD-2291 c.2 12 Monkeys DVD-8358 25th Hour c.3 DVD-2291 c.3 DVD-3375 27 Dresses DVD-8204 12 Years a Slave DVD-7691 28 Days Later DVD-4333 13 Going on 30 DVD-8704 28 Days Later c.2 DVD-4333 c.2 1776 DVD-0397 28 Days Later c.3 DVD-4333 c.3 1900 DVD-4443 28 Weeks Later c.2 DVD-4805 c.2 1984 (Hurt) DVD-6795 3 Days of the Condor DVD-8360 DVD-4640 3 Women DVD-4850 1984 (O'Brien) DVD-6971 3 Worlds of Gulliver DVD-4239 2 Autumns, 3 Summers DVD-7930 3:10 to Yuma DVD-4340 2 or 3 Things I Know About Her DVD-6091 30 Days of Night DVD-4812 20 Million Miles to Earth DVD-3608 300 DVD-9078 20,000 Leagues Under the Sea DVD-8356 DVD-6064 2001: A Space Odyssey DVD-8357 300: Rise of the Empire DVD-9092 DVD-0260 35 Shots of Rum DVD-4729 2010: The Year We Make Contact DVD-3418 36th Chamber of Shaolin DVD-9181 1/25/2018 39 Steps DVD-0337 About Last Night DVD-0928 39 Steps c.2 DVD-0337 c.2 Abraham (Bible Collection) DVD-0602 4 Films by Virgil Wildrich DVD-8361 Absence of Malice DVD-8243 -
New York Women in Film & Television (Nywift)
NEW YORK WOMEN IN FILM & TELEVISION (NYWIFT) TO CELEBRATE EXCEPTIONAL WOMEN AT ST TH THE 41 ANNUAL NYWIFT MUSE AWARDS VIRTUALLY ON THURSDAY, DECEMBER 17 , 2020 GOLDEN GLOBE WINNING ACTRESS AWKWAFINA, TWO TIME GOLDEN GLOBE WINNING ACTRESS RACHEL BROSNAHAN, GRAMMY AWARD WINNING ACTRESS RASHIDA JONES, PULITZER PRIZE WINNING NEW YORK TIMES JOURNALISTS JODI KANTOR & MEGAN TWOHEY, PRESIDENT OF ORION PICTURES ALANA MAYO, AWARD-WINNING DIRECTOR GINA PRINCE-BYTHEWOOD, AND TONY AWARD-WINNING ACTRESS ALI STROKER TO RECEIVE HONORS NEW YORK, NY – NOVEMBER 30, 2020 – New York Women in Film & Television (NYWIFT) is proud to present ST the 41 Annual NYWIFT Muse Awards virtual event on Thursday, December 17, 2020. The event will be held virtually beginning at 1:00 PM ET and available for all those who register to watch on online at nywift.org/muse. This year’s theme is “Art & Advocacy,” as NYWIFT recognizes the role of the creative community in advancing positive social change. CBS Sunday Morning contributor, comedian, actress, and self-described “Accidental Pundette” Nancy Giles will again emcee the afternoon’s event, which celebrates women of outstanding vision and achievement both in front of and behind the camera in film, television, the music industry, and digital media. The honorees for this year’s Muse Awards are some of the most extraordinary women in the business: Awkwafina will receive a “Made in New York” Award from the Mayor’s Office of Media and Entertainment, for her contributions to NYC’s entertainment industry. She is a Golden Globe-winning actress from Queens, New York, who has used her trademark comedic style and signature flair to become a breakout talent. -
Movie Heroes and the Heroic Journey
LESSON PLAN Level: Grades 11-12 About the Author: Adapted from the The AML Anthology. Supplement (1992), produced by the Association for Media Literacy. By Don Walker, Metropolitan Toronto Separate School Board and Leslie Johnstone, York Region Board of Education Movie Heroes and the Heroic Journey Overview The place of the hero in our modern lives is a site of struggle. On the one hand, the hero's quest can have meanings for individuals who seek to understand their own journey through life. On the other hand, the hero can be seen as a repository of those values esteemed by the society. The study of the hero as social icon offers the student an opportunity to reflect on and critique the dominant reading of the hero, as well as to consider oppositional readings. In this lesson, students will be introduced to the work of Carl Jung and Joseph Campbell and will have the opportunity to apply these theories to the examination of heroes. (Note: Teachers should replace any movies and heroic figures who no longer seem relevant with more recent examples.) Objectives To enable students to: differentiate between a classical hero, modern hero and a celebrity. identify the stages of the heroic quest. identify the dominant ideology of the culture as exemplified by a hero, and to negotiate an oppositional reading. see the application of the quest motif to their own lives. understand the role of the villain as the dark side of the hero, and the repository or reflection of the fears and concerns of society. appreciate variations of the heroic journey in different film genres. -
Dosse 2000 M.Ü.M. Das Klettergebiet Dosse Befindet Sich Oberhalb Von
Dosse 2000 m.ü.M. Das Klettergebiet Dosse befindet sich oberhalb von Zermatt in der Nähe des Gletschergartens. Vor 150 Jahren war ein Grossteil der Felsen beim Dossen noch vom Gornergletscher bedeckt. Der Gletscher und sein Schmelzwasser haben den Serpentin geschliffen und erodiert. An vielen Orten wurde der Fels auch von Menschenhand bearbeitet zum Gewinn von Giltstein. Später in den Achziger wurden die ersten Kletterrouten erschlossen. Von 2015 bis 2020 kamen neue Sektoren hinzu. Der kompakte Serpentin bietet Linien in allen Kletterstilen. Kurze knackige Boulderrouten verstecken sich zwischen langen Ausdauerlinien. Die Felsstruktur ist ungewohnt. Nach einer Angewöhnungsphase fühlt man sich besser und man kann die Leisten, Sloper, Fingerlocks und Handklemmer besser geniessen. Es kann von Juni bis Oktober geklettert werden. Auch im Hochsommer findet man bis zum frühen Nachmittag beste Kletterverhältnisse. Es empfiehlt sich daher eher früh aufzustehen. Einzig der ‘Unner Dossen’ hat Schatten bis abends. Der nicht ganz kinderfreundliche Zugang des Hauptsektors wird durch die Aussicht auf das Matterhorn und seine Nachbarn belohnt. Zugang über die Hängebrücke Mit der Gondelbahn ‘Matterhorn Express’ oder Pendelbahn (Zwischensaison) gelangt man vom südlichen Ende Zermatt’s auf Furi. Dort folgt man dem Wanderweg Richtung Hängebrücke. Vorbei am Restaurant Furi und Restaurant Les Marmottes erreicht man in 15 Minuten die Brücke. Nach der Brücke zur Familienfeuerstelle ‘Gletschergarten’. Beim Spielplatz folgt man der Schotterstrasse 50 Meter gegen Norden. Dort rechts abbiegen. Nach 50 Meter links die Holztreppe hoch. Nun befindet man sich im Gletschergarten. Am östlichen Ende des Gletschergartens gelangt man an einen kleinen Tümpel. Man steigt nun über die abgeschliffenen Felsplatten hinter dem Tümpel hoch. -
Braveheart.Pdf
TEACHERS NOTES The ‘Braveheart’ study guide is aimed at students of GCSE Media Studies, A’ Level Film and Communication and GNVQ Media, Communication and Production, offering teachers of these courses a means of working with mainstream film. Areas of examination within the guide are narrative structure, representation, the Star, the production, and the use of special effects. These areas are essential in the study of film and media and the guide can also be used as an example for teachers of how to approach film generally. SYNOPSIS In the late 13th century, William Wallace (Mel Gibson) returns to Scotland after living away from his homeland for many years. The King of Scotland has died without an heir and the King of England, a ruthless pagan known as Edward the Longshanks, has seized the throne. Wallace becomes the leader of a ramshackle yet courageous army determined to vanquish the greater English forces. Wallace’s courage and passion unite his people in ‘Braveheart’. Following his directorial debut, ‘The Man Without a Face’, Mel Gibson is directing, producing and starring in a film combining action, intrigue and romance to tell the story of legendary Scottish knight Sir William Wallace and the love that inspired him to fight for his country’s freedom. ‘Braveheart’, dir. Mel Gibson, Twentieth Century Fox, UK release 8 September, 1995. BACKGROUND The period from about 1150 to 1350 is often called the High Middle Ages because it was in this era when medieval civilization took its fullest form. In 1066 William the Conqueror brought feudalism to England, but the early castles of that time were only wooden stockades and looked more like a Western frontier fort than our common image of a castle. -
[email protected]
1 Via Franchino Rusca 1, ch–6600 Locarno t +41 91 756 21 21 [email protected] www.locarnofestival.ch July 1 2021 PRESS KIT #Locarno74 This press kit is also available on the Locarno Film Festival website and contains all the information updated by the end of June. The complete and constantly updated information will be available on the Festival website, while the program with days and times of the screenings and activities will be available on the Festival website, official app, and its official channels from mid-July. The official Cat- alogue will be available by the end of July. Trailers, Excerpts and Photos* Press materials such as photographs, stills, excerpts, and trailers of the films selected for the 74th edition of the Locarno Film Festival are available at the following link. In general, photos, stills, excerpts, and trailers are freely available to journalists for editorial purpos- es. The commercial use of photographic and video material (for advertising and other commercial use) by third parties is strictly prohibited. All images are legally protected. Any use that is unlawful or that harms the image of the Locarno Film Festival is strictly prohibited. The publication is authorized only with the indication of the source when present (©). More information about the use of photographs and the Festival brand is available at locarnofestival.ch/brandmanual. If in doubt, contact [email protected] * Excerpts from some films in the official selection are available in broadcast quality and web quality. It is possible that we may not have received all materials in time. @LocarnoFilmFestival @FilmsFestLocarno @filmsfestlocarno LocarnoFilmFestival Road to Locarno74 #Locarno74 #Locarno74 #Locarno74 #Locarno74 FAQs 2 3 Contents Introduction by Marco Solari, President Introduction by Giona A. -
Richard Donner Biography
COUNCIL FILE NO. 08- ~/)'1 COUNCIL DISTRICT NO. 13 APPROVAL FOR ACCELERATED PROCESSING DIRECT TO CITY COUNCIL The attached Council File may be processed directly to Council pursuant to the procedure approved June 26, 1990, (CF 83-1075-S1) without being referred to the Public Works Committee because the action on the file checked below is deemed to be routine and/or administrative in nature: _} A. Future Street Acceptance. _} B. Quitclaim of Easement(s). _} C. Dedication of Easement(s). _} D. Release of Restriction(s) . .20 E. Request for Star in Hollywood Walk of Fame. _} F. Brass Plaque(s) in San Pedro Sport Walk. _} G. Resolution to Vacate or Ordinance submitted in response to Council action. _} H. Approval of plans/specifications submitted by Los Angeles County Flood Control District. APPROVAL/DISAPPROVAL FOR ACCELERATED PROCESSING: APPROVED DISAPPROVED* ~. Council Office of the District V2· Public Works Committee Chairperson *DISAPPROVED FILES WILL BE REFERRED TO THE PUBLIC WORKS COMMITTEE. Please return to Council Index Section, Room 615 City Hall City Clerk Processing: Date notice and report copy mailed to interested parties advising of Council date for this item. Date scheduled in Council. AFTER COUNCIL ACTION: ----' Send copy of adopted report to the Real Estate Section, Development Services Division, Bureau of Engineering (Mail Stop No. 515) for further processing. ----' Other: PLEASE DO NOT DETACH THIS APPROVAL SHEET FROM THE COUNCIL FILE ACCELERATED REVIEW PROCESS - E Office of the City Engineer Los Angeles, California To the Honorable Council SEP 2 4 2008 Ofthe City of Los Angeles Honorable Members: C. -
The Avatars of Masculinity in Robocop (1987) and Its Remake (2014)
Représentations dans le monde anglophone – Janvier 2017 Man Made and Remade: the Avatars of Masculinity in Robocop (1987) and its Remake (2014) Cyril Besson, Univ. Grenoble Alpes, ILCEA4 Keywords: Robocop, Verhoeven, Padilha, remake, gender, genre, point of view in film. Mots-clés: Robocop, Verhoeven, Padilha, remake, genre, sexes, point de vue au cinéma. It is tempting to begin with a truism: nothing comes from nothing. This is a belief articulated by many in the twentieth century, among whom George Steiner in After Babel, where he presents culture as a long chain of translations and transformations of verbal, thematic or formal constants. The problem raised by the notion of a syntax of culture, however, is the same as with language, as exemplified by de Saussure’s distinction between langue and parole: if all one ever does is move around “building blocks” following the constraints imposed by a system, what of individual creativity? If the question is, generally speaking, of little import to most speakers of a given language, things are different when it comes to art and culture: finding one’s voice, embodying a sort of progress for one’s chosen form of expression and leaving one’s mark on the latter, is what being an artist is about. The question of whether there is such a thing as true artistic singularity might be insoluble (no artist exists, who has not been influenced in some way, no matter how unpleasant the idea might be to him)1; however, one could say that in the field of popular culture, the twenty-first century inverts the proposition, especially in the collaborative form of art that is the cinema. -
Less Lethal Weapons
CHAPTER 11.0 APPENDIX A LESS LETHAL WEAPONS General Regulations These procedures on the use of less lethal weapons should be read and interpreted with and subject to the provisions of C.G.S. 53a-22 and Chapter 11.0 of the Department Directives Manual, Use of Force. Officers should especially be familiar with Directive11.1.2, Use of Force Continuum. Only officers who have satisfactorily completed a department training course, the recommended manufacturer certification course, and have demonstrated a proficiency in the use of less lethal weapons, shall be authorized to carry such weapons. Officers shall be evaluated annually on their proficiency in the use of CEW and biennial for all other less lethal weapons. Officers not meeting proficiency standards shall be remediated pursuant to Directive 11.1.12. Training shall be monitored by a certified weapons instructor. Members of the Emergency Services Unit, supervisors, and officers who use any less lethal weapon shall file a detailed written report of the incident to include the nature of the act which justified the use of said methods, devices, or weapons, including, but not limited to, events and communications leading up the physical confrontation, the subjects behavior, the environment in which the incident took place, and any injuries sustained by anyone during the event. A Response to Resistance and Aggression Report (NPD Form # 072) shall be completed. A copy of the reports shall be forwarded to the Chief of Police through the chain of command. Once officers engage in detection and restraint procedures, regardless of the type of force option, it is important to minimize the duration of the physical struggle and amount of force used.