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2009 Zmagazine – Fearful Symmetry in Bolivia
http://www.zmag.org/zmag/viewArticlePrint/22736 Print Fearful Symmetry in Bolivia By James McEnteer McEnteer's ZSpace page In August, artists from Skid Row Los Angeles teamed with Bolivian actors to perform a play throughout Bolivia about the "war on drugs." Drug issues have strained relations between the U.S. and Bolivia and the "war" against drugs has claimed many victims in both countries. The idea of the tour was to see if the play might stimulate citizens of the two countries to find common ground and create a more constructive dialog than their governments. Bolivian President Evo Morales, the first indigenous leader of any South American country, has been for many years, and remains, head of the federation of coca growers. The Bush administration accused Morales of failing to stem the tide of cocaine production and distribution. In turn, Morales accused the U.S. of meddling in Bolivian affairs and plotting with his political enemies to overthrow his government. Both countries expelled each other's ambassadors. The U.S. ended its preferential trade terms with Bolivia, citing the country's lack of drug enforcement cooperation. In retaliation, Bolivia threw out U.S. government employees of the Drug Enforcement Administration (DEA), the United States Agency for International Development (USAID), and the Peace Corps. Morales and some U.S. officials have expressed a cautious optimism that relations between the two countries may improve in the Obama era, but recently the Bolivian president accused the U.S. of complicity in the Honduras military coup. The California group—named the Los Angeles Poverty Department (LAPD)—has been performing radical street theater for 25 years. -
Federalism and Drug Control Michael M
Marquette University Law School Marquette Law Scholarly Commons Faculty Publications Faculty Scholarship 1-1-2004 Federalism and Drug Control Michael M. O'Hear Marquette University Law School, [email protected] Follow this and additional works at: http://scholarship.law.marquette.edu/facpub Part of the Law Commons Publication Information Michael M. O’Hear, Federalism and Drug Control, 57 Vand. L. Rev. 783 (2004) Repository Citation O'Hear, Michael M., "Federalism and Drug Control" (2004). Faculty Publications. Paper 179. http://scholarship.law.marquette.edu/facpub/179 This Article is brought to you for free and open access by the Faculty Scholarship at Marquette Law Scholarly Commons. It has been accepted for inclusion in Faculty Publications by an authorized administrator of Marquette Law Scholarly Commons. For more information, please contact [email protected]. Federalism and Drug Control Michael M O'Hear* 1. A SURVEY OF THE CONCEPTUAL TERRAIN ........................... 789 A. Four Leading Paradigmsof Drug Control Policy ... 789 B. A Note on Terminology ............................................ 792 II. THE EVOLUTION OF FEDERAL DRUG POLICY ....................... 793 A. 1914-1968: The Other Prohibition........................... 794 B. 1969-1980: Making War on Drugs........................... 797 C. 1981-2000: Escalating the War-The Triumph of E nforcem ent ......................................................... 799 D. FederalPolicy in the Twenty-First Century ............ 802 E . L esson s .................................................................... -
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). -
The Myth of the Black Male Beast in Postclassical American Cinema: ‘Forging’ Stereoytpes and Discovering Black Masculinities
THE MYTH OF THE BLACK MALE BEAST IN POSTCLASSICAL AMERICAN CINEMA: ‘FORGING’ STEREOYTPES AND DISCOVERING BLACK MASCULINITIES BY MARTIN LUTHER PATRICK A thesis submitted to The University of Birmingham For the degree of M.Phil Department of American and Canadian Studies The University of Birmingham September 2009 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Full name (surname first): Patrick, Martin Luther School/Department: Historical Studies/American and Canadian Studies Full title of thesis/dissertation: The myth of the Black male beast in postclassical American Cinema: ‘Forging’ stereotypes and discovering Black masculinities Degree: M.Phil. Date of submission: September 2009 Date of award of degree : December 2009 Abstract : The thesis examines how postclassical American film invent s Black male characters. It uses Levi-St rauss and B arthes’ methods of analyzing myth and critiques heg emonic authorship throug h Jung ’s work on archetypes in the collective unconscious and the ‘shadow’. Using Othello as a prototype character, I examine how he became an archetype that manifests two perceptions of B lack characters in the collective unconscious. -
The Weakest Link: the Dire Consequences of a Weak Link in the Informant Handling and Covert Operations Chain-Of-Command
The Weakest Link: The Dire Consequences of a Weak Link in the Informant Handling and Covert Operations Chain-of-Command Michael Levine, Police Training and Trial Consultant “Trust but verify.” –Russian proverb and motto of the KGB Law enforcement agencies call them CIs (Cooperating Individuals, Confidential Informants, and/or Criminal Informants). Cops who use them call them stoolpigeons, stools, rats, chotas, etc. Intelligence agencies (Central Intelligence Agency [CIA], Defense Intelligence Agency [DIA], etc.) call them “assets” or the more confusing “agents.” Whatever they are called, 99.9999% of them have one thing in common: they are traitorous information whores who betray friendships, relatives, business and/or criminal associates, nations, and even terrorist organizations. They are criminals and conmen who use their insider positions of trust to steal and barter information that can and often does destroy those who most trust them. A good police instructor with real first-hand experience will always tell you “Never trust an informant.” A prosecutor who wants to win his case at all costs will always tell a jury “Trust this informant.” If you’re assigned to a narcotics and/or an anti-terror unit, both of which overlap mightily these days, and you believe the prosecutor, do yourself a favor and grab a transfer to the Traffic Division. You’re a danger to yourself and to your community. I’m not going to talk about the alleged 1% of informants who risk their lives in this very dirty and dangerous game and who training manuals refer to as “good citizens” or people motivated to inform on other people as a result of “ideological motivation” mainly because in my now 44 years of training and experience encompassing the close association with more than 10,000 CIs,2 I’ve yet to meet one I would trust enough to give my home phone, except when I was stationed overseas and had no choice. -
Finding Aid to the Historymakers ® Video Oral History with Bill Duke
Finding Aid to The HistoryMakers ® Video Oral History with Bill Duke Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Duke, Bill, 1943- Title: The HistoryMakers® Video Oral History Interview with Bill Duke, Dates: November 20, 2019 and September 19, 2008 Bulk Dates: 2008 and 2019 Physical 8 Betacame SP videocasettes uncompressed MOV digital video Description: files (3:39:48). Abstract: Film director and actor Bill Duke (1943- ) has over 100 directing and acting credits, including for directing American Playhouse, A Rage in Harlem, and Sister Act 2, and acting in Fastlane, Commando, Predator, Menace II Society, and X-Men: The Last Stand. Duke was interviewed by The HistoryMakers® on November 20, 2019 and September 19, 2008, in Los Angeles, California. This collection is comprised of the original video footage of the interview. Identification: A2008_115 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Film director and actor Bill Duke was born William Henry Hudson Duke, Jr. on February 26, 1943 in Poughkeepsie, New York to Ethel Louise and William Henry Hudson Duke, Sr. Duke earned his A.A. degree from Dutchess Community College before attending Boston University, where he originally enrolled as a pre- med student, but earned his B.A. degree in theatre. He received his M.A. degree in fine arts from New York University's Tisch School of the Arts. Duke later attended the American Film Institute. Duke began his career as an actor in New York City with the Negro Ensemble Company, performing in plays such as LeRoi Jones' Slave Ship and Melvin Van Peebles’ musical Ain't Supposed to Die a Natural Death. -
BILL DUKE Actor/Director/Producer Actor, Director, Producer And
BILL DUKE Actor/Director/Producer Actor, director, producer and humanitarian Bill Duke is the founder and CEO of Duke Media. Formerly Yagya Productions, the organization under his leadership has been successfully producing film and television for over 30 years. A rare talent, he along with Michael Shultz and Gordon Parks paved the way for African-Americans in cinema beginning in the early '70s. Bill Duke excels in front of and behind the camera and is unprecedented in his ability to be recognized as a mainstay in Hollywood. His acting and directing credits are extensive and include television series Falcon Crest, Fame and Hill Street Blues and feature films Sister Act 2: Back in the Habit, Get Rich or Die Trying, Deep Cover, Hoodlum and Not Easily Broken, to name a few. Most recently, he completed the Image Award–nominated documentaries Light Girls, and Dark Girls, which aired on OWN and succeeded as one of the most successful shows in the network's history. Bill Duke's contributions to the film industry has not gone unrecognized. Over the course of his career, he has been appointed to the National Endowment of Humanities by President Bill Clinton as well as the board of the California State Film Commission by former Governor Arnold Schwarzenegger, and he has been honored by the Directors Guild of America with a Lifetime Achievement Tribute. Equally important are his humanitarian efforts, as Bill Duke devotes his time to charity and not-for-profit organizations. He is on the board of directors of Educating Young Minds and recently established the Duke Media Foundation, which teaches media and financial literacy to young people. -
Stopping Traffic: an In-Depth Analysis of the Controversial New Film and What It Says About the United States' War on Drugs
Stopping Traffic: An In-depth Analysis of the Controversial New Film and What It Says about the United States' War on Drugs The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Stopping Traffic: An In-depth Analysis of the Controversial New Film and What It Says about the United States' War on Drugs (2001 Third Year Paper) Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:8846815 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Steven Soderbergh's Traffic is a remarkable film that takes an in-depth look at the \war on drugs" in the United States, and does so in a way that is meant to \provoke and upset nearly everyone who sees it."1Indeed, rarely in the Hollywood system does a film as controversial as Traffic get made, and rarer still is such a thought-provoking, politically-charged film a commercial success. Yet Traffic has been nominated for five Golden Globe Awards, and for five Academy Awards, including a nomination for best picture of the year.2The film has also grossed more than seventy-five million dollars in the first eight weeks of its release.3 The purpose of this paper, however, is not to examine the merits of the film from a cinematic perspective, nor from an economic one. -
Press Contacts: Michael Krause | Foundry Communications | (212) 586-7967 | [email protected]
2 presents AN ELSA RASSBACH PRODUCTION | DIRECTED BY BILL DUKE starring DAMIEN LEAKE | ALFRE WOODARD CLARENCE FELDER | MOSES GUN | DENNIS FARINA 1984 | USA | English Language | 118 minutes | 1.33:1 | Stereo Praised by The Village Voice as the most “clear-eyed account of union organizing on film,” The Killing Floor tells the little-known true story of the struggle to build an interracial labor union in the Chicago Stockyards. The screenplay by Obie Award- winner Leslie Lee, based on an original story by producer Elsa Rassbach, traces the racial and class conflicts seething in the city’s giant slaughterhouses, and the brutal efforts of management to divide the workforce along ethnic lines, which eventually boiled over in the Chicago Race Riot of 1919. The first feature film by director Bill Duke, The Killing Floor premiered on PBS’ American Playhouse series in 1984 to rave reviews. In 1985 the film was invited to Cannes and won the Sundance Film Festival Special Jury Award. It has been showcased at the Lincoln Center and festivals around the world. NEW 4K RESTORATION Laboratory services by UCLA Film & Television Archive Digital Media Lab; Audio Services by Deluxe Entertainment Services Group, Inc.; Digital Color Grading by Planemo (Berlin) and Alpha-Omega digital (Münich). Special thanks to Elsa Rassbach and the Sundance Institute Collection at UCLA Film & Television Archive. Press Contacts: Michael Krause | Foundry Communications | (212) 586-7967 | [email protected] Film Movement Booking Contacts: Jimmy Weaver | Theatrical | (216) 704-0748 | [email protected] Maxwell Wolkin | Festivals & Non-Theatrical | (212) 941-7744 x211 | [email protected] 3 THE MAKING OF The Killing Floor Directed by Bill Duke & Produced by co-writer Elsa Rassbach “The Killing Floor is a truly compelling, blistering, and vital historical document.” – Jen Johans, Film Intuition “The Killing Floor is thrillingly watchable, profoundly stirring and perennially relevant. -
Crisis Bureaucracy: Homeland Security and the Political Design of Legal Mandates
Volume 59, Issue 3 Page 673 Stanford Law Review CRISIS BUREAUCRACY: HOMELAND SECURITY AND THE POLITICAL DESIGN OF LEGAL MANDATES Dara Kay Cohen Mariano-Florentino Cuéllar Barry R. Weingast © 2006 by the Board of Trustees of the Leland Stanford Junior University, from the Stanford Law Review at 59 STAN. L. REV. 673 (2006). For information visit http://lawreview.stanford.edu. CRISIS BUREAUCRACY: HOMELAND SECURITY AND THE POLITICAL DESIGN OF LEGAL MANDATES Dara Kay Cohen,* Mariano-Florentino Cuéllar,** and *** Barry R. Weingast Policymakers fight over bureaucratic structure because it helps shape the legal interpretations and regulatory decisions of agencies through which modern governments operate. In this Article, we update positive political theories of bureaucratic structure to encompass two new issues with important implications for lawyers and political scientists: the significance of legislative responses to a crisis and the uncertainty surrounding major bureaucratic reorganizations. The resulting perspective affords a better understanding of how agencies interpret their legal mandates and deploy their administrative discretion. We apply the theory to the creation of the Department of Homeland Security. Two principal questions surrounding this creation are (1) why the President changed from opposing the creation of a new department to supporting it and (2) why his plan for such a department was far beyond the scope of any other existing proposal. We argue that the President changed his mind in part because he did not want to be on the losing side of a major legislative battle. But more significantly, the President supported the massive new Department in part to further domestic policy priorities unrelated to homeland security. -
Biographical Description for the Historymakers® Video Oral History with Bill Duke
Biographical Description for The HistoryMakers® Video Oral History with Bill Duke PERSON Duke, Bill, 1943- Alternative Names: Bill Duke; Life Dates: February 26, 1943- Place of Birth: Poughkeepsie, New York, USA Work: Los Angeles, CA Occupations: Actor; Film Director; Biographical Note Film director and actor Bill Duke was born William Henry Hudson Duke, Jr. on February 26, 1943 in Poughkeepsie, New York to Ethel Louise and William Henry Hudson Duke, Sr. Duke earned his A.A. degree from Dutchess Community College before attending Boston University, where he originally enrolled as a pre-med student, but earned his B.A. degree in theatre. He received his M.A. degree in fine arts from New York University's Tisch School of the Arts. Duke later attended the American Film Institute. attended the American Film Institute. Duke began his career as an actor in New York City with the Negro Ensemble Company, performing in plays such as LeRoi Jones' Slave Ship and Melvin Van Peebles’ musical Ain't Supposed to Die a Natural Death. Duke’s first movie role was in 1976 when he portrayed a young Black Muslim revolutionary named Abdullah Mohammed Akbar in Car Wash. Duke then held the recurring role of Luther Freeman in the series Palmerstown, U.S.A. before his directorial debut in 1982, directing episodes of Knot's Landing, Falcon Crest, and Flamingo Road. Some of Duke's most prominent work was his direction of teleplays for the PBS series American Playhouse including “The Killing Floor,” which was chosen for Critic's Week at the Cannes Film Festival in 1985, “A Raisin in the Sun,” which received an Emmy nomination, and “The Meeting.” During the 1980s, Duke amassed more than 100 television directing credits, including more than seventy episodes of roughly twenty television series such as Miami Vice, Dallas, Crime Story, Cagney and Lacey and Hill Street Blues. -
Curriculum Vitae Dan Flory
Curriculum Vitae Dan Flory Department of History and Philosophy P. O. Box 172320 Montana State University 814 South 6th Av. Bozeman, MT 59717-2320 Bozeman, MT 59715-5132 (406) 994-5209 (406) 585-1448 [email protected] (406) 451-2112 (cell) Academic Appointments Professor, Department of History and Philosophy, Montana State University, 2014- Associate Professor, Department of History and Philosophy, Montana State University, 2006-14 Assistant Professor, Department of History and Philosophy, Montana State University, 2000-06 Adjunct Assistant Professor, Department of History and Philosophy, Montana State University, 1996-2000 Adjunct Instructor, Department of English, Montana State University, 1996-2000 Education Ph.D., Philosophy, University of Minnesota, 1995 M.A., Philosophy, University of Minnesota, 1985 B.A., Philosophy, Carleton College, 1976 Areas of Specialty Philosophy of Film, Critical Race Theory, Aesthetics Areas of Competence Ethics, History of Philosophy, Philosophy of Religion Publications Books Race, Philosophy, and Film, eds. Mary K. Bloodsworth-Lugo and Dan Flory (London and New York: Routledge, 2013). Philosophy, Black Film, Film Noir (University Park: Pennsylvania State University Press, 2008). Refereed Journal Articles “Racialized Disgust and Embodied Cognition in Film,” Projections: the Journal of Movies and Mind 10:2 (forthcoming, Winter 2016). “Imaginative Resistance, Racialized Disgust, and 12 Years A Slave,” Film and Philosophy 19 (2015), 75-95. “Race and Imaginative Resistance in James Cameron’s Avatar,” Projections: the Journal of Movies and Mind 7:2 (Winter 2013), 41-63. “Response to My Critics,” Film and Philosophy 16 (2012), 162-79. Curriculum Vitae Flory - page 2 Refereed Journal Articles (continued) “Cinematic Presupposition, Race, and Epistemological Twist Films,” Journal of Aesthetics and Art Criticism 68 (2010), 379-387.