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Televising the South: Race, Gender, and Region in Primetime, 1955-1980
TELEVISING THE SOUTH: RACE, GENDER, AND REGION IN PRIMETIME, 1955-1980 by PHOEBE M. BRONSTEIN A DISSERTATION Presented to the Department of English and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy September 2013 DISSERTATION APPROVAL PAGE Student: Phoebe M. Bronstein Title: Televising the South: Race, Gender, and Region in Primetime, 1955-1980 This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of English by: Carol Stabile Chairperson Priscilla Ovalle Core Member Courtney Thorsson Core Member Meslissa Stuckey Institutional Representative and Kimberly Andrews Espy Vice President for Research and Innovation; Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded September 2013 ii © 2013 Phoebe M. Bronstein This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License iii DISSERTATION ABSTRACT Phoebe Bronstein Doctor of Philosophy Department of English September 2013 Title: Televising the South: Race, Gender, and Region in Primetime, 1955-1980 This dissertation traces the emergence of the U.S. South and the region’s role in primetime television, from the post-World War II era through Reagan’s election in 1980. These early years defined, as Herman Gray suggests in Watching Race, all subsequent representations of blackness on television. This defining moment, I argue, is one inextricably tethered to the South and the region’s anxiety ridden and complicated relationship with television. This anxiety was rooted in the progress and increasing visibility of the Civil Rights Movement, concern over growing white southern audiences in the wake of the FCC freeze (ended in 1952), and the fear and threat of a southern backlash against racially progressive programming. -
A Theoretical Understanding of 2 Base Color Codes and Its
WHITE PAPER SOLiD™ System A Theoretical Understanding of 2 Base Color Codes and Its Application to Annotation, Error Detection, and Error Correction Methods for Annotating 2 Base Color Encoded Reads in the SOLiD™ System Introduction Constructing the 2 Base Color Code The SOLiD™ System enables massively parallel sequencing of The SOLiD System’s 2 base color coding scheme is shown clonally amplified DNA fragments linked to beads. This unique in Figure 1. sequencing methodology is based on sequential ligation [code] 0 1 2 3 of dye-labeled oligonucleotide probes whereby each probe [dye] FAM Cy3 TXR Cy5 assays two base positions at a time. The system uses four (XY) AA AC AG AT fluorescent dyes to encode for the sixteen possible two-base 1 (XY) CC CA GA TA combinations. This unique approach employs a scheme that 2 (XY) GG GT CT CG represents a fragment of DNA as an initial base followed by 3 (XY) TT TG TC GC a sequence of overlapping dimers (adjacent pairs of bases). 4 The system encodes each dimer with one of four colors using Figure 1: SOLiD™ System’s 2 base Coding Scheme. The column under code i a degenerate coding scheme that satisfies a number of rules. lists the corresponding dye and the di-bases (adjacent nucleotides) encoded by color i. For example, GT is labeled with Cy3 and coded as “1”. A single color in the read can represent any of four dimers, but the overlapping properties of the dimers and the nature Use the following steps to encode a DNA sequence of the color code allow for error-correcting properties. -
Nosferatu. Revista De Cine (Donostia Kultura)
Nosferatu. Revista de cine (Donostia Kultura) Título: Filmografía Autor/es: Devesa, Dolores; Potes, Alicia Citar como: Devesa, D.; Potes, A. (1993). Filmografía. Nosferatu. Revista de cine. (12):72- 77. Documento descargado de: http://hdl.handle.net/10251/40864 Copyright: Reserva de todos los derechos (NO CC) La digitalización de este artículo se enmarca dentro del proyecto "Estudio y análisis para el desarrollo de una red de conocimiento sobre estudios fílmicos a través de plataformas web 2.0", financiado por el Plan Nacional de I+D+i del Ministerio de Economía y Competitividad del Gobierno de España (código HAR2010-18648), con el apoyo de Biblioteca y Documentación Científica y del Área de Sistemas de Información y Comunicaciones (ASIC) del Vicerrectorado de las Tecnologías de la Información y de las Comunicaciones de la Universitat Politècnica de València. Entidades colaboradoras: El diablo de las aguas turbws (Hell and High Water, 1954) Filmografía r::x: Dolores Devesa y Alicia Potes pert Productions (EEUU). Argumento: (Sargento Zack), Robe1t Hutton (Solda Como director basado en un artículo publicado en Ame do "Conchie" Bronte), Richard Loo rican Weekly. Guión: Samuel Fuller. (Sargento Tanaka) , Steve Brodie (Te Supervisión del guión: Dorothy B. niente Drisco /1) , James Edwru·ds (Cabo Balas vengadoras(/ Shot Jesse James, Cormack. Fotografía: James Wong Thompson), Sid Melton (loe), Richru·d 1949) Howe. Música: Paul Dunlap. Montaje: Monahan (So ldado Bale/y), William Atthm Hilton. Intérpretes: Vincent Pri Chun ("Short Round", muchacho corea Producción:Lippert Product. (EEUU). ce (James Addison Reavis) , Ellen Drew no). Duración: 84 min. B/N. Estreno: Argumento: basado en un artículo de (Sofía Peralta Reavis), Beulah Bondi Madrid: Paz: 22 de junio de 1959. -
Color Star Manual
Color Star Manual Brand: TABLE OF CONTENTS 1. INTRODUCTION 2 2. DESCRIPTION OF THE DEVICE 3 3. CHARGING THE BATTERY 4 4. HOW TO TURN ON/TURN OFF 5 5. FUNCTIONS OF THE COLOR STAR 5 5.1. COLOR MEASUREMENT 5 5.2. PATTERN RECOGNITION 6 5.3. LIGHT DETECTOR WITH LIGHT ANALYSIS 6 5.4. COLOR COMPARISON 7 5.5. COLOR ANALYSIS 7 5.6. REPEAT FUNCTION OF THE COLOR ANNOUNCEMENT 8 5.7. VOLUME CONTROL 8 6. SAFETY INSTRUCTIONS 8 7. TROUBLESHOOTING 8 8. CLEANING AND MAINTENANCE 9 9. TECHNICAL DETAILS 9 10. GUARANTEE AND SERVICE 10 11. LEGAL NOTICE ON THE DISPOSAL OF ELECTRONIC DEVICES 10 11.1. DISPOSAL OF USED ELECTRONIC DEVICES 10 11.2. RECYCLING BATTERIES 11 12. SYMBOLS USED 11 13. MANUFACTURER 12 1. INTRODUCTION Color Star is a powerful color identifier. With its clear spoken voice output it recognizes more than 1000 different color shades, identifies contrast measurements, recognizes the color of LED-lights, perceives the light intensity in the surrounding environment and recognizes patterns. 2 Note: There are several methods for measuring colors such as the spectral analysis or the three range color sensor procedure. Color Star is based on the color sensor method, where three sensors are used to measure colors the same way that receptors in human eyes function. Color Star offers two different types of announcement: Universal color names and Artistic color names. The universal color names are scientific and based on mathematical color-guideline tables, developed by the International Commission on Illumination (CIE) with lighting conditions D65 corresponding to average midday sunlight. -
The War and Fashion
F a s h i o n , S o c i e t y , a n d t h e First World War i ii Fashion, Society, and the First World War International Perspectives E d i t e d b y M a u d e B a s s - K r u e g e r , H a y l e y E d w a r d s - D u j a r d i n , a n d S o p h i e K u r k d j i a n iii BLOOMSBURY VISUAL ARTS Bloomsbury Publishing Plc 50 Bedford Square, London, WC1B 3DP, UK 1385 Broadway, New York, NY 10018, USA 29 Earlsfort Terrace, Dublin 2, Ireland BLOOMSBURY, BLOOMSBURY VISUAL ARTS and the Diana logo are trademarks of Bloomsbury Publishing Plc First published in Great Britain 2021 Selection, editorial matter, Introduction © Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian, 2021 Individual chapters © their Authors, 2021 Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian have asserted their right under the Copyright, Designs and Patents Act, 1988, to be identifi ed as Editors of this work. For legal purposes the Acknowledgments on p. xiii constitute an extension of this copyright page. Cover design by Adriana Brioso Cover image: Two women wearing a Poiret military coat, c.1915. Postcard from authors’ personal collection. This work is published subject to a Creative Commons Attribution Non-commercial No Derivatives Licence. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher Bloomsbury Publishing Plc does not have any control over, or responsibility for, any third- party websites referred to or in this book. -
The Base Colors: Black and Chestnut the Tail, Called “Foal Fringes.”The Lower Legs Can Be So Pale That It Is Let’S Begin with the Base Colors
Foal Color 4.08 3/20/08 2:18 PM Page 44 he safe arrival of a newborn foal is cause for celebration. months the sun bleaches the foal’s birth coat, altering its appear- After checking to make sure all is well with the mare and ance even more. Other environmental issues, such as type and her new addition, the questions start to fly. What gender quality of feed, also can have a profound effect on color. And as we is it? Which traits did the foal get from each parent? And shall see, some colors do change drastically in appearance with Twhat color is it, anyway? Many times this question is not easily age, such as gray and the roany type of sabino. Finally, when the answered unless the breeder has seen many foals, of many colors, foal shed occurs, the new color coming in often looks dramatical- throughout many foaling seasons. In the landmark 1939 movie, ly dark. Is it any wonder that so many foals are registered an incor- “The Wizard of Oz,” MGM used gelatin to dye the “Horse of a rect—and sometimes genetically impossible—color each year? Different Color,” but Mother Nature does a darn good job of cre- So how do you identify your foal’s color? First, let’s keep some ating the same spectacular special effects on her foals! basic rules of genetics in mind. Two chestnuts will only produce The foal’s color from birth to the foal shed (which generally chestnut; horses of the cream, dun, and silver dilutions must have occurs between three and four months of age) can change due to had at least one parent with that particular dilution themselves; many factors, prompting some breeders to describe their foal as and grays must always have one gray parent. -
George P. Johnson Negro Film Collection LSC.1042
http://oac.cdlib.org/findaid/ark:/13030/tf5s2006kz No online items George P. Johnson Negro Film Collection LSC.1042 Finding aid prepared by Hilda Bohem; machine-readable finding aid created by Caroline Cubé UCLA Library Special Collections Online finding aid last updated on 2020 November 2. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections George P. Johnson Negro Film LSC.1042 1 Collection LSC.1042 Contributing Institution: UCLA Library Special Collections Title: George P. Johnson Negro Film collection Identifier/Call Number: LSC.1042 Physical Description: 35.5 Linear Feet(71 boxes) Date (inclusive): 1916-1977 Abstract: George Perry Johnson (1885-1977) was a writer, producer, and distributor for the Lincoln Motion Picture Company (1916-23). After the company closed, he established and ran the Pacific Coast News Bureau for the dissemination of Negro news of national importance (1923-27). He started the Negro in film collection about the time he started working for Lincoln. The collection consists of newspaper clippings, photographs, publicity material, posters, correspondence, and business records related to early Black film companies, Black films, films with Black casts, and Black musicians, sports figures and entertainers. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: English . Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Portions of this collection are available on microfilm (12 reels) in UCLA Library Special Collections. -
175747467.Pdf
DIZIONARIO DEI FILM WESTERN A cura di Mario Raciti Fonti Dizionario Morandini 2008 Mymovies.it Film.tv.it Dedicato agli amici di Farwest.it A Accidenti, che ospitalità! Our Hospitality USA 1923 REGIA: Buster Keaton, John G. Blystone ATTORI: Buster Keaton, Natalie Talmadge, Joe Roberts * Una faida tra le famiglie Canfield e McKay funge da prologo. Allevato a New York da una zia, Will McKay torna dopo vent'anni al paese natale del West dove i Canfield tentano di ucciderlo. Finché è sotto il loro tetto, però, non possono farlo. E lui sposa una di loro. 2o film lungo di Keaton e uno dei suoi capolavori. È un western nel quale il comico non nasce dalla parodia ma dalla incongruità del personaggio Keaton mentre tutti gli altri sono costruiti secondo gli schemi classici e si comportano come tali. È una rivisitazione straniata che s'impernia, come il solito, sullo spostamento delle funzioni degli oggetti, sull'altalena tra sembrare ed essere. DURATA: 74' FOTOGRAFIA: BN Acquasanta Joe It. 1971 REGIA: Mario Gariazzo ATTORI: Lincoln Tate, Ty Hardin, Silvia Monelli * Dopo la guerra di secessione, in un improbabile West trovano posto la banda del cannone, un prete che fabbrica acquavite, avventurieri e tradimenti. Western povero di tutto. DURATA: 97' Adios Gringo It. 1965 REGIA: George Finley (> Giorgio Stegani) ATTORI: Giuliano Gemma, Evelyn Stewart, Robert Camardiel * Ricercato salva fanciulla da morte sicura, sgomina banda di prepotenti e prosegue con la bella per dimostrare la sua innocenza. George Finley (Giorgio Stegani) ha confezionato un discreto western all'italiana con un Gemma che fa il “buono” prima di imparare a recitare. -
*** the Edge * Volume 23 * Issue 6 * July 2014
DIXON ILLINOIS WW2 Re-enactment *** THE EDGE * VOLUME 23 * ISSUE 6 * JULY 2014 SOUTH ELGIN ILLINOIS WW2 Re-enactment *** * * THE EDGE * VOLUME 23 * ISSUE 6 * JULY 2014 * Page 2 of 46 * * 2ND Marines Reenacted check out Chuck Roberts Higgins Boat * Page 4: Communications * Page 25: Hickory Creek Middle School Visit * Page 9: WWII HRS Event Listings * Page 27: Restoring a Chrome Plated German Helmet * Page 12: Vietnam Moving Wall Event * Page 32: My WW2 Reenacting Memories * Page 14: D-Day Conneaut Ohio Event * Page 39: Photos from the Past * Page 15: WW2 Days Rockford, ILL Event * Page 43: From the Civilian View * Page 16: Operation Arcadia Event * Page 45: YouTube Video Recommendations * Page 19: WWII HRS Board Member List * Page 22: WWII HRS Board Meeting Minutes *** * * THE EDGE * VOLUME 23 * ISSUE 6 * JULY 2014 * Page 3 of 46 * * soldiers under one of the evil regimes of the 20th century. The German I am Tired uniform containing 3rd Reich symbols can be shocking to the general By Jonathan Stevens, public but is often living history as usual for the reenactor. Just about any action in German uniform at public reenactments can and will WWII HRS President, 9th Infantry Div. likely be scrutinized by spectators and the media much more than any American, Soviet, or British uniformed reenactor. A further very real I am tired. I am very tired of the historical community putting down possibility is the misrepresentation of anything said by a reenactor in WWII living history. Generally I would never write something so German uniform by a journalist. When portraying a German soldier negative but we really ought to be aware of the stereotype of WWII this has to be kept in mind. -
Differences Between the GWG 1V4 and 2015 Specifications
Specification Guidelines Differences between the GWG 1v4 and 2015 specifications Authors David van Driessche Executive Director, Ghent Workgroup Chief Technical Officer, Four Pees [email protected] Date 27 January 2016 Status v1 [email protected] www.gwg.org Differences between the GWG 1v4 and 2015 specifications Table of Contents 1 Introduction ................................................................................................ 3 2 Variants ...................................................................................................... 4 3 Reliance on PDF/X ........................................................................................ 5 4 Color .......................................................................................................... 7 5 File size ...................................................................................................... 8 6 Optional content .......................................................................................... 9 7 OpenType fonts .......................................................................................... 10 8 16-bit images ............................................................................................. 11 9 Total Ink Coverage ...................................................................................... 12 10 Output Intent and ICC profiles ...................................................................... 13 11 Single image pages .................................................................................... -
Randolph Scott
NOVEMBER/DECEMBER 2013 VOLUME 3, ISSUE 8 CLICK HERE TO DOWNLOAD PDF VERSION Photo by Nadine Levin HIGH NOON Smoke Signals IN THIS ISSUE Page WesTern American AnTiques of the FuTure From a CulTure of Mass Manufacturing .....................................................4 Bits & Pieces: From Theresa.............................................................................................................................................5 Show Dealer Spotlight: Milo Marks..................................................................................................................................6 Linda’s Feedbag: Snickerdoodle Bread ............................................................................................................................8 Empty Saddle.....................................................................................................................................................................9 TCAA Tells Us “It Ain’t Dead Folks” ..............................................................................................................................10 From Our Readers ...........................................................................................................................................................11 The Curious Career of “MysTerious Dave” MaTher ........................................................................................................12 Reel Cowboys of Western Cinema: Randolph ScoTT ......................................................................................................14 -
Novel Colour Experiences and Their Implications1
I n De re k H . Brown and F iona M a cpherson ( e ds.) The R o u tledge Han d b ook of Philosophy of Colo ur, O xfo rd: Ro u tledg e, 2 0 2 1, p p. 1 7 5 - 20 9. 11 NOVEL COLOUR EXPERIENCes AND THEIR IMPLICATIONS1 Fiona Macpherson One evening, in summer, he went into his own room and stood at the lattice- window, and gazed into the forest which fringed the outskirts of Fairyland … Sud denly, far among the trees, as far as the sun could shine, he saw a glorious thing. It was the end of a rainbow, large and brilliant. He could count all seven colours, and could see shade after shade beyond the violet; while before the red stood a colour more gorgeous and mysterious still. It was a colour he had never seen before. From George MacDonald (1867) “The Golden Key” in his Dealing with the Fairies, London: Alexander Strahan, pp. 250–1 In his writings for children, George MacDonald (1867) portrays the exhilaration and wonder that would likely accompany experiencing beautiful colours that one has not experienced before. One reason it would be exciting, I proffer,is that we tend to think that we have experi enced all the colours that we can experience, and the idea that there are other colour experi ences to be had seems rather far-fetched. It is no coincidence that MacDonald’s protagonist experiences the novel colours in Fairyland. Part of the reason that the idea of experiencing novel colours seems a remote possibility is that most people report that they cannot visually imagine what it would be like to experience colours other than those they have already seen.2 Contemplation of such experiences cannot be done by conjuring up images in the mind’s eye of unfamiliar colours but, instead, is limited to a rather abstract contemplation of the fact that there could be such colours.