Major Opposition Still Blocks
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BUSINESS Manchester, Conn
24 - MANCHESTER HERALD. Fri.. June 25, 1982 ' ■ ■ ■ \ I ■ : y - BUSINESS Manchester, Conn. Afternoon sun, cool tonight Saturday, June 26, 1982 Rain, tourists meaty issues for firm — See page 2 anrlirstpr Umlh Single copy 25(f Bogner's I supplies Haig resigns without warning the dogs r. Shultz no ■ hj}:; Foreign policy unclear, he says )'ry By Raymond T. DeMeo Herald Reporter WASHINGTON (UPI) - When the administration took of Shultz had been prominently men stranger to "M y mother could skin an animal Alexander Haig unexpectedly quit fice, “ We agreed that consistency, tioned during the transition as a about as well as any man in the , -CVf^r Friday as secretary of state, clarity and steadiness of purposes possibile secretary of state. Reagan trade.’’ charging President Reagan’s were essential to success. It was in chose him to oversee the setting up Washington » X *.,.f ^ •5>;; An unusual statement? Not when foreign policy has shifted from its this spirit that I undertook to serve of the economic and NATO summit you consider from whom it came: goals of "consistency, clarity and you as secretary of state. meetings in Versailles and Bonn Donald Bogner of 233 Blue Ridge steadiness of purpose.’’ But, he continued, “ In recent earlier this month, which provided By United Press International Drive, whose fondest childhood Reagan immediately nam6d months it has become clear to me Reagan with a showcase for his in George Pratt Shultz, President memories are of “ bouncing around former Treasury Secretary George that the foreign policy on which we ternational expertise. Reagan's choice as secretary of the floor’ ’ of his fam ily’s first Shultz to succe^ him. -
Coen Brothers' Fargo in the Noir Melting Pot of Genre Patterns
Acta Universitatis Wratislaviensis • No 3869 Literatura i Kultura Popularna XXIV, Wrocław 2018 DOI: 10.19195/0867-7441.24.4 Kamila Żyto ORCID: 0000-0003-2822-8341 University of Łódź Detours of absurdity: Coen brothers’ Fargo in the noir melting pot of genre patterns Keywords: film noir, film history, film genres, cinema of Coen brothers Słowa kluczowe: film noir, historia filmu, gatunki filmowe, kino braci Coen The long-lasting debate over whether film noir should be seen as a genre, a cycle or a tendency in the history of cinema remains unsettled. No definitive solution has been found, nor any consensus reached, owing to the fact that the film noir phenomenon is particularly complex and convoluted. Much of the debate revolves around questions of approach and genre. But many movies, both those released in the 1940s and 1950s (the classical period) and those released in the following decades (the neo-noir, or postclassical, period), do not obviously fit any genre pattern or other ordering scheme. The diversity among films that are now unquestionably classified as noir, provokes controversy and raises numerous questions. What does Sunset Boulevard (dir. Billy Wilder, 1950) have in common with The Killers (dir. Robert Siodmak, 1946)? The first one is simultaneously a crime story, melodrama and horror. The second one is, without a doubt, a gang- ster movie. Do all noir films really constitute a single genre? I will leave this question unanswered, as to support any of the various opinions about the generic identity of film noir is not the main aim of this paper.1 From my perspective, there is little utility in joining this on-going debate, which has reached a standstill some time ago. -
Fargo Police Department Policy Manual
Fargo Police Department Policy Manual CHIEF’S PREFACE The primary purpose of this policy manual is to provide all members of the Fargo Police Department, regardless of their rank, title, position, or status as a sworn officer or civilian employee, with the guidance that allows each employee to perform their duties in the most professional manner possible. Therefore, it is important to recognize the development of this policy manual is an ongoing process and is intended to not only serve the department’s interests, but the interests of department personnel and the community as well. This manual also exists to establish the department’s leadership and management principles and to set the standards and expectations all department employees are held to. The department’s policies and procedures should elevate the standards of our profession as well as strengthen the community’s confidence in our organization. Every member of this department must be encouraged, both individually and collectively, to realize the responsibilities associated with their position. Everyday they must continuously strive to earn the support, respect, and cooperation of the citizens we serve. Above all else, the men and women who collectively define this organization must recognize the very basis for the existence of the Fargo Police Department is the law. The credibility of our organization and the law enforcement profession in general, is ultimately enhanced by our understanding of and self-adherence to the law and by how we contribute to the welfare of our community. The policies contained within this manual reflect the goal of maintaining that credibility to the best of our ability. -
COVER ART by JEFF KNIGHT 1 Film Festival Goer, Treasure Hunter
COVER ART BY JEFF KNIGHT 1 Film Festival Goer, Treasure Hunter There are times when we walk into a cinema knowing exactly what to expect. We know that Nicolas Cage will deliver an awesomely bad punchline after riding a motorcycle through the flaming hull of a downed jetliner, Colin Firth will make us swoon in that totally respectable way, and Meryl Streep will meryl as only Meryl can. The familiar can be a lovely warm blanket, the White Hat saving the day, and an excellent night at the movies. But there are times when we feel a bit more adventurous – times when we seek art that grabs us by the collar Emily Beck and shakes us awake. These are the times when we are treasure hunters, boldly going beyond to find something FARGO THEATRE Executive Director of inmeasureable worth. If you are craving an adventure, then you are in the right place. A film festival is a wonderful place to explore. At any given moment may see something that leaves you scratching your head OR you may discover That Film (written in Denmark, shot in Rio, starring Nobody You’ve Ever Heard Of) that speaks to you in conversation, leaves you breathless, and reminds you why you struck out into the wild in the first place. On behalf of the entire team, it is my pleasure to welcome you to the 15th annual Fargo Film Festival. We welcome you aboard and are grateful to share the journey. Thank you for coming and enjoy the show! DAN FRANCIS PHOTOGRAPHY FARGO THEATRE STAFF: FARGO THEATRE BOARD FESTIVAL COMMITTEE AND VOLUNTEERS: Emily Beck, Executive Director Greg Carlson, President -
Case 2:20-Cv-08466 Document 1 Filed 09/16/20 Page 1 of 300 Page ID #:1
Case 2:20-cv-08466 Document 1 Filed 09/16/20 Page 1 of 300 Page ID #:1 1 DEBORAH CONNOR, Chief Money Laundering and Asset Forfeiture Section (MLARS) 2 MARY BUTLER, Chief, International Unit WOO S. LEE, Deputy Chief, International Unit 3 BARBARA Y. LEVY, Trial Attorney JOSHUA L. SOHN, Trial Attorney 4 JONATHAN BAUM, Trial Attorney Criminal Division 5 United States Department of Justice 1400 New York Avenue, N.W. 10th Floor 6 Washington, D.C. 20530 Telephone: (202) 514-1263 7 Email: [email protected] 8 Attorneys for Plaintiff 9 UNITED STATES OF AMERICA 10 UNITED STATES DISTRICT COURT 11 FOR THE CENTRAL DISTRICT OF CALIFORNIA 12 13 UNITED STATES OF AMERICA, No. CV 2:20-cv-8466 14 Plaintiff, VERIFIED COMPLAINT FOR 15 v. FORFEITURE IN REM 16 ALL FUNDS HELD IN ESCROW BY [18 U.S.C. § 981(a)(1)(A) and (C)] 17 CLYDE & CO. IN THE UNITED 18 KINGDOM AS DAMAGES OR [F.B.I.] RESTITUTION IN PETROSAUDI V. 19 PDVSA UNCITRAL ARBITRATION, 20 Defendant. 21 22 The United States of America (the “government”) brings this complaint against 23 the above-captioned asset and alleges as follows: 24 PERSONS AND ENTITIES 25 1. The plaintiff is the United States of America. 26 2. The defendants in this action are all funds held in escrow by Clyde & Co. in 27 the United Kingdom as damages or restitution in the 2017 UNCITRAL arbitration 28 Case 2:20-cv-08466 Document 1 Filed 09/16/20 Page 2 of 300 Page ID #:2 1 between PetroSaudi Oil Services (Venezuela) Ltd. -
Exposing Minstrelsy and Racial Representation Within American Tap Dance Performances of The
UNIVERSITY OF CALIFORNIA Los Angeles Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Brynn Wein Shiovitz 2016 © Copyright by Brynn Wein Shiovitz 2016 ABSTRACT OF THE DISSERTATION Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 by Brynn Wein Shiovitz Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2016 Professor Susan Leigh Foster, Chair Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950, looks at the many forms of masking at play in three pivotal, yet untheorized, tap dance performances of the twentieth century in order to expose how minstrelsy operates through various forms of masking. The three performances that I examine are: George M. Cohan’s production of Little Johnny ii Jones (1904), Eleanor Powell’s “Tribute to Bill Robinson” in Honolulu (1939), and Terry- Toons’ cartoon, “The Dancing Shoes” (1949). These performances share an obvious move away from the use of blackface makeup within a minstrel context, and a move towards the masked enjoyment in “black culture” as it contributes to the development of a uniquely American form of entertainment. In bringing these three disparate performances into dialogue I illuminate the many ways in which American entertainment has been built upon an Africanist aesthetic at the same time it has generally disparaged the black body. -
Volume 17, No 1, 2016
Volume 17, No 1, 2016 Contents Page Drama without Drama: The Late Rise of Scripted TV Formats 3 Scenes0B from an Imaginary Country: Test Images and the American Color 21 Television Standard Record/Film/Book/Interactive1B TV: EVR as a Threshold Format 44 Restarting2B Static: Television’s Digital Reboot 62 Regulating3B the Desire Machine: Custer’s Revenge and 8-Bit Atari Porn Video 80 Games TVNXXX10.1177/1527476414561089Television & New MediaChalaby 561089research-article2015 Article Television & New Media 1 –18 Drama without Drama: © The Author(s) 2015 Reprints and permissions: The Late Rise of Scripted sagepub.com/journalsPermissions.nav DOI: 10.1177/1527476414561089 TV Formats tvnm.sagepub.com Jean K. Chalaby1 Abstract This article revisits the history of television (TV) formats—concepts of TV shows that are licensed for local adaptations—focusing on scripted entertainment. While the TV format revolution of the 1990s bypassed scripted formats, they have been catching up in recent years. This article analyzes both the reasons for this late rise and the factors behind the recent growth. It argues that the adaptation of scripted formats is more complex, and risks remain higher than for other genres. The underlying economics of their production and distribution also differ from nonscripted formats. The stars aligned when demand for drama increased worldwide, Hollywood studios began to mine their catalogues, new exporters and scripted genres emerged, and knowledge transfer techniques improved. Finally, this paper analyzes the significance of the rise of scripted entertainment in the global TV format trading system. Keywords global television, Hollywood, scripted entertainment, transnational television, TV formats, TV genres Introduction The history of television (TV) formats—concepts of TV shows that are licensed for local adaptations—is now well documented. -
031207 Tv Land Celebrates 30Th Anniversary of Three's
Contacts: Elaine Wilcox Vanessa Reyes-Smith TV Land TV Land 212-846-5502 310-752-8081 [email protected] [email protected] “COME AND KNOCK ON OUR DOOR…” TV Land Celebrates 30 th Anniversary of Three’s Company with a 24-Hour Marathon Beginning Saturday, March 17 New York, NY, March 12, 2007 - TV Land celebrates the comedic misadventures of the zaniest roommates on television - - Jack, Janet and Chrissy - - with a 24-hour marathon saluting the 30 th Anniversary of the Emmy-Award winning series Three’s Company beginning Saturday, March 17, at 8:00pm (all times ET/PT) . Tune in to relive some of television’s most hilarious and madcap episodes including a retrospective show hosted by Lucille Ball, the pilot episode recounting how it all started and the series finale. TV Land will also showcase episodes from the hit series’ spin-off, The Ropers and Three’s a Crowd . Fans can log on to tvland.com beginning Friday, March 9 through Friday, March 30 to register to win a Three’s Company DVD box set containing all the episodes from season eight, as well as “bloopers” and “featurettes:” “The Best of Jack, Janet, Terri, Larry and Furley”, “John Ritter: Working with the Master” and “Usted Habla Three's Company?” Three’s Company aired on ABC and remained a top-ten show through its seven-year run from 1977-1984. It follows the lives of three roommates: Janet Wood (Joyce DeWitt), a young, single woman who works as a florist; Chrissy Snow (Suzanne Somers), a bubbly, blonde typist; and Jack Tripper (John Ritter), a student studying to be a chef. -
Threes a Crowd! Pdf, Epub, Ebook
THREES A CROWD! PDF, EPUB, EBOOK Ray O'Ryan,Colin Jack | 120 pages | 01 Nov 2013 | SIMON & SCHUSTER | 9781442482210 | English | New York, United States Threes a Crowd! PDF Book Other characters included E. Mike 1 episode, Edit Did You Know? The Best Horror Movies on Netflix. In the finale, Janet marries Phillip, Terri moves to Hawaii. Masanori 1 episode, Jack and Vicky profess their love for one another, but Vicky turns down Jack's proposal of marriage, citing her fear of the institution after seeing her parents feud her whole life. Doctor Billy Morris 1 episode, Air Marshal 1 episode, Sharon Wyatt Edit Cast Complete series cast summary: John Ritter When the series concluded, producers Brian Cooke and Johnnie Mortimer devised two spin- offs. With his restaurant suddenly popular after a glowing review, Jack forgets about his and Vicky's first anniversary. Bradford appears in the police lineup. Jack's Aunt Mae 1 episode, Jack and Vicky argue over money. Jonathan 1 episode, Connections Referenced in Jeopardy! Contributors Become a contributor. Bazur 1 episode, During a Christmas hiatus in late producers auditioned several female leads to play Jack's new love interest Vicky Bradford, and eventually decided upon Broadway actress Mary Cadorette. Threes a Crowd! Writer Greedy Gretchen 1 episode, Mary Ann Gibson She and fellow cast member Priscilla Barnes would find it very hard to tape the rest of the season. Vicky Bradford 22 episodes, Air Marshal 1 episode, Sharon Wyatt Larry Dallas 1 episode, Clyde Kusatsu A Star is Born. Delivery Man 1 episode, Liz Sheridan Clear your history. -
A JOURNAL for CIVIC COMMUNICATION WEEKLY 10C 0 VOL
POINT COUNTERPOINT A JOURNAL FOR CIVIC COMMUNICATION WEEKLY 10c 0 VOL. V No. 21 August 28 to Sept. 4, 1970 Point Richmond, California long distance charges would be staggering, and judging from past perform ance, the phone bill would go unpaid. But Ma Bell is relentless. She might disconnect the President's phone for non-payment and then where would we all be? We would see the bombs falling in the streets, and how do you like that, no phone call from the President.' I am loathe to leave the house these LX We could call him up and complain a- fine summer days, for fear I might miss J bout the bombs, but we would only get a a phone call from the President. Somebody recorded message; "I'm sorry. The num has invented a system so that the president ber you have dialed is not in service at can call us all up on the telephone and tell this time. " us that the bombs are falling. Of course,we Maybe the President is planning to call could probably-just look out the window and collect. If he does, most of us will never get the same information. get the word in time. The phone will ring "I'll be darned. Look outside, darling, and the operator will say, "Sir, will you Bombs are falling in the streetSi." accept a collect call from Washington, D. "Don't bother me with that. The phone C. ?" "Washington? Just a minute, operator. is ringing. " Normally, I only answer the phone when Maude, do we know anybody in Washington, I am in the mood for it. -
George A. Sunga Television Collection
http://oac.cdlib.org/findaid/ark:/13030/c8st7r7t No online items Guide to the George A. Sunga Television Collection Finding Aid Authors: Conor Foley. © Copyright 2013 Special Collections & University Archives. All rights reserved. 2013-08-05 5500 Campanile Dr. MC 8050 San Diego, CA, 92182-8050 URL: http://library.sdsu.edu/scua Email: [email protected] Phone: 619-594-6791 Guide to the George A. Sunga MS-0493 1 Television Collection Guide to the George A. Sunga Television Collection 1964/1996 Special Collections & University Archives Overview of the Collection Collection Title: George A. Sunga Television Collection Dates: 1964-1996 Identification: MS-0493 Creator: Sunga, George, c. 1932- Physical Description: 14.42 linear ft Language of Materials: English Repository: Special Collections & University Archives 5500 Campanile Dr. MC 8050 San Diego, CA, 92182-8050 URL: http://library.sdsu.edu/scua Email: [email protected] Phone: 619-594-6791 Biographical Information: George Sunga is a successful Filipino-American television producer known for his work on successful shows like Three's Company, Good Times, The Jeffersons, and All in the Family. His work received numerous accolades, including several People’s Choice Awards, an Emmy nomination, and honors from the Academy for Television Arts and Sciences. Sunga grew up in San Diego and attended San Diego State College in the early 1950s. He was a member of the Tau Kappa Epsilon fraternity's Gamma-Lambda chapter, and in 1954-1955 he served as president of the Associated Students. As part of his studies in television production at San Diego State, Sunga helped to compile the anthology series, Climax, which exposed him to the directing techniques of John Frankenheimer. -
American Primacy and the Global Media
City Research Online City, University of London Institutional Repository Citation: Chalaby, J. (2016). Drama without drama: The late rise of scripted TV formats. Television & New Media, 17(1), pp. 3-20. doi: 10.1177/1527476414561089 This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/5818/ Link to published version: http://dx.doi.org/10.1177/1527476414561089 Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Drama without drama: The late rise of scripted TV formats Author’s name and address: Professor Jean K. Chalaby Department of Sociology City University London London EC1V 0HB Tel: 020 7040 0151 Fax: 020 7040 8558 Email: [email protected] Author biography: Jean K. Chalaby is Professor of International Communication and Head of Sociology at City University London. He is the author of The Invention of Journalism (1998), The de Gaulle Presidency and the Media (2002) and Transnational Television in Europe: Reconfiguring Global Communications Networks (2009).