LP Newsletter Spring 2002PROOF
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Bridging the Gap Between the Rules of Evidence Andjustice for Victims of Domestic Violencet Lisa Marie De Sanctistt
Bridging the Gap Between the Rules of Evidence andJustice for Victims of Domestic Violencet Lisa Marie De Sanctistt PROLOGUE ............................................. 361 INTRODUCTION ................................... 363 I. INTRODUCTION TO DOMESTIC VIOLENCE AND ADMISSIBILITY ..... 367 A. The Difficulties with ProsecutingDomestic Violence ........ 367 B. The Current Scheme of Admissibility for Uncharged Acts Under California Evidence Code Section 1101(b) ....... 374 1. Intent ...................................... 376 2. Plan ....................................... 377 3. Identity .................................... 378 C. The Barrier of Evidence Code Section 352 ............... 378 D. Problems with the Current Scheme ................... 379 II. THE APPROACH OF FEDERAL RULES OF EVIDENCE 4 13-4 14 ... ... .... ...... ..... .. ...... ..... ... 381 A . Introduction ................................ 381 B. The Proponents' Arguments in Favor of Federal Rules of Evidence 413-414 ............................ 383 C. The Critics' Arguments Against FederalRules of Evidence 413-414 ............................ 385 III. APPLYING THE APPROACH OF FEDERAL RULES OF EVIDENCE 413-414 TO DOMESTIC VIOLENCE PROSECUTIONS ........... 387 A . Propensity ................................. 388 B. The Anti-Coincidence Argument .................... 390 C. Time and Efficiency Concerns ..................... 392 D. Survey Results Confirm Problems with Current Rules ....... 394 E. Necessity as a Policy Matter ...................... 397 F. Addressing Some Final -
Between Static and Slime in Poltergeist
Page 3 The Fall of the House of Meaning: Between Static and Slime in Poltergeist Murray Leeder A good portion of the writing on Poltergeist (1982) has been devoted to trying to untangle the issues of its authorship. Though the film bears a directorial credit from Tobe Hooper, there has been a persistent claim that Steven Spielberg (credited as writer and producer) informally dismissed Hooper early in the process and directed the film himself. Dennis Giles says plainly, “Tobe Hooper is the director of record, but Poltergeist is clearly controlled by Steven Spielberg,” (1) though his only evidence is the motif of white light. The most concerted analysis of the film’s authorship has been by Warren Buckland, who does a staggeringly precise formal analysis of the film against two other Spielberg films and two other Hooper films, ultimately concluding that the official story bears out: Hooper directed the film, and Spielberg took over in postproduction. (2) Andrew M. Gordon, however, argues that Poltergeist deserves a place within Spielberg’s canon because so many of his trademarks are present, and because Spielberg himself has talked about it as a complementary piece for E .T.: The ExtraTerrestrial (1982). (3) A similar argument can be made on behalf of Hooper, however, with respect to certain narrative devices and even visual motifs like the perverse clown from The Funhouse (1981). Other scholars have envisioned the film as more of a contested space, caught between different authorial impulses. Tony Williams, for examples, speaks of Spielberg “oppressing any of the differences Tobe Hooper intended,” (4) which is pure speculation, though perhaps one could be forgiven to expect a different view of family life from the director of The Texas Chain Saw Massacre (1974) than that of E.T. -
Journalism Or Gossip? Im a Horse-Whisperer's Tale Trails Dominick Dunne
TUESDAY, JANUARY 28, 2003 j ^feUr 3|ork ^tnteis Journalism Or Gossip? iM A Horse-Whisperer's Tale Trails Dominick Dunne . T >11 l-g^TOtti nww Norman Y. Lono torThe New YorkVlmes A taletoldbyDominick Dunne, above, aboutGaryCondit, topfarright,andthe disappearance ofChandra Levy, topleft, onthetalkshows ofLauraIngraham, bottomleft, and Larry King, right,prompted Mr. Condit to file a defamation suit host of his own program on Court TV. call from someone claiming to have in By FELICITY BARRINGER It is the Ingraham appearance, howev formation about Ms. Levy's disappear er, that has come back to bite him. His ance. At the time the body of Ms. Levy, Dominick Dunne began telling his tale comments on that December 2001 broad the former Federal Bureau of Prisons intern, had not yet been found; it was of Gary Condit, Chandra Levy, the horse cast are the central element in a slander suit against him by Mr. Condit, the for discovered last May in Rock Creek Park whisperer and the Middle Eastern pro mer Democratic congressman. And Mr. in Washington. The case remains un curer sometime in the fall of 200L It was Dunne's frequent repetition of versions of solved. tantalizingly baroque; Mr. Dunne, the this unsubstantiated tale — on television, The caller, Mr. Dunne said, identified Vanity Fair columnist, mesmerized a in Vanity Fair, at dinner parties —raises himself as the animal behavior expert group of New England newspaper editors the question of whether and when jour whose professional story had been re with it over lunch at Foxwoods Resort nalists can traffic publicly in rank rumor. -
Fifty-Nothing
fifty-nothing a coming of age story about the coming of age PUBLICITY AND PRESS CONTACT: Michele Robertson Brooke Blumberg MRC Michele Robertson Company 8530 Wilshire Blvd. Suite 420 Beverly Hills, CA 90211 tel: 310.652.6123 PRODUCER’S REP: Melanie Backer [email protected] tel: 310.779.0402 press kit synopsis fifty-nothing is a modern comedy that explores the simple truth that it’s never too late to start over again. Even at age 50. We meet two long-time golf-buddies, Adam, going through a trial separation from his wife of 15 years and Jon, who is not only losing work to the ‘young guy’, but also dealing with a ‘generous’ prostate. They decide to take off on a weekend journey to let loose and re-live the Palm Springs get-a-way of their younger days but meet with unexpected results. Struggling to fit in with the younger crowd, they find surprising comfort through encounters with women nearer their log line own age. During a holiday get-a-way to Palm As the weekend progresses, both are forced to Springs, two fifty year-old men find come to a truce with middle life’s predicaments. unexpected results while trying to A film that asks the question, “If fifty is the new re-live their younger days in this comic thirty then why do my knees ache?” in what coming of age story about the coming may be the world’s first coming of age story… of age. about the coming of age. fifty-nothing began as conversations production between two friends who were experienc- notes ing life after 50. -
Download a PDF of the Spring 2017 Catalog
The University of Wisconsin Press INTERACTIVE CATALOG Click on book images to order SPRING 2017 SUBJECT GUIDE Photo by Arthur M. Vinje, collection of the Wisconsin Historical Society, WHi-43412 African Studies 21, 26 A merican Studies 1, 6, 8, 15, 16, 18–20 Biography & Memoir 1, 4, 5, 7, 13, 14 Classics 25 Environmental Studies 13, 14 European Studies 17, 27 Fiction 2 Folklore 8, 9, 19 Gay & Lesbian Interest 1, 5, 7, 16 History 3, 6, 15–18, 20, 22–24, 26–28 Human Rights 18, 23, 26, 27 Latin American Studies 26 Literature & Criticism 22, 25 Poetry 10–12 R ussian, Slavic & Eastern European Studies 22–24 W isconsin & Midwest 2, 3, 8, 9, 13, 18, 19, 28 The University of Wisconsin Press is Livia Appel, The University of Wisconsin Press's First Editor LIVIA APPEL was the first employee of the University of Wisconsin Press, hired • a research center within the Office as managing editor in 1937. University Press Committee records from the time of the Vice Chancellor for Research and Graduate Education at the indicate that she was hired because she thoroughly understood academic University of Wisconsin–Madison publishing operations and could be employed for much less pay than a man. Born in Minnesota in 1893, Appel came to UWP from the Minnesota Historical Society. Little about Appel’s work at the University of Wisconsin • a member of the Association Press has been researched, but her tenure included the difficult years of the of American University Presses Great Depression and World War II. We know that the first book published was Reactions of Hydrogen with Organic Compounds over Copper-Chromium Oxide and Nickel Catalysts by Homer Adkins. -
It Isn't Over, Not When It's Dunne
THETIMESThursdayFebruary122009 artsscreen times2 615 TIM KNOX It isn’t over, not when it’s Dunne Dominick Dunne, scourge of celebrities and subject of a new film, talks to Tim Teeman about O.J., death, love and revenge ominick Dunne has of stem-cell treatment he has received in tragedy: the murder of his daughter is the want to finish. Writing puts me in a good started planning his the Dominican Republic and the next raw bedrock of his court-reporting and his mood.” funeral. He reveals round he hopes to receive in Germany will passionate advocacy for victims of crime Has he thought about dying? “Of this not morbidly prove successful in fighting his bladder and their families. In Hollywood, as a course, but I don’t dwell on it. They were but as just another cancer,diagnosed seven monthsago. young man he entertained Bette Davis going to operate on me. I had this whole dry, wonderful “I went to a party last night and every- and Rock Hudson. This week he is off to thing that I was going to die on the table pearl in almost two body said I looked fabulous, and I said: ‘It’s the Oscars: Barry Diller has the best party, but I don’t want to die under anaesthesia. hours of ranging the stem cells’. I’m breaking with tradition he says. He wants Sean Penn (for Milk)or My whole life denies that should be my conversation that and refusing to take chemo,” Dunne says, Frank Langella (Frost/Nixon), a longtime exit.” He laughs. -
San Jose Senior Center Library Inventory
San Jose Senior Center Library Inventory Name of Book Author Category NORA ROBERTS LOVE AT SUNRISE BIRTHRIGHT BLOOD BROTHERS BLUE SMOKE BLUE DAHLIA DANCE UPON THE AIR DANGEROUS EMBRACE FROM THE HEART CHANCES THE HEART OF THE HOME THE QUINN LEGACY REMEMBER WHEN THE CALHOUNS:LILAH & SUZANNA PUBLIC SECRETS NA'S ROYAL FAMILY:GABRIELLA & ALEXANDER THE CALHOUNS:CATHERINE & AMANDA ENTRANCED SHADOW SPELL PRIDE AND PASSION COME SUNDOWN THE COMING STORM SPOTLIGHT SUMMER PLEASURES THE NEXT ALWAYS ENTANGLEMENTS FIRST SNOW REBELLION GOING HOME TIME AND AGAIN BLACK ROSE KEY OF LIGHT RIVER'S END UNDER CURRENTS VELS:DARING;HOLDING;FINDING THE DREAM HIDDEN RICHES KEEP YOU CLOSE MYSTERIOUS THE HOLLOW HIDEAWAY PORTRAIT IN DEATH NORA ROBERTS/J. D. ROBB HEATHER GRAHAM MYSTERY/ROMANCE WITNESS TO DEATH SINISTER INTENTIONS ECHOES OF EVIL THE SUMMONING PALE AS DEATH SEEING DARKNESS DARK RITES ANGEL OF MERCY THE UNINVITED THE VISION A LETHAL LEGACY THE FINAL DECEPTION A DANGEROUS GAME THE NIGHT IS WATCHING UNDERCOVER CONNECTION PICTURE ME DEAD DUST TO DUST HAUNTED DESTINY LAW AND DISORDER THE DEAD ROOM BLUE HEAVEN,BLACK NIGHT A MAGICAL CHRISTMAS FAMILY THE AFRICAN LION ROGER CARAS " KASEY TO THE RESCUE ELLEN ROGERS " ALL THINGS WISE & WONDERFUL JAMES HERRIOT " ALL THINGS BRIGHT & BEAUTIFUL " " ALL CREATURES GREAT & SMALL " " THE LORD GOD MADE THEM ALL " " STILL WATERS HEATHER GRAHAM/KAREN HARPER DANGEROUS NIGHTS HEATHER GRAHAM/MARIE FORCE KEN FOLLETT MYSTERY/SUSPENSE JACK DAWS EYE OF THE NEEDLE WHITEOUT THE THIRD TWIN THE HAMMER OF EDEN JANET EVANOVICH MYSTERY/ROMANCE -
2LOVERS Presskit FINAL 2
A James Gray Film Joaquin Phoenix And Gwyneth Paltrow International Distribution International Publicity 2929 International Rogers and Cowan 9100 Wilshire Blvd, Suite 500W 8687 Melrose Avenue, 7th Floor Beverly Hills, CA 90212 Los Angeles, CA 90069 Tel: (310) 309-5200 Tel: (310) 854-8100 Fax: (310) 309-5708 Fax: (323) 854-8143 Contact: Shebnem Askin Contact: Sandro Renz & Laura Chen Cannes Contact: Rogers and Cowan, Relais de la Reine, 42/43 La Croisette 3 rd Floor Tel: +33 (0)4 93 39 01 33 1 TWO LOVERS Following a suicide attempt, a troubled young man moves back into his parents’ Brooklyn apartment and two women enter his life—a beautiful but volatile neighbor trapped in a toxic affair and the lovely daughter of his father's new business partner. Synopsis TWO LOVERS is a classical romantic drama set in the insular world of Brighton Beach, Brooklyn. It tells the story of Leonard (JOAQUIN PHOENIX), an attractive but troubled young man who moves back into his childhood home following a suicide attempt. While recovering under the watchful eye of his worried but ultimately uncomprehending parents (ISABELLA ROSSELLINI and MONI MONOSHOV), he encounters two women in quick succession: There’s Michelle (GWYNETH PALTROW), a mysterious and beautiful neighbor— exotic and out-of-place in Leonard’s staid Brighton Beach neighborhood. But he soon discovers that she too is deeply troubled. Meanwhile, his parents try to set him up with Sandra (VINESSA SHAW), the lovely and caring daughter of the suburban businessman who’s buying out the family drycleaning business. At first resistant to her appeal (and to his family’s pressure), Leonard gradually discovers hidden depths in Sandra. -
Disturbia 1 the House Down the Street: the Suburban Gothic In
Notes Introduction: Welcome to Disturbia 1. Siddons, p.212. 2. Clapson, p.2. 3. Beuka, p.23. 4. Clapson, p.14. 5. Chafe, p.111. 6. Ibid., p.120. 7. Patterson, p.331. 8. Rome, p.16. 9. Patterson, pp.336–8. 10. Keats cited in Donaldson, p.7. 11. Keats, p.7. 12. Donaldson, p.122. 13. Donaldson, The Suburban Myth (1969). 14. Cited in Garreau, p.268. 15. Kenneth Jackson, 1985, pp.244–5. 16. Fiedler, p.144. 17. Matheson, Stir of Echoes, p.106. 18. Clapson; Beuka, p.1. 1 The House Down the Street: The Suburban Gothic in Shirley Jackson and Richard Matheson 1. Joshi, p.63. Indeed, King’s 1979 novel Salem’s Lot – in which a European vampire invades small town Maine – vigorously and effectively dramatises this notion, as do many of his subsequent narratives. 2. Garreau, p.267. 3. Skal, p.201. 4. Dziemianowicz. 5. Cover notes, Richard Matheson, I Am Legend, (1954: 1999). 6. Jancovich, p.131. 7. Friedman, p.132. 8. Hereafter referred to as Road. 9. Friedman, p.132. 10. Hall, Joan Wylie, in Murphy, 2005, pp.23–34. 11. Ibid., p.236. 12. Oppenheimer, p.16. 13. Mumford, p.451. 14. Donaldson, p.24. 15. Clapson, p.1. 201 202 Notes 16. Ibid., p.22. 17. Shirley Jackson, The Road Through the Wall, p.5. 18. Friedman, p.79. 19. Shirley Jackson, Road, p.5. 20. Anti-Semitism in a suburban setting also plays a part in Anne Rivers Siddon’s The House Next Door and, possibly, in Richard Matheson’s I Am Legend (in which the notably Aryan hero fends off his vampiric next-door neighbour with a copy of the Torah). -
WEEKSWORTH, DAILY COURIER, Grants Pass, Oregon • FRIDAY, SEPTEMBER 24, 2021 THIS WEEK’S HIGHLIGHTS Saturday Wednesday the Goldbergs 90 Day: the Single Life ABC 8 P.M
Daily Courier We e k’sWor th THE TV MAGAZINE SEPTEMBER 25-OCTOBER 1, 2021 Nathan Fillion returns as THE ROOKIE for a fourth season on CBS ‘The Rookie’ returns after cliffhanger drama By Kyla Brewer TV Media Cop shows have been around practically since the dawn of television, and there’s still nothing quite like a good police drama, especially one with a nail-biting cliffhanger season finale. After months of waiting, anxious fans will finally find out what happens when a prime-time hit returns to the airwaves. Nathan Fillion reprises his role as John Nolan, a cop who sets out to find a col- league after she goes missing in the sea- son premiere of “The Rookie,” airing Sun- day on ABC. The debut marks the fourth season of the hour-long drama centered on Nolan, a 40-something cop — and oldest rookie in the history of the LAPD — who works at the Mid-Wilshire Division of the Los Ange- les Police Department. The police drama is the latest in a string of hits for Canadian-American actor Fillion, who rose to fame as Capt. Mal- colm Reynolds in the cult favorite TV series “Firefly” and its subsequent spinoff film, “Serenity” (2005), and as sleuthing mystery writer Richard Castle in the ABC crime drama “Castle.” Born and raised in Edmonton, Fillion moved south to pursue a career in acting, landing roles in TV shows “One Life to Live” and “Two Guys, a Girl and a Pizza Place” and in the movie “Saving Private Ryan” (1998). Now, he’s leading the cast of one of prime time’s highest-rated network series: “The Rookie.” At the end of last season, pregnant Det. -
Hamptons International Film Festival Announces Screenwriters & Mentors
HAMPTONS INTERNATIONAL FILM FESTIVAL ANNOUNCES SCREENWRITERS & MENTORS FOR 17TH ANNUAL SCREENWRITERS LAB FESTIVAL CONTINUES SUPPORT FOR EMERGING FILMMAKERS WITH A FOCUS ON FEMALE ARTISTS LAB TO TAKE PLACE APRIL 7 – 9 East Hampton, NY (March 22, 2017) - The Hamptons International Film Festival (HIFF) today announced the screenwriters and mentors for the 17th annual Screenwriters Lab, which will take place April 7 - 9 in Sag Harbor & East Hampton, NY. The Lab pairs up-and-coming screenwriters with established screenwriters, directors and producers for a weekend of one-on-one mentoring sessions. “Our focus on fostering up-and-coming talent in the HIFF community is at the forefront of our festival's mission, and our Screenwriters Lab is one of our most valued events,” said David Nugent, Artistic Director of the Hamptons International Film Festival. “In the last four years, 4 projects from our Lab have gone on to be produced, all by female filmmakers, which is particularly exciting to us.” The three selected screenplays for 2017 are Annabelle Attanasio’s "Mickey and the Bear,” Jess dela Merced’s "Chickenshit,” and Andrew Semans’s "Resurrection.” Full bios of all Lab participants included below. This year’s mentors include Robin Swicord, screenwriter of “The Curious Case of Benjamin Button,” for which she received an Academy Award®-nomination for Best Adapted Screenplay, “Memoirs of a Geisha,” and “Little Women,” and director of “Wakefield,” which screened at the 2016 HIFF; David Siegel, co-writer, producer and director of “Uncertainty,” which screened at the 2008 HIFF, and “The Deep End,” and director of “Bee Season,” which screened as Opening Night of the 2005 HIFF, and “What Maisie Knew”; and Ted Griffin, co-writer of “Ocean’s Eleven,” “Matchstick Men,” and “Tower Heist,” screenwriter of “Ravenous,” producer of Academy Award®-nominated “The Wolf of Wall Street” and “Up In The Air,” and director of TV series “Terriers,” “Mad Dogs,” and “Patriot.” HIFF will also feature a screenwriting Master Class, open to the public, with last year’s mentor Michael H. -
The Estate of Dominick Dunne at Auction at Stair Galleries
The Estate of Dominick Dunne at Auction at Stair Galleries On November 20th, Stair Galleries will offer the estate of the late Dominick Dunne. Legendary reporter, novelist, producer, and television personality, Mr. Dunne was one of America’s most respected and recognized media figures, “whose celebrity,” according to the New York Times, “often outshone that of his subjects.” From an early age, Mr. Dunne longed for the glamour and intrigue of Hollywood, a world quite removed from his upbringing in West Hart- ford, Connecticut. Drafted into the Army at age eighteen, he fought in the Battle of the Bulge and was awarded the Bronze Star for bravery. Following World War II, Mr. Dunne attended Williams College, found- ing a theater company with classmate, Stephen Sondheim. His early work in live television eventually led him to Los Angeles, where he transitioned from television executive to movie producer of such ground breaking films as The Boys in the Band and The Panic in Needle Park. Personal and professional failures, however, led to a precipitous fall from grace in Hollywood, followed by the murder of his daughter. But, out of this tragedy, Mr. Dunne found his voice and achieved his greatest success as a writer. He chronicled the worlds, criminal and other- wise, of the rich and famous, both as a novelist, publishing such best sellers as The Two Mrs. Grenvilles, An Incon- venient Woman and People Like Us, and concurrently as a special correspondent for Vanity Fair, for which he is credited with setting the tone and style of magazine. His fame reached an even wider audience as the host of Court TV’s Dominick Dunne’s Power, Privilege and Justice.