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ED273292.Pdf
ED 273 292 IR 051 616 TITLE Annual Report of tile Librarian of Congress, 1905. For the Fiscal Year Ending September 30, 1985. INSTITUTION Library of Congress, Mashingtos, D.C. PUB DATE 86 NOTE 232p.; For the 1984 annual report, see ED 260 712; for a summary report for 1985, see IR 051 620. AVAILABLE FROMSuperintendent of Documents, U. S. Government Printing Office, Washington, DC 20402. PUB TYPE Books (010) -- Reports - Descriptive (141) EDRS PRICE MF01/PC10 Plus Postage. DESCRIPTORS Annual Reports; Cataloging; Copyrights; *Federal Programs; Information Science; Law Libraries; Library Administration; *Library Services; Library Statistics; *National Libraries; *Program Descriptions; *Research Libraries IDENTIFIERS Congressional Research Service; Copyright Mice; *Library of Congress ABSTRACT Fiscal year activities are summarized for seves organizational areas of the Library of Congress; (1) Administration--Office of the Librarian, and Managemest Servicms; (2) National Programs--American Folklife Center, Children's Literature Center, Educational Liaison Office, Exhibits Office, Federal Library and Information Center Committee, Information Office, Natioaal Library Service for the Blind and Physically Nandicapped, asd Publishing Office; (3) Congressional Research Servicemember mod committee relations, labor-management relations, research services, special research activities, and automated information services; (4) Processing Services--acquisitions and overseas operations, cataloging, bibliographic products and services, networking, and staff -
Boxoffice Barometer (March 6, 1961)
MARCH 6, 1961 IN TWO SECTIONS SECTION TWO Metro-Goldwyn-Mayer presents William Wyler’s production of “BEN-HUR” starring CHARLTON HESTON • JACK HAWKINS • Haya Harareet • Stephen Boyd • Hugh Griffith • Martha Scott • with Cathy O’Donnell • Sam Jaffe • Screen Play by Karl Tunberg • Music by Miklos Rozsa • Produced by Sam Zimbalist. M-G-M . EVEN GREATER IN Continuing its success story with current and coming attractions like these! ...and this is only the beginning! "GO NAKED IN THE WORLD” c ( 'KSX'i "THE Metro-Goldwyn-Mayer presents GINA LOLLOBRIGIDA • ANTHONY FRANCIOSA • ERNEST BORGNINE in An Areola Production “GO SPINSTER” • • — Metrocolor) NAKED IN THE WORLD” with Luana Patten Will Kuluva Philip Ober ( CinemaScope John Kellogg • Nancy R. Pollock • Tracey Roberts • Screen Play by Ranald Metro-Goldwyn-Mayer pre- MacDougall • Based on the Book by Tom T. Chamales • Directed by sents SHIRLEY MacLAINE Ranald MacDougall • Produced by Aaron Rosenberg. LAURENCE HARVEY JACK HAWKINS in A Julian Blaustein Production “SPINSTER" with Nobu McCarthy • Screen Play by Ben Maddow • Based on the Novel by Sylvia Ashton- Warner • Directed by Charles Walters. Metro-Goldwyn-Mayer presents David O. Selznick's Production of Margaret Mitchell’s Story of the Old South "GONE WITH THE WIND” starring CLARK GABLE • VIVIEN LEIGH • LESLIE HOWARD • OLIVIA deHAVILLAND • A Selznick International Picture • Screen Play by Sidney Howard • Music by Max Steiner Directed by Victor Fleming Technicolor ’) "GORGO ( Metro-Goldwyn-Mayer presents “GORGO” star- ring Bill Travers • William Sylvester • Vincent "THE SECRET PARTNER” Winter • Bruce Seton • Joseph O'Conor • Martin Metro-Goldwyn-Mayer presents STEWART GRANGER Benson • Barry Keegan • Dervis Ward • Christopher HAYA HARAREET in “THE SECRET PARTNER” with Rhodes • Screen Play by John Loring and Daniel Bernard Lee • Screen Play by David Pursall and Jack Seddon Hyatt • Directed by Eugene Lourie • Executive Directed by Basil Dearden • Produced by Michael Relph. -
Filming the End of the Holocaust War, Culture and Society
Filming the End of the Holocaust War, Culture and Society Series Editor: Stephen McVeigh, Associate Professor, Swansea University, UK Editorial Board: Paul Preston LSE, UK Joanna Bourke Birkbeck, University of London, UK Debra Kelly University of Westminster, UK Patricia Rae Queen’s University, Ontario, Canada James J. Weingartner Southern Illimois University, USA (Emeritus) Kurt Piehler Florida State University, USA Ian Scott University of Manchester, UK War, Culture and Society is a multi- and interdisciplinary series which encourages the parallel and complementary military, historical and sociocultural investigation of 20th- and 21st-century war and conflict. Published: The British Imperial Army in the Middle East, James Kitchen (2014) The Testimonies of Indian Soldiers and the Two World Wars, Gajendra Singh (2014) South Africa’s “Border War,” Gary Baines (2014) Forthcoming: Cultural Responses to Occupation in Japan, Adam Broinowski (2015) 9/11 and the American Western, Stephen McVeigh (2015) Jewish Volunteers, the International Brigades and the Spanish Civil War, Gerben Zaagsma (2015) Military Law, the State, and Citizenship in the Modern Age, Gerard Oram (2015) The Japanese Comfort Women and Sexual Slavery During the China and Pacific Wars, Caroline Norma (2015) The Lost Cause of the Confederacy and American Civil War Memory, David J. Anderson (2015) Filming the End of the Holocaust Allied Documentaries, Nuremberg and the Liberation of the Concentration Camps John J. Michalczyk Bloomsbury Academic An Imprint of Bloomsbury Publishing Plc LONDON • OXFORD • NEW YORK • NEW DELHI • SYDNEY Bloomsbury Academic An imprint of Bloomsbury Publishing Plc 50 Bedford Square 1385 Broadway London New York WC1B 3DP NY 10018 UK USA www.bloomsbury.com BLOOMSBURY and the Diana logo are trademarks of Bloomsbury Publishing Plc First published 2014 Paperback edition fi rst published 2016 © John J. -
Shail, Robert, British Film Directors
BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter. -
The Shakespeare Moot Project
“Not Drowning, Waiving: Responsibility to Others in the Court of Shakespeare” in forthcoming Special Issue of Law, Culture & the Humanities. ‘As if’ – the Court of Shakespeare and the relationships of law and literature Desmond Manderson* I. Law and the day after The McGill Court of Shakespeare is now in its fourth year. Each year the Court imagines and constructs a new case to be mooted, and assigns students to argue the case before it in a public trial. Without wishing to trespass too much on previous explanations I have written about this process,1 this is not about the law in Shakespeare's time, or what Shakespeare says about law: it is something far more radical. The Court thinks of Shakespeare simply as law, just as we think of the Civil Code or the judgments of the Supreme Court as law. By a process of dramatic invention and indirection, the project seeks to model and to explore the nature of interpretation, the development of a legal tradition, and the way in which value and meaning intersect in the creation of law and literature alike. Clearly there are pedagogic elements to this task. The Court presents those who participate in it, whether as judges, as legal counsel, or as audience – clients have they none, but spectators are there many – with an unusual opportunity to create an organic and responsive model for the ways in which resources to articulate social values can be developed; to explore the ways in which traditions of legal and textual interpretation are developed and modified; to offer new insights into the normative implications of a body of work of supreme cultural significance; to explore the particular nature of Shakespeare's drama, and of literature generally, as a forum for the explorations of normative social 2 values; and to consider, as broadly as possible, how literature and literary thinking might influence and might have already influenced law and legal thinking. -
GSC Films: S-Z
GSC Films: S-Z Saboteur 1942 Alfred Hitchcock 3.0 Robert Cummings, Patricia Lane as not so charismatic love interest, Otto Kruger as rather dull villain (although something of prefigure of James Mason’s very suave villain in ‘NNW’), Norman Lloyd who makes impression as rather melancholy saboteur, especially when he is hanging by his sleeve in Statue of Liberty sequence. One of lesser Hitchcock products, done on loan out from Selznick for Universal. Suffers from lackluster cast (Cummings does not have acting weight to make us care for his character or to make us believe that he is going to all that trouble to find the real saboteur), and an often inconsistent story line that provides opportunity for interesting set pieces – the circus freaks, the high society fund-raising dance; and of course the final famous Statue of Liberty sequence (vertigo impression with the two characters perched high on the finger of the statue, the suspense generated by the slow tearing of the sleeve seam, and the scary fall when the sleeve tears off – Lloyd rotating slowly and screaming as he recedes from Cummings’ view). Many scenes are obviously done on the cheap – anything with the trucks, the home of Kruger, riding a taxi through New York. Some of the scenes are very flat – the kindly blind hermit (riff on the hermit in ‘Frankenstein?’), Kruger’s affection for his grandchild around the swimming pool in his Highway 395 ranch home, the meeting with the bad guys in the Soda City scene next to Hoover Dam. The encounter with the circus freaks (Siamese twins who don’t get along, the bearded lady whose beard is in curlers, the militaristic midget who wants to turn the couple in, etc.) is amusing and piquant (perhaps the scene was written by Dorothy Parker?), but it doesn’t seem to relate to anything. -
Cinema 2: the Time-Image
m The Time-Image Gilles Deleuze Translated by Hugh Tomlinson and Robert Caleta M IN University of Minnesota Press HE so Minneapolis fA t \1.1 \ \ I U III , L 1\) 1/ ES I /%~ ~ ' . 1 9 -08- 2000 ) kOTUPHA\'-\t. r'Y'f . ~ Copyrigh t © ~1989 The A't1tl ----resP-- First published as Cinema 2, L1111age-temps Copyright © 1985 by Les Editions de Minuit, Paris. ,5eJ\ Published by the University of Minnesota Press III Third Avenue South, Suite 290, Minneapolis, MN 55401-2520 f'tJ Printed in the United States of America on acid-free paper 1'::>55 Fifth printing 1997 :])'''::''531 ~ Library of Congress Number 85-28898 ISBN 0-8166-1676-0 (v. 2) \ ~~.6 ISBN 0-8166-1677-9 (pbk.; v. 2) IJ" 2. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or othenvise, ,vithout the prior written permission of the publisher. The University of Minnesota is an equal-opportunity educator and employer. Contents Preface to the English Edition Xl Translators'Introduction XV Chapter 1 Beyond the movement-image 1 How is neo-realism defined? - Optical and sound situations, in contrast to sensory-motor situations: Rossellini, De Sica - Opsigns and sonsigns; objectivism subjectivism, real-imaginary - The new wave: Godard and Rivette - Tactisigns (Bresson) 2 Ozu, the inventor of pure optical and sound images Everyday banality - Empty spaces and stilllifes - Time as unchanging form 13 3 The intolerable and clairvoyance - From cliches to the image - Beyond movement: not merely opsigns and sonsigns, but chronosigns, lectosigns, noosigns - The example of Antonioni 18 Chapter 2 ~ecaPitulation of images and szgns 1 Cinema, semiology and language - Objects and images 25 2 Pure semiotics: Peirce and the system of images and signs - The movement-image, signaletic material and non-linguistic features of expression (the internal monologue). -
Dorset Days DORSET DAYS Authored by Alan Macfarlane
Digital Proofer Dorset Days DORSET DAYS Authored by Alan Macfarlane 5.5" x 8.5" (13.97 x 21.59 cm) Black & White on White paper 354 pages ISBN-13: 9781492121527 ISBN-10: 1492121525 Please carefully review your Digital Proof download for formatting, grammar, and design issues that may need to be corrected. We recommend that you review your book three times, with each time focusing on a different aspect. Check the format, including headers, footers, page 1 numbers, spacing, table of contents, and index. 2 Review any images or graphics and captions if applicable. 3 Read the book for grammatical errors and typos. Once you are satisfied with your review, you can approve your proof and move forward to the next step in the publishing process. To print this proof we recommend that you scale the PDF to fit the size of your printer paper. DORSET DAYS AN UPBRINGING IN THE 1940S AND EARLY 1950S Rhodes James and Macfarlanes, Broadstone, Dorset,1951 Alan’s parents with maternal grandparents and family, Alan, seated on ground BY ALAN MACFARLANE For Fiona and Anne who shared those Dorset Days First published by The Village Digital Press The Orchard Glasshouse, South Willingham, Market Rasen LN8 6NG UK CONTENTS Preface and acknowledgements ix Chronology and sources xv 1. Coming home 1 2. Home 23 3. Daily life 35 4. Money and chickens 68 5. Pain 83 6. Education 98 7. Games 127 8. Outdoors 138 9. Imagination 166 Republished © Alan Macfarlane 2013 10. Assam 197 11. Separations 219 12. The View from Afar 240 Afterwards 255 Visual essay - pho tographs, drawings and letters supp Re PREFACE AND ACKNOWLEDGEMENTS There are four questions behind this account of my childhood. -
Security Policy, Social Networks, and Rio De Janeiro's Favelas Jason Bartholomew Scott Ph.D. Candidate D
Pacified Inclusion: Security Policy, Social Networks, and Rio de Janeiro’s Favelas Jason Bartholomew Scott Ph.D. Candidate Department of Anthropology University of Colorado-Boulder A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Philosphy Department of Anthropology 2018 i This thesis entitled Pacified Inclusion: Security Policy, Social Networks, and Rio de Janeiro’s Favelas written by Jason Scott has been approved for the Department of Anthropology at the University of Colorado-Boulder Donna Goldstein Kaifa Roland Date The final copy of this thesis has been examined by the signatories, and we find that both the content and the form meet acceptable presentation standards of scholarly work in the above mentioned discipline. IRB protocol # 13-0015 ii Scott, Jason Bartholomew (Ph.D., Anthropology) Pacified Inclusion: Security Policy, Social Networks, and Rio de Janeiro’s Favelas Thesis Directed by Professor Donna M. Goldstein Dissertation Abstract This dissertation addresses the connections between everyday violence and digital technology. I describe three years of ethnographic research concerning a community policing program called “pacificação ” (pacification) in a Brazilian favela (shanty town). Alongside supporting a permanent police force that destabilized a powerful drug faction, pacification policy endorsed a wide range of social projects and dramatically reshaped the relationship between the Brazilian State and its marginalized citizens. Among the social projects associated with pacification were a number of “inclusão digital” (digital inclusion) programs that combined technical literacy with critical political literacy in the hope of disrupting exclusionary conditions. During my observations of these programs, I found what I call a hidden politics of digital reproduction. -
Complete Idiot's Guide to American Literature and Use the Rest of Your Time Impressing the Love of Your Life with Your Knowledge of Whitman and His Poetry
Page aa DEAR READER Page ab THE COMPLETE IDIOT'S REFERENCE CARD Page ac Page i American Literature by Laurie E. Rozakis, Ph.D. A Division of Macmillan General Reference A Pearson Education Macmillan Company 1633 Broadway, New York, NY 10019–6785 Page ii Copyright © 1999 by Laurie E. Rozakis All rights reserved. No part of this book shall be reproduced, stored in a retrieval system, or transmitted by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission from the publisher. No patent liability is assumed with respect to the use of the information contained herein. Although every precaution has been taken in the preparation of this book, the publisher and author assume no responsibility for errors or omissions. Neither is any liability assumed for damages resulting from the use of information contained herein. For information, address Alpha Books, 1633 Broadway, 7th Floor, New York, NY 10019–6785. THE COMPLETE IDIOT'S GUIDE TO & Design are registered trademarks of Macmillan, Inc. Macmillan General Reference books may be purchased for business or sales promotional use. For information please write: Special Markets Department, Macmillan Publishing USA, 1633 Broadway, New York, NY 10019. International Standard Book Number: 0028633784 Library of Congress Catalog Card Number: 9964167 01 00 99 8 7 6 5 4 3 2 1 Interpretation of the printing code: The rightmost number of the first series of numbers is the year of the book's printing; the rightmost number of the second series of numbers is the number of the book's printing. For example, a printing code of 991 shows that the first printing occurred in 1999. -
Joseph Losey
Joseph Losey Cinéma Institut de l’image 21 octobre – 3 novembre 2009 Le Garçon La Bête s’éveille Les Criminels aux cheveux verts The Sleeping Tiger (GB, 1954) 89 min The Criminal / The Concrete Jungle (GB, 1960) 97 min The Boy with Green Hair (USA, 1948) 82 min Joseph Scén. Harold Buchman, Carl Foreman, À partir de 10 ans d’après Maurice Moisiewitsch Scén. Alan Owen, d’après un sujet de Losey Scén. Ben Barzman, Alfred Lewis Levitt Int. Dirk Bogarde, Alexis Smith, Alexander Jimmy Sangster Int. Pat O’Brien, Robert Ryan, Barbara Int. Stanley Baker, Sam Wanamaker, 21 octobre – Knox, Maxine Audley… Grégoire Aslan… 3 novembre 2009 Hale, Dean Stockwell… Un psychiatre installe chez lui un jeune « Cinéaste cosmique (…), Losey Peter, séparé de ses parents par la voyou dont il veut faire un sujet d’expé- Johnny a passé ses trois dernières années de prison à mettre au point le peut être aussi claustrophobique guerre, est recueilli par Gramp, un rience… vieil acteur irlandais chaleureux. Un plus gros vol de sa carrière. À sa sortie, (…). Analyste subtil des gouffres matin, les cheveux de Peter devien- Dirigé par Losey, exilé en Grande-Bre- il met son plan à exécution. Il cache du psychisme et de l’ambiguïté nent subitement verts. Très vite, il sent tagne pour fuir le mccarthysme, sous l’argent, mais il est arrêté avant d’avoir humaine, peintre sans complai- peser sur lui le regard des autres… le pseudonyme de Victor Hanbury, pu informer ses complices. Ceux-ci sance d’une société vouée au La Bête s’éveille, film à l’ambiance s’empressent de le sortir de prison… matérialisme et du pouvoir destruc- Le premier film de Losey. -
Vintage Violence La Strana Violenza Del Cinema Di Losey Tarcisio Lancioni
Article Vintage Violence. La strana violenza del cinema di Losey LANCIONI, Tarcisio Reference LANCIONI, Tarcisio. Vintage Violence. La strana violenza del cinema di Losey. EU-topias, 2015, vol. 9, p. 95-109 Available at: http://archive-ouverte.unige.ch/unige:133780 Disclaimer: layout of this document may differ from the published version. 1 / 1 DOSSIER: Vintage Violence 95 Vintage Violence La strana violenza del cinema di Losey Tarcisio Lancioni Ricevuto: 15.09.2014 – Accettato: 16.01.2015 Sommario / Resumen / Résumé / Abstract sion («lacération» / «contrainte») face un seuil «conventionnel». Cette hypo- thèse est développée dans l’analyse des films de Joseph Losey dans lesquels Poiché i testi sulla violenza tendono a non interrogarsi sul senso di questo la violence apparaît sous différentes formes sans pourtant jamais devenir concetto, l’articolo prova a delinearne una definizione attraverso la lettura totalement explicite ou spectaculaire. L’article reprend l’analyse de Gilles di qualche classico e di voci dizionariali, per proporre una caratterizzazione Deleuze dans L’image-Mouvement, où il montre comment la violence de Losey della violenza come dispositivo semiotico, di ordine figurale, che articola due est principalement inscrite au corps de l’acteur et au pouvoir de ce dernier diverse figure di aggressione («lacerazione»/«costrizione») contro una soglia de vibrer sous l’influence des pulsions. Mais dans le cinéma de Losey nous «convenzionale». Questa ipotesi viene sviluppata analizzando i film di Losey, pouvons aussi y retrouver d’autres expressions de violence et cet article in cui la violenza appare sotto molteplici forme, pur senza mostrarsi come cherche justement à les comprendre selon le dispositif proposé.