...Name: Director: Albert Parker Producer: Douglas Fairbanks Cinematography: Henry Sharp Editor: William Nolan Fencing master: Fred Cavens Writer: Douglas Fairbanks (as Elton Thomas), Jack Cunningham Starring: Douglas Fairbanks (The Duke of Arnoldo/The Black Pirate) ; Billie Dove (Princess Isobel ), Anders Randolf (Pirate Captain); Donald Crisp (MacTavish); Sam De Grasse (Pirate Lieutenant) Studio: Elton Corp. , distributors: United Artists Details: Silent w/ English intertitles, two-tone Technicolor and B&W, 1 hr 22 min Notes: * final kiss w/ Princess Isobel > Mary Pickford * longboat crew >> sailors from USS Arizona • The fight choreographer is the great Fred Cavens. He and colleague Bob Anderson are almost single-handedly responsible for the best sword fights on film from the 1920s to 2000. Cavens was fencing master for every important Zorro from Doug Fairbanks (1920) to Tyrone Power (1940) to Guy Williams (1957-1961; Disney). After Cavens’ death, Anderson took on the next great Zorro: Antonio Banderas. Read BEFORE watching the movie. Bennett, Carl. “The Black Pirate (1926)”[review]. Silent Era. 2010. Web. 22 Mar 2014. http://www.silentera.com/video/blackPirateHV.html (Read article in left sidebar & review of Blu-Ray Disc.) • First major featured film produced in Technicolor • A black & white film was also shot in case the Technicolor fails • Filming in Technicolor was expensive and requires...
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...The Watergate Scandal Richard Milhous Nixon was the thirty-seventh President of the United States of America from 1969 until 1974. Nixon completed his first term as President in 1973 and was re-elected for the position for the next four years. However, Nixon would have his time in the White House cut short by the series of events that occurred in the twenty-six months that followed the Watergate burglary. On June 17, 1972 five men, one White House employee and four Cubans, broke into the Watergate Office Building in Washington, DC in an attempt to bug the Democratic National Committee (DNC) office. The break in and the events that took place afterwards led to the resignation of Richard Milhous Nixon on August 8, 1974. The morning of June 18, Nixon was at his home in Key Biscayne, FL. when he read a headline about the Watergate break in. The idea was out of this world and Nixon did not believe what he was reading. Nixon dismissed the story as a political prank (Nixon 625-626). James McCord, Bernard Barker, Virgilo Gonzalez, Eugenio Martinez, and Frank Sturgis had been arrested and charged with second-degree burglary by the Washington police (WHT 820). McCord, a former CIA officer, was employed by the Committee to Re-elect the President (CRP) as a security consultant. Ironically McCord was supposed to prevent the very things he was doing to the DNC. Nixon telephoned Charles Colson, a special counsel to President Nixon, that evening to discuss the Watergate break in. Colson said...
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...War plays an essential part in maintaining the freedom that was bestowed upon us many years ago, although, along the way to liberty, many lives are lost and some are changed forever. In the narrative, The Things They Carried, written by author Tim O’Brien as well as other war related articles and speeches, soldiers do what it takes to survive the brutal fatality of war through both honorable and dishonorable gestures. The concept of sacrificing their own lives to fight for freedom in the name of their country is an honorable act, but the gruesome idea of murdering and damaging innocent lives on the way is the dishonor that comes along with war. Murdering and violence can be just as dishonorable even when doing so in an honorable manner. Through...
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...Anna Munoz Dr. Jones DISC 1313 December 4, 2015 Music and The Civil Rights Movement of the 1960’s All forms of Black music, from jazz to rock and roll, played an important part in the Civil Rights Movement. The songs were sung for multiple purposes and played a critical role in inspiring, activating, and giving voice to the people involved. The evolution of music during the early 1950’s and 1960’s in the Black freedom struggle reflects the evolution of the Civil Rights Movement itself. The progressive thought of the 1950s nurtured new ideas and cultures including the Civil Rights Movement and the fast spread of rock and roll. One such cultural revival occurred after the end of World War II during a time of change, prosperity and restoration. The “Puritan dicta” outlined by Baldwin represents the American ideology before the Second World War. As the first settlers of this nation, the Puritans set the mold for many common American ideologies. In the Puritan view white represented good and black represented evil, including Africans and their culture. After the war, Baldwin states that the former puritanical views of whites will be challenged. Musicians such as Elvis Presley were the first to issue this challenge to white society. Early rockers like Elvis would pave the way for social commentary in music that would add much fire to the Civil Rights Movement. To fully understand the explosion of popularity of Black music in the years following World War II, one must understand...
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...Davy Crockett Gun Craze by Sarah Nilsen In April 2005, sixty thousand members of the National Rifle Association gathered in Houston, Texas for their 134th Annual Meeting. The keynote speaker for the event was embattled U.S. House Majority Leader, Representative Tom De Lay. After his speech, De Lay was joined on stage by Lee Hamel dressed as Davy Crockett in full buckskin attire and a coonskin hat. Hamel presented De Lay with a handcrafted flintlock rifle that he had made for the event with his mentor, Cecil Brooks. The presentation of the reproduction rifle to De Lay is part of a long NRA tradition that began in 1955 when Walt Disney‟s Davy Crockett series first appeared on television. When Charlton Heston received his handcrafted flintlock rifle in 1989, he uttered his famous words, “From my cold dead hands.” President Ronald Reagan and Vice President Dick Cheney also joined the list of those who received facsimile Davy Crockett flintlock rifles from a man dressed in Crockett buckskin attire. This tradition is part of the NRA‟s efforts to represent the gun as a key instrument in the founding of the United States. It secured this ideological representation in part by appropriating the mythology of early American heroes like Davy Crockett. Davy Crockett became emblematic of the gun mythology of early American life. This mythology was synergized by the NRA and popularized through children‟s television to promote a conception of the role of the gun in American cultural...
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...Contents FOREWORD A.G. LAFLEY 9 CHAPTER 1: START ME UP 11 Here’s what I learned from five great businesses I’ve worked for: • Always surround yourself with Inspirational Players • Zig when others zag • Get out of the office and into the street • Live on the edge • Nothing is Impossible CHAPTER 2: TIME CHANGES EVERYTHING 23 The journey from products to trademarks, from trademarks to brands. A quick look at why brands are running out of juice as they confront the Attention Economy CHAPTER 3: EMOTIONAL RESCUE 37 Why I believe emotional connections can transform brands. If you spend your days reviewing data, read every word of this chapter. Twice. INSIGHTS: Maurice Lévy, Publicis Groupe CHAPTER 4: ALL YOU NEED IS LOVE 49 Taking brands to the next level depends on one four-letter word: L-O-V-E. INSIGHTS: Sean Fitzpatrick, sportsman; Tim Sanders, Yahoo! CHAPTER 5: GIMME SOME RESPECT 59 Love will change the way we do business, but only if it is built on Respect. No Respect, no Love. Simple. Let’s celebrate what Respect has achieved CHAPTER 6: LOVE IS IN THE AIR 65 Okay, so how do you create Loyalty Beyond Reason? INSIGHTS: Alan Webber, Fast Company magazine CHAPTER 7: BEAUTIFUL OBSESSION 73 So what are Lovemarks? They inspire Loyalty Beyond Reason through their obsession with Mystery, Sensuality, and Intimacy. Here are our first ideas about putting them into action. INSIGHTS: Jim Stengel, Procter & Gamble CHAPTER...
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...Contents FOREWORD A.G. LAFLEY CHAPTER 1: START ME UP Here’s what I learned from five great businesses I’ve worked for: • Always surround yourself with Inspirational Players • Zig when others zag • Get out of the office and into the street • Live on the edge • Nothing is Impossible 9 11 CHAPTER 2: TIME CHANGES EVERYTHING The journey from products to trademarks, from trademarks to brands. A quick look at why brands are running out of juice as they confront the Attention Economy 23 CHAPTER 3: EMOTIONAL RESCUE Why I believe emotional connections can transform brands. If you spend your days reviewing data, read every word of this chapter. Twice. INSIGHTS: Maurice Lévy, Publicis Groupe 37 CHAPTER 4: ALL YOU NEED IS LOVE Taking brands to the next level depends on one four-letter word: L-O-V-E. INSIGHTS: Sean Fitzpatrick, sportsman; Tim Sanders, Yahoo! 49 CHAPTER 5: GIMME SOME RESPECT Love will change the way we do business, but only if it is built on Respect. No Respect, no Love. Simple. Let’s celebrate what Respect has achieved 59 CHAPTER 6: LOVE IS IN THE AIR Okay, so how do you create Loyalty Beyond Reason? INSIGHTS: Alan Webber, Fast Company magazine 65 CHAPTER 7: BEAUTIFUL OBSESSION So what are Lovemarks? They inspire Loyalty Beyond Reason through their obsession with Mystery, Sensuality, and Intimacy. Here are our first ideas about putting them into action. INSIGHTS: Jim Stengel, Procter & Gamble 73 CHAPTER 8: ALL I HAVE TO DO IS DREAM ...
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...Arts and the Education of Artists: Art and Story CONTENTS SECTION ONE: Marcel’s Studio Visit with Elstir……………………………………………………….. David Carrier SECTION TWO: Film and Video Narrative Brief Narrative on Film-The Case of John Updike……………………………………. Thomas P. Adler With a Pen of Light …………………………………………………………………… Michael Fink Media and the Message: Does Media Shape or Serve the Story: Visual Storytelling and New Media ……………………………………………………. June Bisantz Evans Visual Literacy: The Language of Cultural Signifiers…………………………………. Tammy Knipp SECTION THREE: Narrative and Fine Art Beyond Illustration: Visual Narrative Strategies in Picasso’s Celestina Prints………… Susan J. Baker and William Novak Narrative, Allegory, and Commentary in Emil Nolde’s Legend: St. Mary of Egypt…… William B. Sieger A Narrative of Belonging: The Art of Beauford Delaney and Glenn Ligon…………… Catherine St. John Art and Narrative Under the Third Reich ……………………………………………… Ashley Labrie 28 15 1 22 25 27 36 43 51 Hopper Stories in an Imaginary Museum……………………………………………. Joseph Stanton SECTION FOUR: Photography and Narrative Black & White: Two Worlds/Two Distinct Stories……………………………………….. Elaine A. King Relinquishing His Own Story: Abandonment and Appropriation in the Edward Weston Narrative………………………………………………………………………….. David Peeler Narrative Stretegies in the Worlds of Jean Le Gac and Sophe Calle…………………….. Stefanie Rentsch SECTION FIVE: Memory Does The History of Western Art Tell a Grand Story?……………………………………...
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...WORKING WITH ABUSED CHILDREN 1 / CHAPTER ONE The Abuse of Filipino Childr en Filipino families consider children as gifts from God (Bulatao 1975). They are persons who inspire love and affection and bring happiness and security in the twilight years of parents. Interestingly, children are seen as links to immortality because children pass on from one generation to another the family’s name, history, and heritage. Often, children are portrayed as being nurtured and properly attended to in their homes; however, Filipino children are not as secure and protected as they are ideally portrayed. The increasing number of street children who work on the streets or beg for alms from pedestrians and motorists belie such an idealized portrayal. Street children, among other things, are the most palpable reminder that all is not well with Filipino children. Reality reveals the many children who are denied even the most minimum of needs like food, love, nurturance, stability, security, and stimulating learning environment that will allow for their healthy development. Many Filipino children are rushed into maturity because early on in their lives, they are forced to contend with difficult problems and to take on adult roles and responsibilities. Media and popular and academic literature, more than any other time, has brought to our attention the plight of children, be they street children or not, who perform adult roles and who are in need of the basic components ...
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...book and because we enjoy talking and writing about pedagogy. Yet when we recall the discussions we’ve had with colleagues about instructor’s manuals over the years, two unnerving comments stick with us: “I don’t find them much help”; and (even worse) “I never look at them.” And, if the truth be told, we were often the people making such points! With these statements in mind, we have done some serious soul-searching about the texts that so many teachers—ourselves included—frequently malign or ignore. As we have considered our quandary, we have come face-to-face with the central paradox that characterizes the genre: Teaching manuals tend to be distant, mechanical, impersonal, and lifeless, when in fact good teaching is immediate, flexible, personal, and lively. In this manual, therefore, we have attempted to communicate to fellow teachers...
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...ALSO BY MALCOLM GLADWELL The Tipping Point To my parents, Joyce and Graham Gladwell Introduction The Statue That Didn’t Look Right In September of 1983, an art dealer by the name of Gianfranco Becchina approached the J. Paul Getty Museum in California. He had in his possession, he said, a marble statue dating from the sixth century BC. It was what is known as a kouros—a sculpture of a nude male youth standing with his left leg forward and his arms at his sides. There are only about two hundred kouroi in existence, and most have been recovered badly damaged or in fragments from grave sites or archeological digs. But this one was almost perfectly preserved. It stood close to seven feet tall. It had a kind of light-colored glow that set it apart from other ancient works. It was an extraordinary find. Becchina’s asking price was just under $10 million. The Getty moved cautiously. It took the kouros on loan and began a thorough investigation. Was the statue consistent with other known kouroi? The answer appeared to be yes. The style of the sculpture seemed reminiscent of the Anavyssos kouros in the National Archaeological Museum of Athens, meaning that it seemed to fit with a particular time and place. Where and when had the statue been found? No one knew precisely, but Becchina gave the Getty’s legal department a sheaf of documents relating to its more recent history. The kouros, the records stated, had been in the private collection of a Swiss physician named Lauffenberger...
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...critical theory today critical theory today A Us e r - F r i e n d l y G u i d e S E C O N D E D I T I O N L O I S T Y S O N New York London Routledge is an imprint of the Taylor & Francis Group, an informa business Routledge Taylor & Francis Group 270 Madison Avenue New York, NY 10016 Routledge Taylor & Francis Group 2 Park Square Milton Park, Abingdon Oxon OX14 4RN © 2006 by Lois Tyson Routledge is an imprint of Taylor & Francis Group, an Informa business Printed in the United States of America on acid‑free paper 10 9 8 7 6 5 4 3 2 1 International Standard Book Number‑10: 0‑415‑97410‑0 (Softcover) 0‑415‑97409‑7 (Hardcover) International Standard Book Number‑13: 978‑0‑415‑97410‑3 (Softcover) 978‑0‑415‑97409‑7 (Hardcover) No part of this book may be reprinted, reproduced, transmitted, or utilized in any form by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfilming, and recording, or in any information storage or retrieval system, without written permission from the publishers. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging‑in‑Publication Data Tyson, Lois, 1950‑ Critical theory today : a user‑friendly guide / Lois Tyson.‑‑ 2nd ed. p. cm. Includes bibliographical references and index. ISBN 0‑415‑97409‑7 (hb) ‑‑ ISBN 0‑415‑97410‑0 (pb) 1. Criticism...
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...FREAKONOMICS A Rogue Economist Explores the Hidden Side of Everything Revised and Expanded Edition Steven D. Levitt and Stephen J. Dubner CONTENTS AN EXPLANATORY NOTE In which the origins of this book are clarified. vii PREFACE TO THE REVISED AND EXPANDED EDITION xi 1 INTRODUCTION: The Hidden Side of Everything In which the book’s central idea is set forth: namely, if morality represents how people would like the world to work, then economics shows how it actually does work. Why the conventional wisdom is so often wrong . . . How “experts”— from criminologists to real-estate agents to political scientists—bend the facts . . . Why knowing what to measure, and how to measure it, is the key to understanding modern life . . . What is “freakonomics,” anyway? 1. What Do Schoolteachers and Sumo Wrestlers Have in Common? 15 In which we explore the beauty of incentives, as well as their dark side—cheating. Contents Who cheats? Just about everyone . . . How cheaters cheat, and how to catch them . . . Stories from an Israeli day-care center . . . The sudden disappearance of seven million American children . . . Cheating schoolteachers in Chicago . . . Why cheating to lose is worse than cheating to win . . . Could sumo wrestling, the national sport of Japan, be corrupt? . . . What the Bagel Man saw: mankind may be more honest than we think. 2. How Is the Ku Klux Klan Like a Group of Real-Estate Agents? 49 In which it is argued that nothing is more powerful than information,...
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...Reading the Novel in English 1950–2000 i RTNA01 1 13/6/05, 5:28 PM READING THE NOVEL General Editor: Daniel R. Schwarz The aim of this series is to provide practical introductions to reading the novel in both the British and Irish, and the American traditions. Published Reading the Modern British and Irish Novel 1890–1930 Reading the Novel in English 1950–2000 Daniel R. Schwarz Brian W. Shaffer Forthcoming Reading the Eighteenth-Century Novel Paula R. Backscheider Reading the Nineteenth-Century Novel Harry E. Shaw and Alison Case Reading the American Novel 1780–1865 Shirley Samuels Reading the American Novel 1865–1914 G. R. Thompson Reading the Twentieth-Century American Novel James Phelan ii RTNA01 2 13/6/05, 5:28 PM Reading the Novel in English 1950–2000 Brian W. Shaffer iii RTNA01 3 13/6/05, 5:28 PM © 2006 by Brian W. Shaffer BLACKWELL PUBLISHING 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford OX4 2DQ, UK 550 Swanston Street, Carlton, Victoria 3053, Australia The right of Brian W. Shaffer to be identified as the Author of this Work has been asserted in accordance with the UK Copyright, Designs, and Patents Act 1988. 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 otherwise, except as permitted by the UK Copyright, Designs, and...
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...Кухаренко В.А. Практикум з стилістики англійської мови: Підручник. – Вінниця. «Нова книга», 2000 - 160 с. CONTENTS FOREWORD...............................................................................…………………………………………... 2 PRELIMINARY REMARKS.....................................................………………………………………….. 3 CHAPTER I. PHONO-GRAPHICAL LEVEL. MORPHOLOGICAL LEVEL…............................... 13 Sound Instrumenting. Craphon. Graphical Means…………………………………………………………...6 Morphemic Repetition. Extension of Morphemic Valency………………………………………………….11 CHAPTER II. LEXICAL LEVEL..............................................……………………………………….…14 Word and its Semantic Structure…………………………………………………………………………….14 Connotational Meanings of a Word………………………………………………………………………….14 The Role of the Context in the Actualization of Meaning…………………………………………………….14 Stylistic Differentiation of the Vocabulary…………………………………………………………………..16 Literary Stratum of Words. Colloquial Words…..…………………………………………………………..16 Lexical Stylistic Devices…………………………………………………………………………………….23 Metaphor. Metonymy. Synecdoche. Play on Words. Irony. Epithet…………………………………………23 Hyperbole. Understatement. Oxymoron. ……………………………………………………………………23 CHAPTER III. SYNTACTICAL LEVEL..................................…………………………………………38 Main Characteristics of the Sentence. Syntactical SDs. Sentence Length…………………………………..38 One-Word Sentences. Sentence Structure. Punctuation. Arrangement...
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