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paternalist

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  • \/\/E /-\RE T|-|E |_/-\/\/\BET|-| B0YS 1 1959 Karel Reisz's We Are the Lambeth Boys (1959) has much in common with Lindsay Anderson's Every Day Except Christmas (1957). It was produced by Leon Clore, sponsored by Ford for its Look at Britain series, filmed by the usual Free Cinema technical staff - in particular cinematographer Walter Lassally and editor John Fletcher - and delivered in the same 50-minute format. The film once again took a sympathetic approach to an aspect of working-class life largely neglected by commercial British cinema. After Every Day's dignified depiction of market workers in Covent Garden, Lambeth Boys attempted to deliver a positive portrait of the lives of ordinary ***agers, far from the usual violent 'Teddy Boy' stereotype. In a sense, the film also developed the theme initiated by Reisz and Tony Richardson in Momma Don't Allow three years earlier. Lambeth Boys was shot over six weeks in the summer of 1958 in and around the Alford House, a youth club in the Oval area of South London. It follows a group of ***agers at work, at home and in their leisure time, giving them space to express their frustrations and aspirations.. The film is never so good as when it lets the camera move around the group or capture their faces in close-up, rather than providing facts and figures or a sociological ***ysis. In a famous article on the film in Sight and Sound, sociologist Richard Hoggart talked of it as a 'film essay' rather than a documentary, because, as he claimed, "it sets out to show, not the ...
  • A Friend With Weed - The Golden Paper Clip Society The Golden Paper Clip Society was a very short-lived side project for "Radical" Ron. The result is this anti-prohibition toe-tapping ditty. The fact that peaceful non-violent citizens are imprisoned for enjoying cannabis is a national disgrace and will go down as one of the most embarrassing marks in our country's history (concerning domestic policy). The fact is that flowering plants appeared on the Earth millions of years before humans. For a group of people to declare a plant (or fungus) illegal is not only metaphysically impossible but is utterly offensive to anyone who has a sense for the sanctity of the Earth, biosphere, Gaia, or whatever people choose to call it. Consumption of cannabis is no more "dangerous" than using legal items such as knives, chainsaws, rat poison, automobiles and dozens of other things that kill thousands of people every year unlike cannabis which kills no one. Prohibition of cannabis is an attempt for leaders to control consciousness and is therefore a violation of our fundamental freedoms. The campaign against it is nonsensical and based on a variety of lies, mistruths and deeply ingrained propaganda images. Cannabis should be legalized today, all prisoners incarcerated on cannabis-related offenses should be freed today, funding for misinformation about cannabis should stop today, and eradication efforts of cannabis should stop today. Anything short of this is unreasonable and grossly unjust. As reasonable adults we have the right to choose ...
  • В.Путин.Заключительное слово на форуме.14.06.05 Concluding Remarks at the Ninth St Petersburg International Economic Forum June 14, 2005 Tauride Palace, St Petersburg Заключительное слово на IX Петербургском международном экономическом форуме 14 июня 2005 года Санкт-Петербург, Таврический дворец PRESIDENT VLADIMIR PUTIN: I think that all of us here have had the chance to get to the essence of the problem raised during our discussions today, an issue that really is one of the most important matters and key problems for many countries, including for Russia. A brief ***ysis was made during this discussion of the relations between two different development models: the paternalist model, that is to say, a model in which the state plays a considerable part in developing the economy, and the liberal model. And I think it was rightly pointed out that each of these different models have proven themselves more or less effective at different periods in the development of the world economy. Lets think back, for example, to the Great Depression in the United States in the late 1920s-early 1930s. It was precisely at this time that the Soviet Unions command economy produced its greatest results and the country developed rapidly as an industrial power. But later, as innovation-based development models became more effective and the world economy became increasingly global in nature, the paternalist foundation of the Soviet command economy and an increasing isolation from world trends brought about the Soviet Unions collapse. I think ...
  • WE ARE THE LAMBETH BOYS 2 Karel Reisz's We Are the Lambeth Boys (1959) has much in common with Lindsay Anderson's Every Day Except Christmas (1957). It was produced by Leon Clore, sponsored by Ford for its Look at Britain series, filmed by the usual Free Cinema technical staff - in particular cinematographer Walter Lassally and editor John Fletcher - and delivered in the same 50-minute format. The film once again took a sympathetic approach to an aspect of working-class life largely neglected by commercial British cinema. After Every Day's dignified depiction of market workers in Covent Garden, Lambeth Boys attempted to deliver a positive portrait of the lives of ordinary ***agers, far from the usual violent 'Teddy Boy' stereotype. In a sense, the film also developed the theme initiated by Reisz and Tony Richardson in Momma Don't Allow three years earlier. Lambeth Boys was shot over six weeks in the summer of 1958 in and around the Alford House, a youth club in the Oval area of South London. It follows a group of ***agers at work, at home and in their leisure time, giving them space to express their frustrations and aspirations.. The film is never so good as when it lets the camera move around the group or capture their faces in close-up, rather than providing facts and figures or a sociological ***ysis. In a famous article on the film in Sight and Sound, sociologist Richard Hoggart talked of it as a 'film essay' rather than a documentary, because, as he claimed, "it sets out to show, not the ...
  • WE ARE THE LAMBETH BOYS 3 Karel Reisz's We Are the Lambeth Boys (1959) has much in common with Lindsay Anderson's Every Day Except Christmas (1957). It was produced by Leon Clore, sponsored by Ford for its Look at Britain series, filmed by the usual Free Cinema technical staff - in particular cinematographer Walter Lassally and editor John Fletcher - and delivered in the same 50-minute format. The film once again took a sympathetic approach to an aspect of working-class life largely neglected by commercial British cinema. After Every Day's dignified depiction of market workers in Covent Garden, Lambeth Boys attempted to deliver a positive portrait of the lives of ordinary ***agers, far from the usual violent 'Teddy Boy' stereotype. In a sense, the film also developed the theme initiated by Reisz and Tony Richardson in Momma Don't Allow three years earlier. Lambeth Boys was shot over six weeks in the summer of 1958 in and around the Alford House, a youth club in the Oval area of South London. It follows a group of ***agers at work, at home and in their leisure time, giving them space to express their frustrations and aspirations.. The film is never so good as when it lets the camera move around the group or capture their faces in close-up, rather than providing facts and figures or a sociological ***ysis. In a famous article on the film in Sight and Sound, sociologist Richard Hoggart talked of it as a 'film essay' rather than a documentary, because, as he claimed, "it sets out to show, not the ...
  • Movies in Mexico City 11-2009 The history of Mexican cinema goes back to the beginning of the 20th century, when several enthusiasts of the new medium documented historical events most particularly the Mexican Revolution and produced some movies that have only recently been rediscovered. Silent films (1896-1929) The "silent film" industry in Mexico produced several movies; however, many of the films up to the 1920s have been lost and were not well-documented. The first "moving picture," according to sources by film historian Jim Mora, was viewed in 1895 using Thomas Edison's kinetoscope. A year later, the cinematographe projector was introduced by Auguste Lumière. Mexico's first queues appeared in cinemas in the capital to see international one-minute films such as The Card Players, Arrival of a Train, and The Magic Hat.[1] The origins of early filmmaking is generally associated with Salvador Toscano Barragán. Toscano compiled the country's first fictional film, titled Don Juan Tenorio. During the Mexican Revolution, Toscano recorded several clips of the battles, which would become a full-length documentary in 1950, assembled by his daughter. Other short films were either created or influenced from French film-makers. A scene from El Aniversario del Fallecimiento de la Suegra de Enhart (1912).By 1906, 16 movie salons opened their doors to accommodate the popularity of cinema in Mexico City. Carpas, or tent shows, were popular beginning in 1911 where lower-class citizens would perform picaresque humor ...
  • WE ARE THE LAMBETH BOYS 4 Karel Reisz's We Are the Lambeth Boys (1959) has much in common with Lindsay Anderson's Every Day Except Christmas (1957). It was produced by Leon Clore, sponsored by Ford for its Look at Britain series, filmed by the usual Free Cinema technical staff - in particular cinematographer Walter Lassally and editor John Fletcher - and delivered in the same 50-minute format. The film once again took a sympathetic approach to an aspect of working-class life largely neglected by commercial British cinema. After Every Day's dignified depiction of market workers in Covent Garden, Lambeth Boys attempted to deliver a positive portrait of the lives of ordinary ***agers, far from the usual violent 'Teddy Boy' stereotype. In a sense, the film also developed the theme initiated by Reisz and Tony Richardson in Momma Don't Allow three years earlier. Lambeth Boys was shot over six weeks in the summer of 1958 in and around the Alford House, a youth club in the Oval area of South London. It follows a group of ***agers at work, at home and in their leisure time, giving them space to express their frustrations and aspirations.. The film is never so good as when it lets the camera move around the group or capture their faces in close-up, rather than providing facts and figures or a sociological ***ysis. In a famous article on the film in Sight and Sound, sociologist Richard Hoggart talked of it as a 'film essay' rather than a documentary, because, as he claimed, "it sets out to show, not the ...
  • Milner Field A short film introducing the book "Milner Field The Lost Country House of Titus Salt Jnr. www.milner-
  • WE ARE THE LAMBETH BOYS 5 Karel Reisz's We Are the Lambeth Boys (1959) has much in common with Lindsay Anderson's Every Day Except Christmas (1957). It was produced by Leon Clore, sponsored by Ford for its Look at Britain series, filmed by the usual Free Cinema technical staff - in particular cinematographer Walter Lassally and editor John Fletcher - and delivered in the same 50-minute format. The film once again took a sympathetic approach to an aspect of working-class life largely neglected by commercial British cinema. After Every Day's dignified depiction of market workers in Covent Garden, Lambeth Boys attempted to deliver a positive portrait of the lives of ordinary ***agers, far from the usual violent 'Teddy Boy' stereotype. In a sense, the film also developed the theme initiated by Reisz and Tony Richardson in Momma Don't Allow three years earlier. Lambeth Boys was shot over six weeks in the summer of 1958 in and around the Alford House, a youth club in the Oval area of South London. It follows a group of ***agers at work, at home and in their leisure time, giving them space to express their frustrations and aspirations.. The film is never so good as when it lets the camera move around the group or capture their faces in close-up, rather than providing facts and figures or a sociological ***ysis. In a famous article on the film in Sight and Sound, sociologist Richard Hoggart talked of it as a 'film essay' rather than a documentary, because, as he claimed, "it sets out to show, not the ...
  • Coastguard Search & Rescue Public Information Film Coastguard Search & Rescue Public Information Film, date unknown.
  • Justice: What's The Right Thing To Do? Episode 03: "FREE TO CHOOSE" ART ONE: FREE TO CHOOSE Sandel introduces the libertarian conception of individual rights, according to which only a minimal state is justified. Libertarians argue that government shouldnt have the power to enact laws that 1) protect people from themselves, such as seat belt laws, 2) impose some peoples moral values on society as a whole, or 3) redistribute income from the rich to the poor. Sandel explains the libertarian notion that redistributive taxation is akin to forced labor with references to Bill Gates and Michael Jordan. PART TWO: WHO OWNS ME? Libertarian philosopher Robert Nozick makes the case that taxing the wealthy—to pay for housing, health care, and education for the poor—is a form of coercion. Students first discuss the arguments behind redistributive taxation. Dont most poor people need the social services they receive in order to survive? If you live in a society that has a system of progressive taxation, arent you obligated to pay your taxes? Dont many rich people often acquire their wealth through sheer luck or family fortune? A group of students dubbed Team Libertarian volunteers to defend the libertarian philosophy against these objections.
  • The Story of Saltaire. Part One A short clip from the film "The Story of Saltaire" For further information visit The Story of Saltaire charts the history of this unique UNESCO world heritage site from it's conception by Titus Salt in 1853 to the present day.