A great start for do online business, with the tips and do and don't. Entrepreneur, businessman or beginner will find it easy to start the business with all the tips.
June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
• The Committee on Ways and Means has been investigating several universities since November 15, 2023, when the Committee held a hearing entitled From Ivory Towers to Dark Corners: Investigating the Nexus Between Antisemitism, Tax-Exempt Universities, and Terror Financing. The Committee followed the hearing with letters to those institutions on January 10, 202
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
How to Build a Module in Odoo 17 Using the Scaffold MethodCeline George
Odoo provides an option for creating a module by using a single line command. By using this command the user can make a whole structure of a module. It is very easy for a beginner to make a module. There is no need to make each file manually. This slide will show how to create a module using the scaffold method.
Executive Directors Chat Leveraging AI for Diversity, Equity, and InclusionTechSoup
Let’s explore the intersection of technology and equity in the final session of our DEI series. Discover how AI tools, like ChatGPT, can be used to support and enhance your nonprofit's DEI initiatives. Participants will gain insights into practical AI applications and get tips for leveraging technology to advance their DEI goals.
A review of the growth of the Israel Genealogy Research Association Database Collection for the last 12 months. Our collection is now passed the 3 million mark and still growing. See which archives have contributed the most. See the different types of records we have, and which years have had records added. You can also see what we have for the future.
The simplified electron and muon model, Oscillating Spacetime: The Foundation...RitikBhardwaj56
Discover the Simplified Electron and Muon Model: A New Wave-Based Approach to Understanding Particles delves into a groundbreaking theory that presents electrons and muons as rotating soliton waves within oscillating spacetime. Geared towards students, researchers, and science buffs, this book breaks down complex ideas into simple explanations. It covers topics such as electron waves, temporal dynamics, and the implications of this model on particle physics. With clear illustrations and easy-to-follow explanations, readers will gain a new outlook on the universe's fundamental nature.
How to Add Chatter in the odoo 17 ERP ModuleCeline George
In Odoo, the chatter is like a chat tool that helps you work together on records. You can leave notes and track things, making it easier to talk with your team and partners. Inside chatter, all communication history, activity, and changes will be displayed.
MATATAG CURRICULUM: ASSESSING THE READINESS OF ELEM. PUBLIC SCHOOL TEACHERS I...NelTorrente
In this research, it concludes that while the readiness of teachers in Caloocan City to implement the MATATAG Curriculum is generally positive, targeted efforts in professional development, resource distribution, support networks, and comprehensive preparation can address the existing gaps and ensure successful curriculum implementation.
Biological screening of herbal drugs: Introduction and Need for
Phyto-Pharmacological Screening, New Strategies for evaluating
Natural Products, In vitro evaluation techniques for Antioxidants, Antimicrobial and Anticancer drugs. In vivo evaluation techniques
for Anti-inflammatory, Antiulcer, Anticancer, Wound healing, Antidiabetic, Hepatoprotective, Cardio protective, Diuretics and
Antifertility, Toxicity studies as per OECD guidelines
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
Normal Labour/ Stages of Labour/ Mechanism of LabourWasim Ak
Normal labor is also termed spontaneous labor, defined as the natural physiological process through which the fetus, placenta, and membranes are expelled from the uterus through the birth canal at term (37 to 42 weeks
2. ‘GENRE’ definition:
Genre is best defined as a set of patterns/forms/styles/structures which transcend
individual films and texts, and which supervise both their construction by the film-
maker and their reading/viewing by an audience, therefore the genre of a film will
have great importance to both film producers and their target audience.
Genre is the repetition and variation of familiar conventions but it is not just a
simple means of labeling or classifying films, genres change over time and hybrids
emerge. For example ‘Shaun of the Dead’ has been presented as a ‘Rom-Zom-
Com’ A mixture between romance, zombie and comedy which shows how
versatile genres can be.
Most genres can be categorised in several ways, most commonly the setting of
the film as well as the theme topic, mood or format. For example, when we speak
of the western we know that within this collection of films we may expect to find
gun fights, horses and Indians, the solitary cowboy and to some degree the actors
and directors of such films. Another example would be when looking at the horror
film, the audience expects all to die except the main antagonist, as well as
archetypical dark, thrilling conventions; they also expect certain content and a
certain style of film making. Sub-genres are identifiable sub-classes within the
larger film genre, with their own distinctive subject matter, style, formulas and
iconography (I have embedded an image on my blog containing examples.)
http://hesterteasdale.blogspot.co.uk/2013/07/film-genre-sub-genre.html
4. Institutional use of genre
-Film producers use genre as a means of minimising the economic risk in making films
-Film distributors/exhibitors use genre as a means of advertising and promoting films
- Both depend on audiences’ foreknowledge and past experience
Audience use of genre
-Audiences' use genre to create a hierarchical sense of pleasure and escapism when
consuming/watching a film
-They have certain expectations of film genres, a pre-disposition set of typical conventions
which they are hoping the film follows
- Audiences’ expect genre films to involve innovation, inflection/subversion of the generic
conventions.
When marketing and studying cinema it is important to know whom the intended audience are.
For example when studying the classics such as Gilda we must take into account at what time
the film was made and for which audience. We know that it was created after the Second
World War and that the role of the woman was changing and this was an important element to
the audience of the time because it was re-defining the fabric of the society.
Genre theory is a very good way of marketing a film both for the producers, secondly for the
audience. It has become a logo of sorts marking which films certain people may want to see.
In particular we may notice this with the teen movie genre. It is a genre which is divided into
many sub genres such as spoof etc.
5. GENERIC CONVENTIONS
A film genre is defined by its conventions
These conventions must be present to “give a film a genre” but should involve
aspects of innovation, subversion and/or inflection (otherwise it becomes a
formula film)
Generic conventions will vary from genre to genre but will usually involve such
areas of repetition as:
o Mise-en-scene
o Setting
o Visual style
o Themes
o Ideology
o Characters (stereotypes – Vladimir Propp’s theory)
o Narratives (Todorov’s theory)
o Iconography
o Cinematography
o Special Effects
o Sound
o Ideological messages and meanings
6. GENRE
THEORY
“Conventional definitions of genre
are based on the idea that they
share particular convention of
content e.g. Themes or setting” –
David Chandler
“Genres are instances of repetition
and difference; this is what pleasure
for the audience is derived from” –
Steve Neale
“The same text can belong to
different genres in different
countries or times” – John Hartley
“Genre attempts to structure some
order into the wide range of texts and
meanings that circulate in our culture
for the conveniences of both producers
and audiences” – John Fiske
“Genre is a constant process of
negotiation and change” – David
Buckingham
7. TRADITIONAL THEORISTS
Rick Altman argues that genres are usually defined in terms of media
language (SEMANTIC elements) and codes (e.g. in the horror genre: gothic
architecture, dark atmosphere, victims, criminal weapons, or even stars, like
Christopher Lee, who became notorious for his frightening role in the early
Dracula) or certain ideologies and narratives (SYNTACTIC elements –
suspense, anxiety, terror)
Jonathan Culler (1978) – Generic conventions exist to establish a contract
between creator and reader so as to make certain expectations operative,
allowing compliance and deviation from the accepted modes of intelligibility.
Acts of communication are rendered intelligible only within the context of a
shared conventional framework of expression.
Tom Ryall (1998) sees this framework provided by the generic system;
therefore, genre becomes a cognitive repository of images, sounds, stories,
characters, and expectations.
8. TRADITIONAL THEORISTS
Steve Neale (1980) argues that Hollywood’s generic regime performs two inter-
related functions: i) to guarantee meanings and pleasures for audiences ii) to offset
the considerable economic risks of industrial film production by providing cognitive
collateral against innovation and difference.
Much of the pleasure of popular cinema lies in the process of ‘difference in
repetition” - i.ie. Recognition of familiar elements and in the way those elements
might be orchestrated in an unfamiliar fashion or in the way that unfamiliar
elements might be introduced.
Texts often exhibit the conventions of more than one genre. John
Hartley notes that ‘the same text can belong to different genres in
different countries of times’. E.g. Alien as bearing the iconography
of a Science Fiction film, but the stylistic approach of a Horror ,
used specifically to unsettle the audience.
9. CONTEMPORARY THEORISTS
David Chandler: Every genre positions those who participate in a text of that
kind: as interviewer or interviewee, as listener or storyteller, as a reader or a
writer, as a person interested in political matters, as someone to be instructed
or as someone who instructs; each of these “positioning’s” implies different
possibilities for response and for action. Each written text provides a ‘reading
position’ for readers, a position constructed by the writer for the ‘ideal reader’
or the text. (Kress 1988)
Thus, embedded within texts are assumptions about the ‘ideal reader’,
including their attitudes towards the subject matter and often their class, age,
gender and ethnicity.
Traditionally, genres (particularly literary genres) tended to be regarded as
fixed forms, but contemporary theory emphasises that both their forms and
functions are dynamic. David Buckingham argues that ‘genre is not... Simply
“given” by the culture: rather, it is in a constant process of negotiation and
change’
Buckingham’s argument therefore compares to those opinions of Steve
Neale’s.
10. GENRE AND AUDIENCE
‘Uses and gratifications’ research has identified many potential pleasures of
genre, including the following:
One pleasure may simply be the recognition of the features of a particular
genre because of our familiarity with it. Recognition of what is likely to be
important (and what is not), derived from out knowledge of the genre, is
necessary in order to follow a plot.
Genres may offer various emotional pleasures such as empathy and
escapism – a feature which some theoretical commentaries seem to lose sight
of. Aristotle, of course, acknowledged the special emotional responses which
were linked to different genres. Deborah Knight notes that ‘satisfaction is
guaranteed with genre; the deferral of the inevitable provides the additional
pleasure of prolonged anticipation’ (Knight 1994).
11. GENRE AND AUDIENCE
Steve Neale (1980) argues that pleasure is derived from ‘repetition
and difference’; there would be no pleasure without difference. We
may derive pleasure from observing how the conventions of the genre
are manipulated (Abercrombie 1996). We may also enjoy the
stretching of a genre in new directions and the consequent shifting of
out expectations.
David Chandler - Other pleasures can be derived from sharing out
experience of a genre with others within an ‘interpretive community’
which can be characterised by its familiarity with certain genres
(See Slide 6 for other genre theorists opinions on how genre is
effected by audience)