The National Technical Information Service (NTIS) serves the USA as the largest central resource for government-funded scientific, technical, engineering, and business related information available today. NTIS provides access to well over 3 million publications covering over 350 subject areas from 1964-present. This database makes it easy to locate important government information. It provides full descriptive summaries of titles NTIS has received from government agencies and worldwide government-sponsored research. The information it contains represent hundreds of billions of research dollars and covers a range of important topics including: agriculture, biotechnology, business, communication, energy, engineering, the environment, health and safety, medicine, research and development, science, space technology; and transportation.
-from MD Consult E-book collection
MD Consult
Call#: Van Pelt Library BL65.W67 H36 2003
tagged 19th 20th and books century online by tabr ...and 11 other people ...on 13-JAN-10
Transferred illusions : digital technology and the forms of print / Marilyn Deegan and Kathryn Sutherland. 2009
Schneider, Irving, M.D. "The Theory and Practice of Movie Psychiatry." The American Journal of Psychiatry 144.8 (1987): 996-1002. This article explores the depiction of psychiatry in the movie and how it has been a source of concern to many in the profession over the years. They feel that a false picture of the work of a psychiatrist has been illustrated to the public. In fact, psychiatry in the movies has developed its own characteristics, which only occasionally intersect with those of the real-life profession. In this paper, Schneider outlines theories of the invented profession of movie psychiatry.
"I'll explain to you about dreams so you don't think it is hooey. The secret of who you are and what has made you run away from yourself-these secrets are buried in your brain, but you don't want to look at them. The human being very often doesn't want to know the truth about himself because he thinks it will make him sick; so he makes himself sicker trying to forget. You follow me?... Here's where dreams come in. They tell you what you are trying to hide, but they tell it to you all mixed up like pieces of a puzzle that don't fit. The problem of the analyst is to examine this puzzle and put the pieces together in the right place and find out what the devil you are trying to say to yourself."
The above quote from the movie by Dr. Alex (addressed to Ballentine), shows how method of criminal detection and psychoanalytic method are related. The truth behind Edwardes murder is buried beneath an accumulation of alibis, false tracks, confusing recollections, and the analyst-detective patiently tries to get to the bottom of the case. Throughout the history of film, the psychoanalyst has been a solver of mysteries, often criminal mysteries, as the murder in Spellbound, but just as often personal ones.
tagged and movie of practice psychiatry the theory by hina ...on 02-DEC-08
Citation: Stephen, Vaughn. "Morality and Entertainment: The Origins of the Motion Picture Production Code." The Journal of American History 77 (1990): 39-65.
This article explains why the MPPC was adopted. It illustrates the illicit behaviors of those in Hollywood and why the heads in Tinsil Town felt the need to put their feet down on free expresssion in film. Actors such as Fatty Arbuckle were involved in controversies that were thought to have a significant impact on movie audiences. This morally reprehensible behavior potrayed both on and off screen supposedly caused the corruption of Americans. Therefore, William Hayes decided that there needed to be regulation of Hollywood to prevent any further contamination of yourh in America.
The introduction of the Hays Code directly affected the production of The Outlaw. Howard Hughes fought throughout the production of this film to keep certain scenes that were deemed inappropriate by the production code. In particular scene in question was where Jane Russell wears a dress that reveals too much of her bustline. Per the code, this scene needed to be cut out if the movie was to receive the seal of approval from the MPAA. However, Hughes fought to keep the scene in the movie and eventually came to an agreement about how much of Jane Russell's breast would be shown.
Fashion designs in the United States are widely unprotected by intellectual property rights. Knockoff designers often recreate the couture creations of major design houses without paying royalties and without the labor involved in imagining the high-end fashion designs. Though recently multiple bills have been introduced into Congress that would grant three years of protection for the actual designs, many argue that this protection is actually damaging to the industry that thrives on competitive creativity. On the one hand, no protective measures for fashion design would be extensive enough to completely prohibit design piracy. The damage caused by a fashion copyright law would far outweigh any possible benefits for the fashion industry and all other industries with intellectual property. This article is extremely useful as evidence for my thesis in that it provides both support and opposition for the fashion copyright argument, concluding that protection of something as abstract as a fashion design would ultimately be detrimental. The article extends the same reasoning to other industries that also do not have intellectual property protection, concluding that applying copyright law to one industry would inhibit creativity in other industries as well, which adds an extra layer of depth to the argument that supports my overarching thesis.
All but the most recent issue are freely available.
WP3BudgetsandOrgModels1.pdf (application/pdf Object)
By Sabrina Pape and Barbara Jones for Vassar/CLIR symposium
Business & Industry is a database containing information on public and private companies, industries, markets, and products. It covers the manufacturing and services industries and is international in scope. B&I provides Industry overviews, forecasts, trends, market size and more.
tagged 19th 20th and books century online by okrent ...and 11 other people ...on 08-MAY-08
Denton, William. "FRBR and the History of Cataloging."
Chapter 4 in Understanding FRBR: What It Is and How It Will Affect Our Retrieval, edited by Taylor, Arlene G.
An explanation of where FRBR (Functional Requirements for Bibliographic Records) comes from, given by a look at the work of librarians such as Panizzi, Cutter, Ranganathan, and Lubzetsky, and an examination of four themes in the history of library cataloging: the use of axioms to explain the purpose of catalogs, the importance of user needs, the idea of the "work," and standardization and internationalization.
The characters in the movie have personalities that have been profoundly influenced by the caste system they grew up in, as well as their immediate families. The movie is an exploration of their personalities, and tends to draw audiences in as we go on a journey along with these characters. The protagonist, Apu, is a young boy whose identity is a loose combination of facets seen in his sister Durga, as well as in his father. Durga and her father on the other hand, seem to have personalities that match their neighbor's; this alludes to the idea of identity existing in accordance with one's social surroundings. This further goes to show the importance generated by a community on one's personal identity. Durga's overpowering sense of self, along with her father's unusually quiet persona translate beautifully onto Apu, showing the importance of age, and gender in shaping one's identity.
tagged and constructions identity social by kjhalani ...on 10-APR-08
Call#: Van Pelt Library ML2075 .C455 1995
Allison Anders, a producer of many notable films such as Martin Scorsese’s Grace of the Heart, is quoted as saying, “the very first intoxicated experience of music and movies working together, needless to say, [was] A Hard Day’s Night.” She then went on to say, “when I went to see the movie, I didn’t see the movie itself until I saw it for maybe the tenth time because we were screaming through the whole thing. So it was like seeing a concert with all the little girls.” This quote supports my thesis that A Hard Day’s Night was the first film to successfully unite the pop cultures of film and music in a way that no film previously had, and that it in fact is the first true rock and roll film. Anders’ response to the film, like so many others’, was because of the novelty of the style of this production. A Hard Day’s Night really was like watching a concert for an hour and a half on the silver-screen, and therefore was indeed a rock and roll film. It was different than any other films that came before it, and it forever changed the way music and film interacted. This book, Celluloid Jukebox, gives a great inside understanding of A Hard Day’s Night’s influence on music’s role in film. It speaks of all the films to the present that have used pop music in a similar fashion to the 1964 Beatles’ comedy, and therefore is a great source for my thesis.
GUIDE: Reference Folder #282, available from the Center for Research Libraries through Interlibrary Loan.
DESCRIPTION: The Center has received microfilm for the following parts: part 1: Arundel-Cotton Nero; part 2: Cotton Otho-Cotton Roll; part 3: Egerton-Lansdowne; part 4: Royal-Add. Roll.
Available from the Center for Research Libraries through Interlibrary Loan.
tagged 19th 20th and books century online by okrent ...and 11 other people ...on 05-FEB-08
Call#: Van Pelt Library HN79.C6 B85 2000
Call#: Van Pelt Library HN79.C6 B85 2000
Perhaps one of the most fascinating aspects of the film, Doctor Zhivago, is the intense sexual prowess of the characters. At any given moment, especially early in the film's narrative, four intimate relationships are progressing at once; Komarovsky with Lara's mother, Komarovsky with Lara, Pasha with Lara, Zhivago with Tonya, and eventually Zhivago with Lara as well. Why is it that David Lean and Robert Bolt decide to add a number of extra-marital affairs to the script, even though many of them do not exist in Pasternak's novel? Gregor Carleton touches on this subject in his novel, Sexual Revolution in Bolshevik Russia. Carleton claims that along with the sentiments of political revolution in 1917, came a new sense of sexual freedom. He says that young communist-activists were not just rebelling against political institutions, but against all institutions, including "marriage". In fact, out of this political movement came a strong campaign for women's empowerment. These revoluationary sentiments explain the strength that characterizes Lara throughout the film. She is under the rule of no one, and lives out most of her life as a single, independent woman. According to Carleton, this is an accurate portrayal of women from revolutionary Russia. He cites one female in particular, as his prime example of the changes that accompanied Bolshevism; Kollontai. Kollontai was a party official, fiction writer, and polemicist, and was highly educated. But her most significatn contribution to the revolutionary cause was her views on women's sexuality. Carleton writes, "Her message was that there could be no authentic marriage, no love or intimate relationship, in a class-based, property-obessessed society." (Sexual Revolution in Bolshevik Russia, pg. 38). Essentially, women of Russian society were tired of becoming pieces of property for their men. They were tired of subordination, and their answer to these abuses was sexual promiscuity. In fact, to back such a claim, Carleton sites a poll taken in 1922 in Russia, asking citizens whether marriage was their "ideal" form of a relationship. 21.4% of men said it was, whereas only 14.3% of women said the same. Instead, women stated in interviews that they desired short-term relationships. One bourgeoisie woman, interviewed around the same time as the poll was taken, stated, "Sex is extremely important to me. Its absence ruins my whole mood." (Sexual Revolution in Bolshevik Russia, pg. 39) Therefore, the Russian Revolution was not just a political upheaval, it was also a time of women's empowerment. They were finally allowed to address their own sexuality. Much of this sexuality is evident in Doctor Zhivago. The film is set during the Russian Revolution, and Lara is portrayed as an independent, sexually promiscuous woman. Despite her hatred for Komarovsky, she enjoys the sexual benefits he provides. Similarly, we see the absence of "marriage" as a viable institution in this film. Almost every marriage is violated through infidelity, including Lara's marriage with Pasha, and Zhivago's marriage with Tonya. Carleton's analysis of sexuality during the Russian Revolution explains why David Lean and Robert Bolt may have chosen add the concept of "promiscuity" to the film.
Norris, Margot. “Modernism and Vietnam: Francis Ford Coppola's Apocalypse Now.” MFS Modern Fiction Studies 44:3 (1998): 730 - 766
Margot Norris fully examines and reviews Coppola’s extraordinary film in this article. She attempts to voice Francis Ford Coppola’s critique on the Vietnam War not only through the dialogue inspired by Joseph Conrad’s Heart of Darkness, but also through the undermining themes and images of the film itself. Even though most people contend that Apocalypse Now is a loose interpretation of Heart of Darkness, Norris claims that some of the seemingly random and meaningless scenes in Apocalypse Now actually mirror themes and passages from Conrad’s novella. She dives deep into the psychedelic and dark imagery of Apocalypse Now and analyzes not only the changes made by Coppola and screenwriter John Milius, but also the true meaning of scenes and images that can be directly traced to Heart of Darkness.
One of the main differences Norris finds between the source novella Heart of Darkness and Apocalypse Now can be found in the character changes and the implications meant by these changes. The change in setting also stands as one of the most glaring differences. Norris contends that changing Marlow (a company man) to Willard (a military man), the accountant (a flamboyant ridiculous symbol of colonialism) to Lt. Colonel Kilgore (a ridiculous man of carnage), and the setting of colonial Africa to war torn Vietnam and Cambodia was meant by Coppola to comment mainly on the darkness and evils of man’s violence, exemplified by the Vietnam War.


