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Six years ago John Z. (for Zachary) DeLorean was earning $650,000 a year as a General Motors vice-president—with a passably clear track to the presidency—when he stunned Detroit by abruptly quitting. Two months ago he rocked Motor City again, this time because of a book that attacks his old company for waste, corruption, neglect of consumers and corporate amorality. Among some cringing auto company men, the book has made him a hero—"He's the only man who ever fired General Motors," as one admirer puts it. Now DeLorean, who will be 55 this week, is about to go that one better. Next fall he will market a new sports car of his own design and production, and he has convinced some GM dealers to distribute it. "Don't people believe you can start a business these days?" DeLorean asks skeptics. "I'd like to show that a bunch of little guys can make it."
The humility is attractive but a bit disingenuous. DeLorean Motor Company is a $200 million operation backed by a consortium of investors in the U.S. and Europe (Johnny Carson among them). DeLorean himself is hardly the average internal-combustion tinkerer. A twice-divorced bon vivant whose romantic life has been as prodigious as his business career, DeLorean fled Detroit in part, he says, because he was bored with it.
The disenchantment is plain in his book, On a Clear Day You Can See General Motors. Written by the former Detroit bureau chief of Business Week, J. Patrick Wright, and billed as DeLorean's "own story," the book charges GM with official nonchalance toward the Corvair (a car that inspired Ralph Nader's Unsafe at Any Speed). It ridicules numbing, time-wasting rituals of paper-shuffling in the executive suites and waxes outraged at the perks demanded by top GM brass. (To provide a traveling sales executive with his customary midnight snack, the book charges, GM took out a window in his hotel suite and lowered in a fully stocked refrigerator by crane.) After giving Wright all his ammunition, DeLorean pulled out of their publishing agreement—thereby saving his skin with GM—but Wright published the book anyway. "It came out a lot tougher than was my intention," DeLorean says. "I wanted it to be constructive." Then he smiles and adds, "GM hasn't retaliated. In fact they've offered me an opportunity to merge with their Iranian subsidiary." A Ford factory worker's son who paid his own way through college and earned master's degrees in automotive engineering and business at night, DeLorean insists he has goodwill toward his old company: "GM was very good to me. I was an unsophisticated transmission engineer who was given many opportunities."
What GM never appreciated, he says, was his life-style. Six-foot-four with movie star good looks, DeLorean is a physical fitness zealot who works out three times a week and is as proud of his 30-inch waist as of his latest marketing coup. Between his three marriages, he squired the likes of Ursula Andress, Joey Heatherton, Candice Bergen and Nancy Sinatra. Such glamorous escorts, along with his modishly long hair and turtleneck sweaters, scandalized automotive society. In 1973 he married fashion model Cristina Ferrare—she had lived with him for three months before saying, "Either we marry or I am leaving." The clatter of tongues grew louder. He was 48, she was 23. "I consider myself young for my age, so that wasn't a problem for us," he says. "But Cristina wasn't accepted into Detroit society, and I didn't want to subject her to that kind of vindictiveness. When I told her I wanted to leave, she supported me 100 percent."
Some of that support has been financial; Cristina earns $300,000 a year (well over $2,000 a day) as a model for Virginia Slims, Max Factor and others. When he decided to start his own car company, DeLorean plowed in more than $4 million of his own. "You don't do a thing like this for the money," he says. "It will be nine or 10 years until I realize a profit—if it is successful."
In any case money is at present hardly a problem for the DeLoreans. They live in an elegant Fifth Avenue duplex and are now shopping for a Connecticut house to supplement their Beverly Hills apartment and 500-acre California avocado ranch. Although both have hectic careers, they make time for the children—their daughter, Kathryn, 2, and a son, Zachary, 8, whom DeLorean adopted after the breakup of his second marriage. "I adopted him as a single man," he explains, "because I never thought I would marry again. He had a good nurse and I always took him with me. It sounds weird, but it was a good thing." After marrying John, Cristina took time off for a year to get to know Zachary. "Finally, after seven months he called me 'Mommy' and accepted me as his mother," she recalls.
DeLorean's first wife was his secretary; she lasted 12 years. His subsequent marriage to sportscaster Tom Harmon's 20-year-old daughter, Kelly, was over in three. Now DeLorean says, "I'm so in love I can't stand it. I feel this is the only marriage I've ever had." He admits that workaholism broke up his first marriage, but insists he has changed. "My priorities are different," he says. "I try to spend two or three hours a day with my family." His appetites are intact—but strictly monogamous. "Anyone who has accomplished anything has got some sexual aggression," he says. "Right now we're working hard to have more children."
DeLorean spends almost two weeks a month visiting the factory in Belfast where, with the help of $120 million in British development grants, he plans to produce his first 8,000 cars this year. Called the DMC-12 ("He wanted to call it Cristina," his wife cracks, "but the backside wasn't wide enough"), the six-cylinder rear-engine vehicle features gull-wing doors and a stainless-steel skin. DeLorean expects it to retail for about $15,000. "It is a product that is the essence of being ethical," he boasts, citing its mileage (23 mpg in the city), freedom from "planned obsolescence" and expected lifetime of 20 years. "I'm trying to emulate BMW," he says. "If the car fulfills consumer expectations, it will grow into a BMW. It would never compete with General Motors." Even if his enterprise fails, DeLorean knows he can't go home to Detroit again. "It would be impossible," he says, gazing out the window of his 43rd-floor office on Park Avenue. "If they offered me GM, Ford and Chrysler, I wouldn't go back."
G.M. Renegade John Delorean Toots His Own Horn with a New Life, New Book and a New Car
updated 01/07/1980 AT 01:00 AM EST
•originally published 01/07/1980 AT 01:00 AM EST


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subset: commoncrawl


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Arkansas drivers were met with a gruesome scene along the highway, where a leaky poultry trailer spilled blood and chicken guts nearly 20 miles along the pavement. Police continue their search for the persons responsible, while drivers are stuck cleaning up the blood on their vehicles.
Miles of Arkansas highway blood-soaked, drivers clean up
Published On: Nov 14 2013 11:34:58 AM EST


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4 Arabs Arrested for Stoning Jewish Baby
Latest update: December 1st, 2013
Police picked up 4 Arab youths from the village of Sur Baher, on the southeastern outskirts of Jerusalem, on suspicion of throwing rocks at the car carrying baby Avigail Tzur. The car was traveling through the neighborhood of Armon Hanatziv in Jerusalem when the attack took place.
A Jerusalem magistrate court will decide today whether to remand the 4 suspects, Israel radio reported.
Police also picked up 4 Israeli demonstrators who were yelling anti-Arab slogans after the attack.
Impartial justice…
Prime Minister Netanyahu and Jerusalem Mayor Barkat both called for severe punishment for the attackers.
At least until it's time to release them in exchange for whatever comes up next.
Meanwhile, the victim, who sustained moderate injuries from the rocks thrown at her car, is improving. Dr. Eitan Kerem of the Hadassah Medical Center told Israel radio that he hopes the baby will recover completely and has not suffered any irreversible damage.Yori Yanover
About the Author: Yori Yanover has been a working journalist since age 17, before he enlisted and worked for Ba'Machane Nachal. Since then he has worked for Israel Shelanu, the US supplement of Yedioth, JCN18.com, USAJewish.com, Lubavitch News Service, Arutz 7 (as DJ on the high seas), and the Grand Street News. He has published Dancing and Crying, a colorful and intimate portrait of the last two years in the life of the late Lubavitch Rebbe, (in Hebrew), and two fun books in English: The Cabalist's Daughter: A Novel of Practical Messianic Redemption, and How Would God REALLY Vote.
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Tammie AronShared publicly -
Interesting article from a colleague on the uncertainty IBM customers are facing.
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Archive for the 'Books' Category
Rebooking at THE GRAND BUDAPEST HOTEL
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I didn't plan it, but this has been the year of Wes Anderson on our blog.
After an entry on The Grand Budapest Hotel and its play with aspect ratios, I posted an analysis of Moonrise Kingdom (my favorite Anderson movie). Now comes a book from the indefatigable Matt Zoller Seitz that continues the work of his splendiferous Wes Anderson Collection.
Matt provides critical commentary, natch, along with many interviews with Anderson and his creative team. Some critics have a look-in as well. I add my $.02.
You can read more on Vulture here. Available from Abrams on 10 February–too late for the December holidays, but well ahead of Valentine's Day.
An auteur, three archives, and the archivist as auteur
City of Sadness (1989).
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The books have been piling up again, and so I pass along some recommendations. This time the volumes are unusually handsome. Apart from what they say, these publications display how sumptuous a serious film book can be.
Particularly welcome, in light of the touring retrospective of Hou Hsiao-hsien films that began at MoMI on 12 September, is Richard I. Suchenski's anthology of writings on and by the director. Hou Hsiao-hsien is packed with color illustrations and fully up to the standard of other publications from the Austrian Filmmuseum.
Some of our top critics and scholars have contributed essays. From Japan comes Hasumi Shigehiko on Flowers of Shanghai; from France, Jean-Michel Frodon on Hou's collaboration with Chu Tien-wen; from Canada, James Quandt, eloquent as ever on Three Times. American scholars are here too. We have Jean Ma on The Puppetmaster, Abe Mark Nornes on calligraphy and frame space, Kent Jones on time in Hou, and James Udden on Dust in the Wind. Jim is author of the first English-language book on Hou and a contributor to this website. To these essays are added the unique perspectives offered by Taiwanese observers Peggy Chiao on City of Sadness and Wen Tien-hsiang on unmarried women in Hou. A wide-ranging introduction by Richard brings out virtually all the artistic, political, and cultural issues that have been raised by Hou's body of work.
Unabashedly auteurist—and what's wrong with that?—the collection adds even more value by including an interview with Hou and Chu, who supply precious information about the work-in-progress The Assassin. There are also statements by three distinguished directors: Olivier Assayas, Jia Zhang-ke, and Koreeda Hirokazu. Koreeda notes: "Life's details (like eating) should be respected."
We learn as well about the craft behind the artistry. We get a cascade of information from artistic collaborators, including cinematographers, sound designers, actors and others. For example, Tu Duu-chih, sound expert, says: "What [Hou] wants is a natural form of expression and he always manages the atmosphere to meet his needs. If he shoots a drinking scene, for example, he will select real dishes and alcohol and they must be delicious." Delicious is a good word for this book too, an absolute necessity for every serious cinephile.
Birthday greetings to Vienna and Brussels
Speaking of the Austrian Filmmuseum, it celebrates its fiftieth anniversary this year. To celebrate, it has issued a heavyweight, unorthodox boxed set, The Austrian Film Museum at Fifty. Director Alexander Horwath has done a monumental job in bringing a great deal of material together, creating not only a history of the Filmmuseum but a real contribution to international film culture.
In volume one, Aufbrechen (Setting Out), Eszter Kondor provides a history of the institution, with emphasis on its emergence the 1960s and 1970s. Volume two pays homage to Béla Balázs with the title Das sichbare Kino (The Visible Cinema). This is a plump anthology of texts, pictures, and documents from the museum's history. Given the fact that Peter Kubelka was curator for many years, you're not surprised to find a letter from Michael Snow and an email from Ken Jacobs. But I didn't expect an interview with Groucho Marx (letter appended) and correspondence from Don Siegel. This volume also includes a complete record of programs at the museum.
Volume three, Kollection, is a visual treat. It gives us a short history of film in fifty items. The survey includes The Unfinished Letter, a 22mm Edison film ca. 1911-1913, outtakes from Murnau's Tabu, Morgan Fisher's site-specific Screening Room (1968), Kurt Kren's leather jacket, Chuck Jones' What's Up, Vienna? (1983), and frames from Norbert Pfaffenbichler's dizzying Notes on Film 03: Mosaik Mécanique (2007).
The texts in all of the books are in German, but there are so many posters, photos, sketches, diagrams, and storyboards (one by Vertov) that you learn merely by browsing. These volumes are a must for research libraries with a focus on film.
No less idiosyncratic is another anniversary volume, this one from the Royal Film Archive of Belgium, now known as the Cinematek. It was founded seventy-five years ago and, as if by cosmic convergence, it holds 75,000 film titles. But the book, 75000 Films, isn't a celebration of this particular museum. It's a book about film archiving in general. As curator Nicola Mazzanti puts it in his introduction:
Film archiving is already changing and in a few years will be very different from what it is now. New skills, new machines, new people. As no book like this one exists about film archiving we wanted to make sure that at least one is published before the picture changes completely.
What will change? Chiefly, the sheer tactility of the work.
Inspecting a film to check its conditions and its history is all about a physical relation with the material. While winding through a reel of film your fingers run along the edges to feel imperfections and damages. One bends a piece of film to assess its brittleness, caresses a splice to check its resistance. . . .
In other words, it is a precise, careful, dedicated and highly specialized work that often is as tedious as rewinding hundreds and thousand of reels (by hand, as electric motors are often dangerous to the film). An uneventful process until you stumble upon a lost film or a camera negative or perhaps just a beautiful copy in which the colours are perfectly preserved. And the beauty of those images takes your breath away, the thrill of the discovery repays you for all the hours of boring inspections.
To capture both the routine and the exhilaration, Nicola let three photographers document, without constraint, what they saw behind the scenes of the Cinematek. Xavier Harck, Jimmy Kets, and Marie-Françoise Plissart took their cameras into the vaults, the work spaces, the projection rooms, even the loading docks. The images are gorgeous and radiate the touch and heft of reel after reel, can upon can, in profusion that evokes Resnais' Toute la mémoire du monde.
Along with the photos are three essays about film archives. They are personal reflections on cinematheques and their place in film culture. Dominique Païni writes (in French) about how access to films changed during his years as director of the Cinematheque Francaise. Erich de Kuyper, filmmaker and novelist, reflects in Flemish on guiding the Amsterdam Film Museum and creating the programs there. I contributed a piece in English that tries to fit my personal research work into broader trends of film archiving. My essay is elsewhere on this site.
The age of impresarios
Langlois is the dragon who guards our treasures.
–Jean Cocteau
In spring of 1973 the New York Times announced that a city board had approved the leasing of a building that would house the City Center Cinematheque. This was to be the American counterpart of the Cinémathèque Française, and Henri Langlois was to be its director.
Langlois' project was as vast and flamboyant as the man himself. An old storage building under the Queensboro Bridge, on First Avenue between 59th and 60th Streets, would be converted into a cathedral of cinema. I. M. Pei would design the new building. (One sketch is above.) There would be three auditoriums, a staff screening room, an exhibition space, a restaurant, a bookstore, and a flower market. Programs would draw upon Langlois' archive of 60,000 titles, and there would be screenings from morning to midnight, offering as many as fourteen films a day. Langlois predicted that attendance would surpass a million a year.
My own encounters with Langlois, brief though they were, came at just this moment. I needed to see several French silent films for my dissertation work, and in 1972-1973 I wrote to Langlois asking for permission to visit his archive. Thanks to Sallie Blumenthal, we made contact and he gave me permission. In July, during the summer of Watergate, I arrived at the Cinémathèque. An expansive Langlois welcomed me and gave me a tour of the Musée du cinema, which had been somewhat prematurely opened. Jean-Louis Barrault's costume from Les Enfants du Paradis was draped on a coat hanger nailed to a wall. During my two months in Paris, thanks to Langlois and Mary Meerson, I saw several rare films on Marie Epstein's viewing table.
I have sometimes wondered if my stay there was an accident of timing. Perhaps as a young American I benefited from Langlois' high hopes for his transatlantic alliance. Pressed by money problems in Paris, he could imagine that the American branch of the Cinémathèque would vindicate his vision of a motion picture museum without walls: films circulating everywhere, films shown all the time, no film too minor to merit attention. Had the City Center venue come to fruition, it would have overshadowed the Museum of Modern Art, Manhattan's temple of cinema history. But the project collapsed fairly soon. It required private financing, and during the recession and the oil crisis money was hard to come by.
Langlois' American adventure is just one episode in the tapestry presented in another archive-related anniversary volume: Le Musée imaginaire d'Henri Langlois. Edited by Dominique Païni, this de luxe production accompanied the Cinémathèque's massive exposition from April to August. If Langlois were still living, he'd be 100 this year, and the sumptuousness of this catalogue is in part a testimony to what he accomplished. He helped make cinema equal to the other arts in cultural significance. But the enterprise is not too serious: Païni has made the volume's emblem the famous shot, taken by an unknown hand, of Langlois in the kiss-my-ass salute.
The menu is familiar. There are informative essays by various hands, interspersed with illustrations and documents. But the execution is extraordinary. Reminiscent of 1920s publications, on rough paper and with decentered blocks of type, this square volume seduces you into sustained browsing. Moreover, it contains reproductions of artworks related to Langlois and his institution. We have works by Beuys, Chagall, Duchamp, Fischinger, Léger, Matisse, Miró, Picabia, Richter, Severini, and Survage—all connected, somehow to Langlois and cinema. There are frames from Le Métro, a 1934 film by Langlois and Franju., There are guest-book signatures, catalogue covers, correspondence, and much more.
The catalogue of the exposition is accompanied by a slender but no less ingratiating biographical chronology, festooned with still more images. Mais qui est ce Monsieur Langlois? opens with a striking portrait by Henri Cartier-Bresson and ends with the telegram sent by Jean Renoir after Langlois' death in 1977. "We have lost our guide, and now we feel alone in the forest."
I met Langlois in the days of rivalry among archives, a good deal of it triggered by him. If you were welcomed to Archive X, and word got to Archive Y, that venue would shun you. Surveying these books, I was struck by their quiet assumption that archives must collaborate on projects and share their treasures. After Langlois, archiving became more cooperative, more routinized, more professional, and–Langlois and his allies would say–more boring. We may not need dragons now. Perhaps, though, we had to go through the turmoil of the Age of Impresarios in order to appreciate why collecting films was so important.
For some ideas on Hou's visual style, see Chapter 5 of my Figures Traced in Light, this entry, and a discussion of the early films on this site.
Henri Langlois. Photo by Pierre Boulat.
Somewhere it's always GROUNDHOG DAY
Phil earns his groundhog halo.
Kristin here–
Back in 1999, my book Storytelling in the New Hollywood (Harvard University Press) was about to be published. It was an attempt to suggest that, contrary to the talk of "post-classical" or "post-Hollywood" norms having taken over American filmmaking, the most important classical principles that had been at work since the 1910s were still going strong.
I outlined those principles in the opening chapter, discussing character goals, deadlines, dialogue hooks, unity, and the like. I also argued that, based on my analysis of many films from the 1910s to the 1990s, the vast majority of features followed a structure involving four large-scale parts, or acts–not three, as the popular Syd Field model would have it.
To do that, I analyzed the techniques of ten films usually considered to be models of unified, sophisticated narrative structure: Tootsie, Back to the Future, The Silence of the Lambs, Groundhog Day, Desperately Seeking Susan, Amadeus, The Hunt for Red October, Parenthood, Alien, and Hannah and Her Sisters.
The book was not intended to be a screenplay manual as such, though I know it has been used in some classes and by some aspiring screenwriters.
Ordinarily the press would have asked me to name some prominent film scholars who could be asked to write blurbs for the cover. It occurred to me, though, that it might be better in this case to take each chapter and send it to its director and to its main screenwriter and ask them for blurbs instead.
That turned out to work pretty well. Several didn't answer, and other answered too late to be included. I ended up with three blurbs of which I am very proud, from Ted Tally for The Silence of the Lambs, Susan Seidelman for Desperately Seeking Susan, and from Harold Ramis for Groundhog Day.
Ramis' recent death prompted me to dig out that old file. He had written back to my editor not with a sentence or two to use as a blurb, but with a page-and-a-half letter on the subject; it included a blurb down toward the bottom. It's a letter that reflects how kind and smart Ramis was, and how much he had thought about writing and narrative–even though the process of writing screenplays was probably largely an intuitive one. It shows that he knew something about academic film studies, even if he had some "quibbles" with them. I certainly never meant to suggest that everything I pointed out in the films I analyzed was intended by the director and/or screenwriter. I would say that everything I pointed out was a result of their skill and experience. Even when something happens by accident during filming, someone has to decide whether or not to keep it in.
Rather than just sticking the letter back in the file, I thought I would share it with you. Having a little more of Ramis available can't be a bad thing.
Dear Lindsay,
Thanks for sending the chapters of Kristin Thompson's book Storytelling in the New Hollywood and please convey my thanks to Ms. Thompson for including Groundhog Day among the "modern classics." My only quibble with scholarly film analysis is the occasional tendency to read more significance into certain details than was actually intended, or to think that certain accidents of production, on-set discoveries, or improvisational dialogues were planned and scripted. I realize, from a Deconstructionist point of view, it hardly matters what I think anyway, so let me set aside my minor quibbles and congratulate Ms. Thompson on her new book. If you would, please pass this letter along to her.
I am not a student of screenwriting so I'm afraid I can't comment intelligently on Ms. Thompson's theoretical model. Certainly, the fact that most movies are about two hours long will determine to a large extent the length of the set-up, the placement of the crisis, the climax, and the denouement, but rather than look at films in terms of "acts," I prefer to think in terms of "actions," as if the narrative line were a string of pearls, dramatically linked, each taking the audience forward to the next point. If any particular action doesn't advance the plot or contain some new information, it doesn't belong in the narrative. As a writer I generally proceed more intuitively than structurally. As Ms. Thompson suggests, I suspect that most of us have simply absorbed the classical film structure during our formative years as members of the audience.
When I was hired to write my first Hollywood screenplay, Animal House, the producer handed my collaborators and I paperback copies of Butch Cassidy and the Sundance Kid, and said, "This is what a good screenplay looks like. Just do that." More than twenty years later, my only useful conclusion about structure is that nothing will work if you don't have interesting characters and a good story to tell. One can argue for or against the three-action structure, but, whether or not there are consistent rules about the :well-made" screenplay, it's already true that there are more well-constructed, formulaic screenplays than there are good ones. Also, one must always keep in mind that Hollywood films are almost invariably rewritten by additional (though not always credits) writers. One writer may be thought of as strong on structure, good for a solid first draft, another may be known for his dialogue, others for punching up action or comedy. Also , the Hollywood writer is always responding to script notes from studio executives, story departments, his producers, the director, and from his principal actors. In this convoluted and often tortured process, it's sometimes impossible to attribute the final screenplay to the calculated intentions of one writer or team, and it's often left up to a panel of Writers Guild arbiters to determine screen credit.
I didn't intend to write such an inflated letter but there's a lot to say on the subject and I have a considerable amount of experience.
If it's useful to you, you may quote me as saying that Ms. Thompson's insightful analysis of Groundhog Day and of the screenwriting process in general should be fascinating to both writers and audience alike. More thoughtful writing and more discerning audiences can't help but lead to better movies, and this informative and provocative book is a step in that direction.
Best of luck on the publication of Storytelling in the New Hollywood and please feel free to contact me if you need any further comments.
Harold Ramis
Harold Ramis as Allan "Crazy Legs" Hirschman (SCTV, "Indecent Exposure," 1982).
Nothing, if not critical
The Woman in the Window (1944).
O, gentle lady, do not put me to't,/ For I am nothing, if not critical.
Iago, Othello
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Movie aficionados seem endlessly interested in film criticism—not just in what a writer says about a film, but in the very idea of criticism. I've suggested in a recent entry some of the historical reasons for this: the rise of the celebrity reviewer in the 1960s, the surge in interest in foreign and alternative cinemas, the emergence of filmic experiments, from Persona to Memento, that seemed to demand discussion.
With the internet, you can't turn around without bumping into a film review. Aggregate sites like Rotten Tomatoes and Metacritic get tens of millions of hits a month. Of course many people are just checking on the range of opinions of a specific release, but I get a sense that many readers are more or less addicted to critical buzz as such. Connoisseurs of sentiment and snark, they still follow favorite reviewers just as we did in the 1960s, and they enjoy reading a critic they don't agree with because she or he is an enticing writer.
In one corner of my workroom a steadily growing pile of books is no less a tribute to the flourishing of film criticism. Yes, books. I'm a committed Netizen (I'd better be, after three e-books, several web essays and videos, and over 610 blog entries). And for certain purposes, such as word search, I prefer digital versions of texts. But nothing beats a book for reading anywhere you happen to be, thumbing back to check a point, marking up margins with invective, and throwing across a room when you've decided the author is a dunce.
Here, though, are some books that won't become missiles.
One consequence of the 1960s cult of the movie critic was a new genre of book—the anthology of a writer's reviews, think pieces, and long-form essays, perhaps spiced by an interview or two. Call it a predecessor of a website if you must, but such books were tempting packages to cinephiles who wanted their fix in big gulps, not weekly doses. Then we eagerly read through Agee on Film, Dwight Macdonald on Movies, Kael's I Lost It at the Movies, and many other collections. Some of these are now classics, most are forgotten, but the format still has life in it. Roger Ebert, exceptional in all respects, kept it going for years and crowned it with his Great Movies series. The format passed to academic presses like Wesleyan with Kent Jones' Physical Evidence (2007) and Chicago with Dave Kehr's When Movies Mattered (2011).
Like me, James Naremore is a creature of the 1960s, but with his typical discretion he has waited forty years to bring together a collection. Jim's 1973 Filmguide to Psycho introduced me to his elegant thinking about movies. Since then he has written about a great many subjects, always with wit, steady vision, and deep and unostentatious learning. Now we have An Invention without a Future: Essays on Cinema (University of California Press).
Every essay here is a polished gift from a master of the literary essay. The book's first section considers classic topics like adaptation, authorship, and acting. It includes a sharp discussion of the rhetorical dimension of both filmic creation and critical commentary. In the second section we see Naremore the close reader, turning to the classic Hollywood cinema he has done so much to illuminate. He considers Hawks, Hitchcock, Welles, Huston, Minnelli, and Kubrick—the subjects of earlier writing he's done, but now refocused through new lenses. One recurring question is: Does cinema, either as a physical medium or a public spectacle or a humanistic art have a future? Although the book's compass swings constantly to the 1940s through the 1960s, Jim is fully up to date, writing with sensitivity on Shirin, Uncle Boonmee, and Mysteries of Lisbon.
The latter pieces were among Jim's efforts at real-time film reviewing at Film Quarterly. Perhaps the sharpest edge of the book comes in the section housing them, called "In Defense of Criticism." Jim, I think, considers criticism as, say, Lionel Trilling or Edmund Wilson considered it. Endowed with a tolerant, generous mind, the critic uses all the resources of culture—philosophical and moral ideas, social forces, artistic traditions—to illuminate the unique identity of the artwork.
More deeply, the critic expects the encounter with the artwork to challenge and change us. This to me is one difference between the reviewer and the critic. The reviewer expects the film to live up to his or her solidly entrenched point of view. The critic is open to being shaken, taught, and even transformed by the film. The reviewer projects confidence, the critic displays curiosity.
This ambitious conception of criticism is at risk today from two forces. There is the sheer blather of pop journalism and the Internet, which have pushed film culture from criticism to comments to chat to chatter. At the other end, some professors are allied against film as an art.
Today the humanities are in danger of losing their soul. Academic film studies has tended to focus on formal systems, industrial history, fandom, and identity politics—essential topics without which good criticism can't be written, but topics that don't engage directly with questions of art and artists.
Admitting that a certain detachment is valuable for research purposes, Naremore thinks that academics have become somewhat too clinical. Part of his book's purpose is to draw their attention back to the intellectuals who flourished outside the academy, and for whom quality was worth arguing about.
I nevertheless think that evaluative criticism needs to be encouraged more, and I miss the days before the full-scale development of film studies, when film was made exciting and relevant by virtue of critical writing and debates over value.
So the last section consists of thoughtful essays on James Agee, Manny Farber, Andrew Sarris, and Jonathan Rosenbaum—those who "had the greatest influence on the development of my taste."
For my $.02, I'd just add that appraisals of quality shape a lot of academic writing, even in the Cult Studs vein. Showing that a film is racist or classist is surely an exercise in evaluation, employing moral or political criteria. Showing that fans of Twilight aren't dumb no-hopers often springs from the researcher's own esteem for the franchise. (Remember one of The Blog's mottos: We are all nerds now.)
In effect, I think, Jim is pointing out that in a lot of film studies evaluation isn't framed in specifically artistic terms. On that I'd certainly agree. Jim opens a new conversation by asking academics to look beyond their specializations and learn how the best arts journalists argue about quality. Seriously thought-through yet accessible to all, An Invention without a Future is a bracing, quietly subversive book.
Auteurs: From the ridiculous to the sublime
Jim would find signs of hope in two books dedicated to major directors.
Nil Baskar and Gabe Klinger's Joe Dante, a collection from the enterprising SYNEMA series at the Austrian Film Museum. Dante is just the sort of auteur that cinephiles prize. Working on the fringes of the system in despised genres, he's a Movie Brat who loves B cinema, noir, and crazy comedy. This thick, square book contains virtually everything you'd ever want to know about the man who could be seen as Spielberg's demented, funnier alter ego. Dante's kiddie adventure stories and teen terror pix have celebrated and parodied Americans' feverish love of war, big business, junk food, and lunatic media.
From The Movie Orgy through Looney Tunes: Back in Action to The Hole (still not released in 3D in the US, as far as I know), Dante has been a paradigmatic case of the termite artist praised by Manny Farber. In this collection John Sayles recalls that for The Howling he and Dante agreed they would center on characters who knew horror-movie conventions and wouldn't make the typical fatal mistakes. Bill Krohn, J. Hoberman, Christoph Huber, and Michael Almereyda are among the admirers assembled here, and their spirit of amiable, film-geek homage is infectious. There's also a long interview with Klinger, a detailed chronology, and a filmography zestfully annotated by Howard Prouty.
Dante's opposite number is Béla Tarr, whose films run the gamut from glum to morose, but they're no less exhilarating. They find their ideal explication in András Bálint Kovács' The Cinema of Béla Tarr: The Circle Closes. Kovács scrutinizes all the films, some little-known outside Hungary, and produces careful analyses that balance thematic interpretation with precise examinations of style. As a friend of Tarr's, András is in a unique position to take us into this filmmaker's grimy, splendid world.
Tarr, Kovács suggests, asks his audience to accept the illusions shaping the narrative world. Yet his structure and technique in the end yield a clearer view of the underlying forces than the characters can achieve—often, forces driven by conspiracy or betrayal. Accordingly, Tarr's narratives tend to be cyclical, even when the story situation is unchanging, and his camera movements often trace a circular path. Many readers will particularly welcome Andras' exciting account of Sátántangó, Tarr's most demanding film. Based on a novel with an intricately circular structure, the film finds its own means to suggest a story swallowing its own tail. Most film books nowadays have pretty good frame illustrations, but these are well-sized to illustrate some of Tarr's fine points of staging. In all, this book is likely the definitive study of Tarr's art.
Museum pieces
There's another way to make the case for an auteur's value: produce a dazzling book that pays tribute with gorgeous illustrations and informed critical commentary. This has been done by Taipei's Museum of Contemporary Art in its catalogue King Hu: The Renaissance Man.
The 2012 exhibition it preserves in its pages went beyond the usual regimen of talks and panel discussions. There were children's events and in-person painting of film billboards. In one display, you could watch Tsui Hark's calligraphy form a tribute to his master ("The integrity of swordsmanship remains as the spirited rain…."). An installation tableau by Tim Yip presents a modern woman watching King Hu TV appearances while texting, her vacant mind suspended between two spaces.
Open the catalogue and you're greeted by a large gatefold that sums up King Hu's career. Thereafter, articles like Edmond Wong's study of King Hu's archetypes (derived from legend and theatre) supply the academic ballast, while images of the gallery displays fill up page after page. There are photo essays devoted to each of the films, as well as more gatefolds, illustrating themes such as "The Eight Characteristics of Inns in King Hu's Films." Just the hundred pages of King Hu documents—stills, portraits and self-portraits, along with caricatures of Bill Clinton and Princess Di—would be worth our attention. In all, this is the sort of museum show every cinephile dreams of visiting.
Art historian Steven Jacobs, author of The Wrong House, has collaborated with Lisa Colpaert to produce a dream of another sort. Their book invites you into an imaginary exhibition.
Visualize a museum containing all the paintings you find in films of the 1940s and 1950s. Now assume that some diligent scholar has sniffed out the provenance of all of them and provided stylistic and thematic commentary. And now assume that the research is presented as a guide to this virtual museum, using all the paraphernalia of art-historical commentary.
Confused? Here's the opening of one entry:
[III.9] Portrait of Lady Caroline de Winter
(Unknown Artist, late 18th Century)
This full-length portrait represents Lady Caroline de Winter (1760-1808). The carefully rendered white dress, the column and curtains, and the vista of the landscape are unmistakably reminiscent of the portraits by Thomas Gainsborough, for instance his often-reproduced The Honourable Mrs. Graham (1775-1777). The landscape with trees probably stands for Manderley, the de Winter family estate on the Cornwall coast. For more than a century, the portrait was hanging in a long corridor in Manderley's east wing, which was decorated with ancestral de Winter portraits. In the 1930s, the portrait played an important part in the life of one of Lady Caroline's descendants, Maxim de Winter (Laurence Olivier). Maxim's first wife Rebecca died in mysterious circumstances and once had a copy made of the white dress on the occasion of a masquerade ball at Manderley. . . .
This straight-faced experiment in creative criticism is called The Dark Galleries: A Museum Guide to Painted Portraits in Film Noir, Gothic Melodramas, and Ghost Stories of the 1940s and 1950s. All the conventions are there: the scene-setting introduction, the iconographic interpretations ("crimes and clues," "paintings concealing safes"), and an exhibition guide that takes you from room to room, from Dying Portraits to Ghosts to Modern Portraits and more. They track the ways in which paintings in movies have altered time, refashioned faces, and, if the painting is disturbingly "modern," signified madness and criminality. As zealous researchers, Steven and Lisa have done what they could to trace the provenance of the actual artifacts too, and they've discovered a large number of commercial artists hired by the studios.
A few years back at our summer film school, Steven impressed me when he identified the famously puzzling cubist still life in Suspicion as Picasso's Pitcher and Bowl of Fruit (1931). The ultimate result of his and Lisa's efforts is at once charming and deeply serious, enlightening us about a major motif in Hollywood's "dark cinema." It's an extraordinary accomplishment, and an ideal gift for the patriarch, matriarch, exotic woman, or mystery man in your life.
Thanks to Lin Wenchi for giving me the King Hu catalogue. I'm unable to find an online source for this book, but when I do I will note it here. In the meantime, the sponsoring museum produced several videos for the exhibition. YouTube supplies a playlist of them. Our entries on this great director are here. I discuss his work in more detail in the books Planet Hong Kong and Poetics of Cinema.
For more exercises in creative criticism, visit Hilde D'haeyere's website on silent comedy.
For more thoughts on film criticism on this blog, go here and here and here. A series on major American film critics of the 1940s starts here.
I record Joe Dante's visit to Madison here and wrote about Béla Tarr's films in these entries.
F for Fake (1972).


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Sunday, 30 January 2011 20:13
Ellen Hubert - Testimony for BoardWritten by Mike Penninga
We are excited to present three excellent candidates for the KGF leadership board. Each will be sharing their journey with Jesus, and what excites them about KGF. We first meet Ellen Hubert.
Published in Video
Mike Penninga
Mike Penninga is first a foremost a son of God, a husband of Michelle, a father of 3, and a pretty good tennis player. A grad of Trinity Western University and ACTS seminary with a background in broadcast journalism, Mike has a passion for sharing the life changing news of Jesus Christ in understandable and captivating ways. He has been the lead pastor at KGF since March 2009.
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The Legend of King Arthur Is Getting a Police-Procedural Reboot
It'll be called Camelot.By Nate Jones
It'll be called Camelot.By Nate Jones
Kerry Kennedy got herself into what seems to be an Ambien-induced hit-and-run.By Andre Tartar
The rumors haven't panned out, but does it really matter?By Noreen Malone
The series won't get a second season.By Kyle Buchanan
"Kennedy!" Well, maybe also "Camelot!"By Nitasha Tiku
The sexified King Arthur series premieres tonight on Starz.By Nisha Gopalan
That's all the stalker wanted to hear.By Dan Amira
Ignore the music.By Amanda Dobbins
Eva Green says "passion" a lot.By Amanda Dobbins
Kerry Kennedy, Andrew Cuomo's ex-wife and daughter of RFK, is mulling a bid for office in the future.By Dan Amira
It was also sex parties, maybe.By Dan Amira
Plus: Neal McDonough to play "Dum Dum" in 'Captain America.'By Josh Duboff
In his defense, he was pretty wasted at the time.By Dan Amira
But she isn't getting any Fashion Week invites.By Maridel Reyes


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1ATRS00170-2005-07 Speed Sensor
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2005-2007 Ford Five Hundred Output Speed Sensor for CVT Transmission1ATRS00170-641936
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By Gary Corriveau, Lead Designer
As much as I love the whole process of making games, there are two phases during development which I love the most: Getting started and finishing up.
When embarking on a new project, quickly iterating on prototypes is the name of the game. Testing gameplay ideas, experimenting with art treatments, developing new characters and stories; quickly producing tests that allow the team to dip their toes in the ocean that they are about to dive into. This is fun stuff. The time between investment and reward is short and the possibilities for the future of the project are boundless.
Another great time during the making of a game is the home stretch. This is where we're at with Severed right now.
The final touches of the game are falling into place. We're tuning numbers, tidying up animations, mixing the last of the sound effects and music; Polishing the game to it's full potential. Make no mistake, it's hard work! Not because of the hours put in or the nature of the work, but because you know you will have to stop at some point. Most of us have enough 'final touch' ideas to work on the game for an eternity. But we're also anxious to get Severed in front of an audience with the hopes they will enjoy playing the game as much as we've enjoyed making it. That cognitive dissonance can be difficult at times, but the rewards are well worth it.
Here's the thing with finishing a game: The last bit of polish impacts the game to a much greater degree than the many months of the work that led up to this point.
If you are trying to admire a beautiful painting, but someone has spilt a dab of ketchup across the canvas. What sticks in your mind the most? The artist's work, or the ketchup? (Think Rembrandt, not a Jackson Pollock.) Removing those last placeholders and fixing those last bugs have a similar impact to cleaning the ketchup from that Rembrandt. You remove all the distractions and finally see the game for what it is; what the team has envisioned it to be.


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Windham woman killed in two-car crash in JamaicaJanuary 30,2013Windham woman killed in two-car crash
JAMAICA Police identified a 20-year-old Windham woman was killed on Monday in a two-car crash on Route 30 in Jamaica.
According to State Trooper James Matthews, Tressa McKinney was traveling south when she lost control of her car and skidded across the roadway. Matthews said McKinneys car crossed the yellow lines and collided with northbound traveller Gavin Scotti, 48, of Greenwich, Conn.
McKinneys car ignited after the crash and she was pronounced dead at the scene, Matthews said. Scotti and his passenger were transported to Grace Cottage Hospital in Townshend for minor injuries.
The Jamaica and Londonderry fire departments, Londonderry Rescue and Winhall Police assisted at the scene. The investigation is ongoing and anyone with information should call Matthews at 254-2382.MORE IN This Just InBENNINGTON A North Bennington man who had worked as a crossing guard for the Village School of... Full StoryPROCTOR Two women were arrested Monday after allegedly being caught on camera assaulting... Full StoryA Benson man is facing a potential life sentence for allegedly having sex with a sleeping woman. Full Story
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An apparently vacant home in the Wissinoming section of the city collapsed Saturday afternoon, but it was unclear what might have caused an explosion reported by neighbors. No one appeared to have been injured when the house came down, officials said.
Final word about injuries could take hours, Philadelphia police said, as they had to clear rubble to gain access to the basement.
The house, on the 4700 block of East Howell Street, came down shortly before 12:30 p.m. Less than 21/2 hours later, a backhoe was beginning to clear debris. The beat of a jackhammer mixed with the roar of chainsaws, and clouds of dust filled the air as firefighters worked.


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Volume 7, Number 1—February 2001
Volume 7, Number 1—February 2001 PDF Version [PDF - 2.69 MB - 173 pages]
Emerging Infectious Diseases in Russia, 1990-1999
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S. V. Netesov and J. L. Conrad
Bovine Spongiform Encephalopathy and Variant Creutzfeldt-Jakob Disease: Background, Evolution, and Current Concerns
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The epidemic of bovine spongiform encephalopathy in the United Kingdom, which began in 1986 and has affected nearly 200,000 cattle, is waning to a conclusion, but leaves in its wake an outbreak of human Creutzfeldt-Jakob disease, most probably resulting from the consumption of beef products contaminated by central nervous system tissue. Although averaging only 10-15 cases a year since its first appearance in 1994, its future magnitude and geographic distribution (in countries that have imported infected British cattle or cattle products, or have endogenous BSE) cannot yet be predicted. The possibility that large numbers of apparently healthy persons might be incubating the disease raises concerns about iatrogenic transmissions through instrumentation (surgery and medical diagnostic procedures) and blood and organ donations. Government agencies in many countries continue to implement new measures to minimize this risk.of this rickettsia makes it available for use in serologic tests to determine its clinical spectrum, prevalence, and distribution.
Pesticides and Public Health: Integrated Methods of Mosquito Management
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R. I. RoseView Abstract
Pesticides have a role in public health as part of sustainable integrated mosquito management. Other components of such management include surveillance, source reduction or prevention, biological control, repellents, traps, and pesticide-resistance management. We assess the future use of mosquito control pesticides in view of niche markets, incentives for new product development, Environmental Protection Agency registration, the Food Quality Protection Act, and improved pest management strategies for mosquito control.
Quinolone and Macrolide Resistance in Campylobacter jejuni and C. coli: Resistance Mechanisms and Trends in Human Isolates
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The incidence of human Campylobacter jejuni and C. coli infections has increased markedly in many parts of the world in the last decade as has the number of quinolone-resistant and, to a lesser extent, macrolide-resistant Campylobacter strains causing infections. We review macrolide and quinolone resistance in Campylobacter and track resistance trends in human clinical isolates in relation to use of these agents in food animals. Susceptibility data suggest that erythromycin and other macrolides should remain the drugs of choice in most regions, with systematic surveillance and control measures maintained, but fluoroquinolones may now be of limited use in the empiric treatment of Campylobacter infections in many regions.
Geographic Subdivision of the Range of the Malaria Parasite, Plasmodium vivax
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J. Li et al.View Abstract
We examined geographically distinct isolates of Plasmodium vivax and categorized them according to developmental success in Anopheles albimanus. We found that parasites from Central America and Colombia form a group distinct from those of Asia. New World isolates have a distinct chromosomal translocation and an episomal variation in the open reading fram (ORF) 470 DNA sequence that distinguishes them from the other isolates tested. Old World types of P. vivax were introduced into the Americas, and a remnant of this lineage remains in P. simium. It is indistinguishable from Old World P. vivax to the extent determinable by using our encoded markers and the examination of its developmental pattern in mosquitoes. The cohesive characteristics that separate types of P. vivax are predictors of range and potential for transmission and hence require taxonomic distinction.
Transferable Plasmid-Mediated Resistance to Streptomycin in Clinical Isolate of Yersinia pestis
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Nested Polymerase Chain Reaction for Amplification of the Cryptosporidium Oocyst Wall Protein Gene
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We developed a sensitive nested polymerase chain reaction (PCR) procedure for the Cryptosporidium oocyst wall protein (COWP) gene. Amplification and genotyping were successful in 95.2% of 1,680 fecal samples, 77.6% by the unnested and 17.6% by the nested COWP procedure. The COWP gene was amplified from 2,128 fecal samples: 71 from livestock animals and 2,057 from humans. This series included 706 cases from seven drinking water-associated outbreaks and 51 cases from five swimming pool-associated outbreaks, as well as 1,300 sporadic cases.
Preoperative Drug Dispensing as Predictor of Surgical Site Infection
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The system used by the National Nosocomial Infection Surveillance (NNIS) program to measure risk of surgical site infection uses a score of >3 on the American Society of Anesthesiologists (ASA)-physical status scale as a measure of underlying illness. The chronic disease score measures health status as a function of age, sex, and 29 chronic diseases, inferred from dispensing of prescription drugs. We studied the relationship between the chronic disease score and surgical site infection and whether the score can supplement the NNIS risk index. In a retrospective comparison of 191 patients with surgical site infection and 378 uninfected controls, the chronic disease score and ASA score were highly correlated. The chronic disease score improved prediction of infection by the NNIS risk index and augmented the ASA score for risk adjustment.
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The identification of endogenous avian leukosis virus (ALV) and endogenous avian retrovirus (EAV) in chick cell-derived measles and mumps vaccines in current use has raised concern about transmission of these retroviruses to vaccine recipients. We used serologic and molecular methods to analyze specimens from 206 recipients of measles, mumps, and rubella vaccine for evidence of infection with ALV and EAV. A Western blot assay for detecting antibodies to endogenous ALV was developed and validated. All serum samples were negative for antibodies to endogenous ALV by Western blot analysis. Peripheral blood lymphocyte samples from 100 vaccinees were further tested by polymerase chain reaction for both ALV and EAV proviral sequences; all were negative. Matching serum samples were tested by reverse transcriptase polymerase chain reaction for ALV and EAV RNA, and all 100 samples were negative, providing no evidence of viremia. These findings do not indicate the presence of either ALV or EAV infection in MMR vaccine recipients and provide support for current immunization policies.
A Flea-Associated Rickettsia Pathogenic for Humans
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A rickettsia named the ELB agent, or "Rickettsia felis," was identified by molecular biology techniques in American fleas in 1990 and later in four patients from Texas and Mexico. We attempted to isolate this rickettsia from infected fleas at various temperatures and conditions. A representative isolate of the ELB agent, the Marseille strain, was characterized and used to develop a microimmunofluorescence test that detected reactive antibodies in human sera. The ELB agent was isolated from 19 of 20 groups of PCR-proven infected fleas. The microimmunofluorescence results provided serologic evidence of infection by the ELB agent in four patients with fever and rash in France (2) and Brazil (2), supporting the pathogenic role of this rickettsia. Our successful isolation of this rickettsia makes it available for use in serologic tests to determine its clinical spectrum, prevalence, and distribution.
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From 1996 to 1999, the incidence of gastroenteritis in general practices and the role of a broad range of pathogens in the Netherlands were studied. All patients with gastroenteritis who had visited a general practitioner were reported. All patients who had visited a general practitioner for gastroenteritis (cases) and an equal number of patients visiting for nongastrointestinal symptoms (controls) were invited to participate in a case-control study. The incidence of gastroenteritis was 79.7 per 10,000 person years. Campylobacter was detected most frequently (10% of cases), followed by Giardia lamblia (5%), rotavirus (5%), Norwalk-like viruses (5%) and Salmonella (4%). Our study found that in the Netherlands (population 15.6 million), an estimated 128,000 persons each year consult their general practitioner for gastroenteritis, slightly less than in a comparable study in 1992 to 1993. A pathogen could be detected in almost 40% of patients (bacteria 16%, viruses 15%, parasites 8%).
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Active Bacterial Core surveillance (ABCs) is a collaboration between the Centers for Disease Control and Prevention and several state health departments and universities participating in the Emerging Infections Program Network. ABCs conducts population-based active surveillance, collects isolates, and performs studies of invasive disease caused by Streptococcus pneumoniae, group A and group B Streptococcus, Neisseria meningitidis, and Haemophilus influenzae for a population of 17 to 30 million. These pathogens caused an estimated 97,000 invasive cases, resulting in 10,000 deaths in the United States in 1998. Incidence rates of these pathogens are described. During 1998, 25% of invasive pneumococcal infections in ABCs areas were not susceptible to penicillin, and 13.3% were not susceptible to three classes of antibiotics. In 1998, early-onset group B streptococcal disease had declined by 65% over the previous 6 years. More information on ABCs is available at www.cdc.gov/ncidod/dbmd/abcs. ABCs specimens will soon be available to researchers through an archive.
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A trophic network involving molds, invertebrates, and vertebrates, ancestrally adapted to the palm tree (Attalaea phalerata) microhabitat, maintains enzootic Trypanosoma cruzi infections in the Amazonian county Paço do Lumiar, state of Maranhão, Brazil. We assessed seropositivity for T. cruzi infections in the human population of the county, searched in palm trees for the triatomines that harbor these infections, and gathered demographic, environmental, and socioeconomic data. Rhodnius pictipes and R. neglectus in palm-tree frond clefts or in houses were infected with T. cruzi (57% and 41%, respectively). Human blood was found in 6.8% of R. pictipes in houses, and 9 of 10 wild Didelphis marsupialis had virulent T. cruzi infections. Increasing human population density, rain forest deforestation, and human predation of local fauna are risk factors for human T. cruzi infections.
Persistence and variability of Stenotrophomonas maltophilia in Cystic Fibrosis Patients, Madrid, 1991-1998
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S. Valdezate et al.View Abstract
During 1991 to 1998 at least one Stenotrophomonas maltophilia pulmonary infection was observed in 25 (24%) of 104 cystic fibrosis (CF) patients at the same unit of our hospital in Spain. Ribotyping and pulse-field gel electrophoresis (PFGE) characterization of 76 S. maltophilia isolates from these patients indicated an overall clonal incidence of 47.1%, reflecting new strains in 44% of patients with repeated positive cultures for S. maltophilia. Six patients with repeated episodes were persistently colonized (>6 months) with the same strain. S. maltophilia bacterial counts were higher (geometric mean, 2.9 x108 cfu/mL) in patients with repeated episodes than in those with a single episode (8.4 x104 cfu/mL, p<0.01). Single episodes of S. maltophilia occurred in patients <10 years of age (43% [6/14]), whereas chronic colonization occurred more frequently in older patients (>16 years of age).
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We examined the prevalence of tuberculosis (TB), rate of multidrug-resistant (MDR) TB, and characteristics of TB on a female general medicine ward in Peru. Of 250 patients, 40 (16%) were positive by sputum culture and 27 (11%) by smear, and 8 (3%) had MDRTB. Thirteen (33%) of 40 culture-positive patients had not been suspected of having TB on admission. Six (46%) of 13 patients whose TB was unsuspected on admission had MDRTB, compared with 2 (7%) of 27 suspected cases (p=0.009). Five (63%) of 8 MDRTB patients were smear positive and therefore highly infective. In developing countries, hospital control, a simple method of reducing the spread of MDRTB, is neglected.
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About the Cover
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Skip to comments.Obama bows down to Saudi King
Posted on 04/02/2009 8:19:47 AM PDT by rdb3
April 02, 2009
|I am quite certain that this is not the protocol, and is most unbecoming a President of the United States.
Interesting. Just WHO is in charge of protocol???
I think the others are looking because they can't believe the President of the United States would bow to a king of another country. Frankly, I can't believe it either.
There is only one person in charge of the executive branch, the POTUS. We elected a novice. What do you expect?
I am so pissed off with how he and his wife have acted over there. along with the presents.
He has shown himself to be a complete idiot and when he went on that press conference he called for he was pathetic, loving himself all the time and reminding the world he was elected twice.
I swear I am lost for words and all I have been doing is getting this video out to everyone I know and sending it to media outlets a few times.
this has to be shown and let the public know what a complete plum we have over there.
The way they greeted our best ally to this is disgusting
Isn't Bama a benefactor of Saudil Largess. Who paid for his education?
Thanks. After seeing the video I retract my previous comment.
What an unbelievable loser.
Everyone needs to download a copy of the video and keep reposting it everywhere before Obama's minions scrub it from the web.
Agreed. Doesn't do much good to simply post... I've sent it to my whole address book (I'll probably get a bunch of bounced emails from some of my old contacts at the RMN — forgot to delete those folks! LOL)
watch the video it clearly shows him going over and bowing and maybe even kissing the hand
People who have no experience with government roles. Just as Gorelick and Freah had no experience with national security or banking.
why are some on here saying he is looking at something and not bowing?
All they have to do is look at the video for heavens sake
That's what I thought. Video link in post 386 (around 55 sec in.) They are shaking hands and Bambi's bowing deep.
Sarkozy is laughing at obama
this is the worst gaff of the lot and he and his wife have made a lot over there
The Founding Fathers are spinning.
Video here. If I hadn't actually viewed it (repeatedly) I'd never have believed it. No way was he bending to retrieve anything that had fallen. That was a bow.
IIRC the king doesn't even LIKE it when people engage in antiquated formalities. No American president ought to be doing it in any case.
Words cannot even BEGIN to convey my absolute and utter disgust over this.
And sadly, this is something most Americans will never see, never hear, and won't even be aware of, because the Mainstream Media will protect Obama at ANY COST.
Obama seeking Muslims for high administration positions
In a bid to get more Muslim Americans working in the Obama administration, a book with resumes of 45 of the nation's most qualified - Ivy League grads, Fortune 500 executives and public servants, all carefully vetted - has been submitted to the White House.
LOL same here
just waiting for the boss, sorry my wife to come home and she'll go mental when she see this.
Oh puke.............
Here's link to one of the vids on YouTube. The reporter is speaking in Spanish, but it's a side view of the bow. The Saudi sees him, smiles, and holds out his left hand. Obama quickly goes over, and bows — there is some debate on whether there was a kiss of the Saudi's ring, but the clear view is obstructed. As others have pointed out, it does appear at one point that the King's hand has been turned palm-down, at the same time Obama's mouth is right about at that height during the bow...
As for the kiss - definitely up to speculation. As for the bow — no misinterpretation can possibly be made after viewing the video.
Looks like the king doesn't like people bowing to him:
I thought that too at first, then I noticed the quizzical looks on some of those looking on, as if to say, "What the heck is this guy doing???"
How come Drudge is not zeroing in on this?????? It should be at the top of his front page in big bold flashing letters with sirens flashing.
ping to a complete travesty and disgrace
Samuel Adams
Watch the video... After you do, you will not be questioning this. It is definitely a BOW, and a DEEP bow at that...
The moron doesn't have a clue about protocol. He's no more fit for the position of POTUS than, well, never mind....
I like my FR account.......
Very cool! I'll have to check it out, and keep it in mind to share with others, too then! Thanks. :)
Nobody is running the Protocol Office. The post hasn't been filled.
I read somewhere this AM that they didn't even know there was such a thing.
Remember, these guys are Chicago gangsters. They don't know from protocol. Intimidation is there forte.
It's almost too unbelievable the way he's been acting... I'm almost out of words myself. Make sure your wife is sitting down when she sees the video! :)
Wow! Those strings sound awesome!
Sarkozy and others are laughing at obama
For heaven's sake he is truly embarrassing us
Screw the protocol office. There's no-one on this earth I'd bend my neck to.
Pardon my French :)
From what I saw, he did a 'deep nod' to the Queen as he and Michelle barged..err I mean entered the room, not really a bow.
I know from posts that Rush mentioned it. However, I think the only ones who will be reporting this that can be considered "MSM" will be the Middle Eastern bureaus, maybe Pravda... Even the most liberal reporters here in the U.S. know exactly what happened here. They CAN'T explain it away and so instead they will ignore it... As you said, not if I can help it!
Will we hear from that crowd??
I'm not saying it wasn't disturbing, that's for sure... Just that it's not the same as what Obama did this morning is all.
Correct me if I'm wrong, but don't heads of state only do that to other heads of state at the moment of the unconditional surrender of their country?
LOL I will
the only thing what keeps me going is that there are people who see the world for what it is and that not all of America is braindead.
It's not a bow....he's kissing his ring
Apparently no one in the Protocols Office is talking to the President, or hes (more likely) just ignoring them.
Agreed. Either he refuses to take instructions on protocol, or considers any kind of instruction as so demeaning that no one will try to advise him or his wife.
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