Netflix has thus far had more success with its scripted television series, like House of Cards and Orange Is the New Black, than its original films. But the streaming giant could well experience a change in fortunes with its next venture: a movie about the Panama Papers scandal.
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Obermaier and Obermayer, who write for German newspaper Süddeutsche Zeitung, were given access to 11.5 million documents from the offices of Panama-based law firm Mossack Fonseca by an anonymous whistleblower. The papers implicated a number of companies and high-profile figures around the world who had used the firm's services to take finances offshore to avoid tax liabilities. The journalists shared the documents with the International Consortium of Investigative Journalists (ICIJ), a global group of reporters and publications, which began reporting their findings in April. Their book was published in June.
The Beat Studies Association welcomes papers on any aspect of Beat writing, including centennial writers (Philip Whalen, Carolyn Cassidy, and Norman Mailer). Papers on the impact of Beat writers on subsequent writers and on the relevance of countercultural poetics to the current moment will also be welcome. Representations of writers and texts in televisual and cinematic media and ecocritical approaches are also possibilities. Send 100 word abstract, title, and a few lines identifying yourself to John Whalen-Bridge at email@example.com.
Parents need to know that even though this movie stars a 10-year-old Tatum O'Neal, there's plenty of drinking, smoking (even by Tatum's Addie), and corruption on display. The movie actually starts with Addie's mother's funeral. Some scenes are thematically intense, especially when Ryan O'Neal's character Moze is chased down by corrupt policemen and beaten. Characters are also dragged into the police station for selling stolen bootleg liquor.
Buddy movies are great fun, and so are caper flicks -- movies where you get to live out a fantasy of not being good; of in fact being really, really bad. For some viewers, PAPER MOON will be the ultimate bad-girl escape film: full of road trips, car chases, money, tricks, and general hijinx. Tatum O'Neal stars in her Oscar-winning role as Addie Loggins, a little girl whose mother has just died and is suddenly thrust into the care of Moze (Tatum's dad, Ryan O'Neal), a traveling conman whom Addie is convinced is her real father because they have the same chin. While Moze denies it, he does take little Addie under his wing, teaching her to con widows out of money, steal liquor, and generally live a depraved but fun life.
Addie, as a street-wise orphan, is smarter, sneakier, and more conniving than her foil of a father figure. As Moze dumbly tryies to get the same $7 out of every widow for a "deluxe edition Bible," Addie adjusts prices based on a customer's financial status and earns them more money. When she feels abandoned by Moze for taking a lover, the "harem slave" Trixie (Madeline Kahn), Addie is sharp enough to know that Trixie is a prostitute and makes sure Moze catches her turning a trick. No doubt, Addie (cigarette dangling) lives in a very adult, criminal world, and it's why this movie is a much better choice for teens and up.
EconPapers FAQ Archive maintainers FAQ Cookies at EconPapers Format for printing The RePEc blog The RePEc plagiarism page Racial Bias in Expert Quality Assessment: A Study of Newspaper Movie ReviewsLona Fowdur, Vrinda Kadiyali and Jeffrey Prince (Obfuscate( 'indiana.edu', 'jeffprin' ))Additional contact information Lona Fowdur: Economists, Inc.Vrinda Kadiyali: Cornell UniversityNo 2010-13, Working Papers from Indiana University, Kelley School of Business, Department of Business Economics and Public PolicyAbstract:Newspaper critics' movie reviews are often used by potential movie viewers as signals of expert quality assessment. In this paper, we assess if there is any racial bias in these critics' reviews, and if so, what impact these biases have on viewer demand. To do this, we develop a dataset that tracks ratings from 68 popular movie critics for 566 movies released in the U.S. between 2003 and 2007. The data also include measures of movie production costs, marketing expenditures, type of movie (i.e. genre, MPAA rating, etc.), actor and director quality measures, audience tastes and critics' gender, experience and race. Despite inclusion of all these controls for movie quality and other drivers of critic ratings, we find that ratings for movies with a black lead actor and all white supporting cast are approximately 6% lower than for other racial compositions. These results appear consistent with implicit discrimination. Using estimates of the impact of critics' ratings on movie revenues, we find that lower critic ratings for black lead-white support movies translate into lost revenues of up to 4% or about $2.57 million on average. In sum, prejudice concerning race roles (e.g., the race of the leader versus supporters/followers) can have a direct impact on critic quality assessment, and thereby alter market outcomes.Keywords: racial bias; quality assessment; expert ratings; movies (search for similar items in EconPapers)JEL-codes: J15 (search for similar items in EconPapers)Date: 2009-10New Economics Papers: this item is included in nep-culReferences: View complete reference list from CitEc Citations: Track citations by RSS feedDownloads: (external link) ... -kadiyali-prince.pdf (application/pdf)Related works:Journal Article: Racial bias in expert quality assessment: A study of newspaper movie reviews (2012) This item may be available elsewhere in EconPapers: Search for items with the same title.Export reference: BibTeX RIS (EndNote, ProCite, RefMan) HTML/TextPersistent link: :iuk:wpaper:2010-13Access Statistics for this paperMore papers in Working Papers from Indiana University, Kelley School of Business, Department of Business Economics and Public Policy Contact information at EDIRC.Bibliographic data for series maintained by Rick Harbaugh (Obfuscate( 'indiana.edu', 'riharbau' )). var addthis_config = "data_track_clickback":true; var addthis_share = url:" :iuk:wpaper:2010-13"Share This site is part of RePEc and all the data displayed here is part of the RePEc data set. Is your work missing from RePEc? Here is how to contribute. Questions or problems? Check the EconPapers FAQ or send mail to Obfuscate( 'oru.se', 'econpapers' ). EconPapers is hosted by the Örebro University School of Business.
The formatting and capitalization of a movie title depends on the style guide you are using for your paper. The Modern Language Association, American Psychological Association and Chicago style place movie titles in italics, while Associated Press style uses quotes for such titles. When referring to a movie in the body of a paper, all of the major style guides use title case, which means all of the major words in the title are capitalized.
In the body of a paper, APA, Chicago and MLA all use title case capitalization for titles of movies. All major words -- such as nouns, verbs, adjectives, adverbs and pronouns -- are capitalized. Minor words -- such as prepositions, conjunctions and articles -- are lower case unless it is the first word of the title.
APA also specifies that all words more than four letters should be capitalized: Gone With the Wind. APA uses sentence case capitalization for movie titles in reference lists, which means only the first word of a title and proper nouns (names of specific people, places or things) are capitalized: For whom the bell tolls.
AP style uses title case capitalization for movie titles. However, the AP stylebook specifies that any word that is four or more letters as well as the first and last word of a title should always be capitalized. 350c69d7ab