text:
Savona, Maria (2016) Rationales, objectives, instruments and mechanisms of industrial policy: recent experiences from China, Germany and United Kingdom. Project Report. UN ESCAP.Full text not available from this repository.
|Item Type:
|Reports and working papers (Project Report)
|Schools and Departments:
|School of Business, Management and Economics > SPRU - Science Policy Research Unit
|Related URLs:
|Depositing User:
|Stacey Goldup
|Date Deposited:
|17 Oct 2016 13:47
|Last Modified:
|17 Oct 2016 13:47

subset: commoncrawl


text:
New airline routes launched (26 March – 1 April 2019)
Flybe Cornwall Airport Newquay and Guernsey to London Heathrow
- Flybe launched two new routes to London Heathrow (LHR) on 31 March, with it now connecting Cornwall Airport Newquay (NQY) and Guernsey (GCI) to Europe's biggest hub. Flights on the 338-kilometre route from Cornwall will be flown four times daily, while the link from the Channel Islands, a sector spanning 272 kilometres, will see a daily rotation. Both routes will be flown by the carrier using its fleet of Q400s, and neither faces direct competition. Along with adding its third and fourth routes to Heathrow, joining existing services from Aberdeen and Edinburgh which have now been operating for two years, the airline added another UK capital link from Cornwall Airport Newquay, with it beginning a five times weekly service from London Southend (SEN). The 417-kilometre route, facing no direct competition, will be operated by Stobart Air using its fleet of ATR 72-600. Take a look at anna.aero's extended coverage of Flybe's launch between Cornwall Airport Newquay and Heathrow.
The rest of this week's new routes (A – Z by airline)
- Air France launched three new international routes from Paris CDG (CDG) on 31 March, with the airline initiating flights to Belgrade (BEG), Dallas/Fort Worth (DFW) and Tbilisi (TBS). The 7,940-kilometre route to the US will operate three times weekly using the airline's A330-200s, with it facing direct competition from American Airlines which provides a daily service. Flights on the 1,423-kilometre link to the Serbian capital will operate daily, facing Air Serbia which offers 13 weekly flights. Finally, the 3,363-kilometre route to the capital of Georgia will be flown twice-weekly (Wednesdays and Sundays), with it going head-to-head with Georgian Airways which too flies the route on a twice-weekly bases. Both European routes launched this week from Paris CDG will be flown using the SkyTeam member's fleet of A320s according to OAG Schedules Analyser data.
- airBaltic entered the start of the S19 season by commencing three new routes from Riga (RIX), with the carrier launching flights to Dublin (DUB) and Stuttgart (STR) on 31 March, while a connection to Lviv (LWO) was inaugurated the following day on 1 April. "Riga is a dynamic city and the key business centre of the Baltic states. We are excited to connect Dublin and Riga as it opens up connections not only to Latvia but also to our wider home region with Tallinn and Vilnius as well as many destinations in Scandinavia, the CIS and Middle East," commented Martin Gauss, CEO of the airline at the airline's launch event in the Irish capital. The 1,941-kilometre route to Dublin will face direct competition from Ryanair which offers six weekly flights, while the 1,342-kilometre sector to Stuttgart of 790-kilometre hop to Lviv will face no direct competition. Both routes to Ireland and Germany will be flown using the carrier's fleet of A220-300s, while the Ukrainian link will be operated by the airline's Q400s.
- American Airlines launched two transatlantic routes during the first weekend of the S19 season, with its first being a 7,347-kilometre sector between Charlotte-Douglas (CLT) and Munich (MUC), launched 30 March. The airline's second inaugural took place the following day, with it offering services on the 8,459-kilometre airport pair of Phoenix (PHX) and London Heathrow (LHR). The oneworld member will operate the two routes with a daily rotation, with the former being flown using A330-200s, while the route to the UK will be served by the carrier's fleet of 777-200s. Both routes are presently in operation with other airlines. Lufthansa links Munich to Charlotte-Douglas with a daily rotation this summer, while American Airlines' fellow alliance member British Airways offers a daily rotation from Europe's busiest airport to the Phoenix hub using its fleet of 747-400s.
- British Airways launched its newest long-haul route from London Heathrow (LHR) on 31 March, with it beginning a four times weekly service to Osaka Kansai (KIX). This becomes the oneworld member's third route to Japan, with it already linking its Heathrow hub with Tokyo's Haneda and Narita airports. No other carrier presently flies the 9,527-kilometre sector. Along with adding Osaka to its network this week, BA has also expanded its Spanish route offering from the capital, with it linking Heathrow to Valencia (VLC), while London Gatwick (LGW) has gained new services to Bilbao (BIO) and Almeria (LEI). Details of the carrier's new routes can be found in the following table.
|Aircraft (WF)
|London Heathrow (LHR)
|Osaka Kansai (KIX)
|Valencia (VLC)
|London Gatwick (LGW)
|Bilbao (BIO)
|Vueling (6)
|Almeria (LEI)
|easyJet (7)
|Source: OAG Schedules Analyser w/c 2 April. WF = Weekly frequencies.
- Cathay Pacific Airways launched flights between Hong Kong (HKG) and Seattle-Tacoma (SEA) on 31 March. The oneworld member replaces the void on the 10,440-kilometre airport pair that was left by Delta Air Lines, with the SkyTeam member having ended its service between the two airports on 2 October 2018 according to OAG Schedules Analyser data. Cathay Pacific will operate the route four times weekly using its A350-900s. Seattle becomes the carrier's eighth destination in the US, with it already serving Boston, Chicago O'Hare, Los Angeles, New York's Newark and JFK (via Vancouver), San Francisco and Washington Dulles in the country. During the first nine months of 2018, Cathay Pacific transported 1.65 million passengers between the US and Hong Kong according to data from the Bureau of Transportation Statistics (BTS), with this representing a 2.0% decrease in traffic over the same nine-month period of 2017.
- Ethiopian Airlines launched operations between Addis Ababa (ADD) and Istanbul Atatürk (IST) on 1 April. The Star Alliance member will operate the 3,689-kilometre route three times weekly using its fleet of 737-800s. It joins fellow alliance member Turkish Airlines on the city pair, with the Istanbul-based operator serving the route between five times weekly and daily, with its weekly schedule fluctuating throughout the summer season according to OAG Schedules Analyser data. Like Ethiopian Airlines, Turkish Airlines is serving this route in S19 using 737-800s.
- Finnair launched its fifth US route from Helsinki (HEL) on 31 March, the day in which it began a three times weekly service to Los Angeles (LAX). The oneworld member will operate the 9,009-kilometre route using its fleet of A350-900s, with no other airline presently serving the airport pair. Along with Los Angeles, the Finnish flag carrier serves Chicago O'Hare, Miami, New York JFK and San Francisco in the US.
- Frontier Airlines launched flights between Denver (DEN) and Hartford (BDL) on 28 March, with the latter airport becoming a new station on the airline's network. The carrier will operate the 2,681-kilometre sector three times weekly using A320s. It becomes the third airline to serve the airport pair, with United Airlines (daily) and Southwest Airlines (six times weekly) already having well established services between the two airports. Frontier Airlines will add two further routes to Hartford this summer, with it planning services from Raleigh-Durham and Orlando, due to begin on 30 April and 1 May respectively. Hartford Airport, also known as Bradley International, handled just under 6.67 million passengers in 2018, representing a 3.6% increase versus 2017. Of those passengers, 158,109 flew on international services, accounting for 2.3% of passengers. The airport's biggest carrier by passenger numbers is American Airlines, with it carrying 1.6 million passengers to/from the airport in 2018 based on airport statistics.
- Iberia launched its latest European route from its Madrid (MAD) hub on 31 March, beginning a three times weekly service to Paris Vatry (XCR). The airline will operate the 1,104-kilometre route using its fleet of CRJ 1000s, operated by Air Nostrum. Iberia becomes the second airline to serve the French regional airport, with Ryanair connecting Paris Vatry to Fez, Marrakech and Porto.
- Jetstar Japan launched its latest domestic route from Tokyo Narita (NRT) this week, beginning a daily service to Shimojishima (SHI). Inaugurated on 30 March, the airline will serve the 1,897-kilometre route daily using its fleet of A320s, with no other operator presently serving the airport pair. Shimojishima Airport is located on the island of Shimojishima in Miyakojima, Okinawa. This route becomes the airport's only scheduled service. Jetstar Japan will launch a second route to the airport from Osaka Kansai on 3 July when referencing OAG Schedules Analyser data, while from 19 July HK Express will become the second carrier to service Shimojishima, commencing a three times weekly service from Hong Kong.
- KLM launched flights between Amsterdam (AMS) and Boston (BOS) on 31 March, with it becoming the airline's 10th destination in the US after Atlanta, Chicago O'Hare, Houston Intercontinental, Los Angeles, Minneapolis-St. Paul, New York JFK, Salt Lake City, San Francisco and Washington Dulles. "By adding a direct KLM service, we offer our customers more options for travel between Boston and Amsterdam, and beyond," comments Pieter Elbers, President & CEO, KLM. The carrier joins fellow SkyTeam member Delta Air Lines on the 5,544-kilometre sector, with the US-based airline offering a twice-daily service this summer. The Amsterdam-based operator will serve the route using its fleet of A330-300s, offering three weekly services on Wednesdays, Fridays and Sundays. From 1 July, a fourth weekly (Mondays) rotation will be added. Along with its 10 US destinations, KLM also serves Calgary, Edmonton, Montreal, Toronto Pearson and Vancouver in Canada, plus Aruba, Curacao, Havana, Mexico City, Panama City and St. Maarten across Central America and the Caribbean. An 11th US service will be added the KLM's network later this summer, with it planning to launch a three times weekly service to Las Vegas, a route scheduled to being on 6 June and be flown using 787-9s.
- LOT Polish Airlines launched flights between Krakow (KRK) and Bucharest (OTP) on 1 April. The carrier will operate the 774-kilometre sector three times weekly using its fleet of Q400s, with rotations taking place on Mondays, Wednesdays and Fridays. "We welcome the development of our national carrier at Krakow Airport. Bucharest is another connection from the interesting and diverse offer of LOT connections, long awaited by passengers. I am sure that our continued cooperation with LOT and other carriers will strengthen us as a leader among European regional airports. It will also allow for the consistent development of the tourist and business industry of Krakow and Małopolska," comments Radosław Włoszek, CEO of Krakow Airport. No other airline presently flies between Krakow and Bucharest according to OAG Schedules Analyser data.
- Lufthansa launched its second route to Japan from Munich (MUC) on 31 March, with it initiating a daily service to Osaka Kansai (KIX). The route complements the airline's existing route between the German hub and Tokyo Haneda, a route which is also flown daily by the carrier. Osaka Kansai services will be operated using the Star Alliance member's A350-900s, with no other operator presently serving the 9,234-kilometre sector.
- Norwegian launched its first routes to Brazil and Canada on 31 March, with the low-cost carrier connecting London Gatwick (LGW) with Rio de Janeiro Galaeo (GIG), while Dublin (DUB) is now linked with Hamilton (YHM). Services on the 9,230-kilometre link to Brazil will be flown four times weekly using 787-9s, while the service between Ireland and Canada will be operated by 737-800s. Along with these two routes, Norwegian has also introduced three long-haul services to the US, including its first operations to Miami (MIA) and San Francisco (SFO), as the carrier switches its Fort Lauderdale and Oakland services from Gatwick to the two former airports. The airline's third US route launch this week connects Rome Fiumicino (FCO) with Boston (BOS), the only route of the five that will face direct competition, while all London services will see some indirect competition from Heathrow. Finally, the carrier commenced based operations from Billund (BLL) on 1 April, starting services to Malaga (AGP), a route already flown by Ryanair. Although it is initially flown twice-weekly, Norwegian will increase Billund to Malaga services to four times weekly in the coming weeks.
|Aircraft (WF)
|Dublin (DUB)
|Hamilton (YHM)
|London Gatwick (LGW)
|Miami (MIA)
|Rio de Janeiro Galaeo (GIG)
|San Francisco (SFO)
|Rome Fiumicino (FCO)
|Boston (BOS)
|Alitalia (6)
|Billund (BLL)
|Malaga (AGP)
|Ryanair (5)
|Source: OAG Schedules Analyser w/c 2 April. WF = Weekly frequencies.
- Royal Air Maroc HAS launched three new services from Casablanca (CMN), all of which started on 1 April. It inaugurated a domestic service to Bouarfa (UAR), a 531-kilometre link it will operate twice-weekly (Mondays and Saturdays) using its fleet of ATR 72-600s. The airline also commenced a twice-weekly (Mondays and Saturdays) service to Vienna (VIE) and a three times weekly link to Amman (AMM). The 2,591-kilometre connection to the Austrian capital will be flown on a mixture of the carrier's fleet of E190s and 737s, while the 4,056-kilometre sector to Jordan will be flown by the operator's 737-700s. None of the three routes launched by the carrier will face direct competition when referencing OAG Schedules Analyser data.
- Ryanair kick-started the S19 season by launching 41 new routes between 31 March and 1 April. Of the new additions to the carrier's robust network, 13 are sectors which are already flown by at least one other carrier, with the biggest competing airline being easyJet which is present on four services. The new routes also result in an extra airport joining the airline's network, with Ryanair now offering flights to Tetouan (TTU) in Morocco from Malaga (AGP). The average sector length of the 41 sectors launched over the two days is 1,210 kilometres.
|Aircraft (WF)
|Berlin Tegel (TXL)
|Faro (FAO)
|easyJet (3)
|Luxembourg (LUX)
|Luxair (12)
|Paphos (PFO)
|easyJet (3)
|Ibiza (IBZ)
|Malaga (AGP)
|Naples (NAP)
|easyJet (7), Eurowings (5)
|Malta (MLA)
|Luxembourg (LUX)
|Luxair (1)
|Maastricht (MST)
|Perugia (PEG)
|Thessaloniki (SKG)
|Bari (BRI)
|Prague (PRG)
|Wizz Air (2)
|Berlin Schönefeld (SXF)
|Lappeenranta (LPP)
|Berlin Tegel (TXL)
|Krakow (KRK)
|Lamezia Terme (SUF)
|Bordeaux (BOD)
|Lisbon (LIS)
|easyJet (9), TAP Air Portugal (6)
|Brussels (BRU)
|Girona (GRO)
|Dublin (DUB)
|Tarbes Lourdes (LDE)
|Edinburgh (EDI)
|Luxembourg (LUX)
|Gdansk (GDN)
|Reus (REU)
|Krakow (KRK)
|Bordeaux (BOD)
|Catania (CTA)
|Liverpool (LPL)
|Copenhagen (CPH)
|Malaga (APG)
|Tetouan (TTU)
|Manchester (BLL)
|Billund (BLL)
|Kiev Boryspil (KBP)
|Marseille (MRS)
|Prague (PRG)
|Volotea (2)
|Milan Bergamo (BGY)
|Sofia (SOF)
|Wizz Air (7)
|Zadar (ZAD)
|Milan Malpensa (MXP)
|Madrid (MAD)
|Air Europa (21), easyJet (11), Iberia (7)
|Naples (NAP)
|Nuremberg (NUE)
|Pisa (PSA)
|Brussels (BRU)
|Porto (OPO)
|Brive (BE)
|Poznan (POZ)
|Zadar (ZAD)
|Prague (PRG)
|Copenhagen (CPH)
|Czech Airlines (12), Norwegian (9), SAS (4)
|Pescara (PSR)
|Stockholm Skavsta (NYO)
|Venice Treviso (TSF)
|Shannon (SNN)
|East Midlands (EMA)
|Tel Aviv (TLV)
|Thessaloniki (SKG)
|Zadar (ZAD)
|Eindhoven (EIN)
|Hamburg (HAM)
|Aegean Airlines (4), Israir Airlines (2)
|Source: OAG Schedules Analyser w/c 2 April. WF = Weekly frequencies.
- SUN-AIR started its only international route not involving its home market of Denmark on 26 March, with it launching a service between Bremen (BRE) in Germany and Toulouse (TLS) in France. The regional carrier will operate the 1,178-kilometre sector three times weekly, with departures on Tuesdays, Wednesdays and Thursdays according to OAG Schedules Analyser data. Using Dornier 328s, no other airline presently operates between the two airports. According to a number of sources, the route is operating in partnership with Airbus. The carrier does not operate any other routes from either airports involved in its newest airport pair.
- SWISS launched flights between Zurich (ZRH) and Gdansk (GDN) on 1 April, with the Star Alliance member introducing a four times weekly service on the 1,036-kilometre airport pair. It will serve the route using its mixed fleet of single-aisle aircraft when referencing OAG Schedules Analyser data, with the inaugural flight being flown on an A220-300. No other airline presently links the two airports. With this launch, the carrier now serves four destinations in Poland from Zurich, with it offering Krakow, Warsaw Chopin and Wroclaw services this summer along with its new Gdansk services.
- TAP Air Portugal launched three new routes from Lisbon (LIS) on 31 March, with it commencing twice-daily services to Basel (BSL) and Dublin (DUB), plus a daily connection to Tel Aviv (TLV). Flights to the Irish capital and Swiss city will be flown by the carrier's fleet of A319s according to OAG Schedules Analyser data, while Tel Aviv services are poised to be operated on the airline's fleet of A321s. All three routes will face direct competition, with Ryanair (twice-daily) and Aer Lingus (11 times weekly) serving the 1,642-kilometre route to Dublin, while easyJet offers a daily rotation on the 1,662-kilometre sector to Basel. El Al is the competing carrier on the 4,107-kilometre route to Tel Aviv, with the Israel-based airline presently offering five weekly rotations to Lisbon from its home base.
- Thai Lion Air launched operations between Bangkok Don Mueang (DMK) and Osaka Kansai (KIX) on 28 March. The carrier will operate the 4,152-kilometre sector five times weekly. Originally scheduled to be flown using 737 MAX 9s, the airline is currently serving the airport pair using its A330-300s due to the temporary grounding of the Boeing aircraft type. Thai Lion Air becomes the fourth carrier to serve this airport pair, with Thai AirAsia X serving the sector twice-daily, while NokScoot offers six weekly flights and Scoot three. With Thai Lion Air joining the airport pair, it means that there are 28 weekly flights between the two points. Indirect competition is also provided on the city pair, with Thai Airways (twice-daily) and Japan Airlines (daily) operating between the Japanese airport and Bangkok Suvarnabhumi, with both airlines using wide-body aircraft on the route, with Thai Airways even operating one of its daily flights using A380s according to OAG schedules.
- United Airlines launched flights between San Francisco (SFO) and Amsterdam (AMS) on 30 March. The airline will serve the 8,781-kilometre transatlantic service daily using its fleet of 787-9s. Competition on the sector comes from KLM, which according to OAG schedules offers 11 weekly services on the city pair. Along with this new service, the Star Alliance member has inaugurated 10 new routes across North America, including its first flights to Everett Paine Field (PAE).
|Aircraft (WF)
|San Francisco (SFO)
|Amsterdam (AMS)
|Denver (DEN)
|Everett Paine Field (PAE)
|Flagstaff (FLG)
|Los Angeles (LAX)
|Eugene (EUG)
|American Airlines (12), Allegiant Air (2)
|Madison (MSN)
|Pasco (PSC)
|San Francisco (SFO)
|Everett Paine Field (PAE)
|Alaska Airlines (14)
|Toronto Pearson (YYZ)
|Air Canada (21)
|Washington Dulles (IAD)
|Elmira (ELM)
|Hilton Head Island (HHH)
|Manchester (MHT)
|Source: OAG Schedules Analyser w/c 2 April. WF = Weekly frequencies.
- Vistara launched its latest domestic route from Delhi (DEL) on 31 March, commencing a twice-daily service to Raipur (RPR). The carrier will operate the 943-kilometre route using its fleet of A320s, with it becoming the third operator on the Indian city pair after IndiGo (four times daily) and Air India (daily). Vistara carried 4.43 million passengers during FY17/18, reporting an average load factor for the 12-month period of 86%. This compares to 2.93 million passengers carried in FY16/17, with the average load factor having grown from 78%.


text:
WIST 2.0 has been successfully released which now includes LinkedIn support. Why do you care? Because many high profile white collar crime is perpetrated by professional practitioners or executives in high-power positions. LinkedIn is the single largest social media platform of professionals with over 380 million members in over 200 countries. You will now be able to find connections for a LinkedIn user by connecting with:
- Recommendations
- Skill Endorsements
- Project Team Members
Each semantic link is displayed and is exportable to Excel or PDF.
Other notable features in WIST 2.0 include:
- ability to use WIST through a proxy server. Select File > Network for more details
- updated internal WIST browser to eliminate "For a better experience on Facebook…" warning message
- fixed bug with Quick Match for recently contacted friends
- fixed bug export to CSV not exporting all graph friends


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Vip Lounges at Larnaca airport (LCA)
Which are the Vip lounges at Larnaca airport (LCA) and how to access:
Aegean Business Lounge - Located on the third floor and open from 2:00 am to 9:00 pm (Fridays from 3:30 am). Snacks, drinks, computers with internet. Access: business class passengers from Aegean Airlines, first and business class passengers from Star Alliance airlines, Miles+Bonus Gold or Star Alliance Gold members.
Aspire Aphrodite Lounge - Situated on the third floor. Hours: Monday, Wednesday and Friday from 0:00 am to 10:00 pm, Tuesday from 6:00 am to 0:00 am, Thursday and Saturday from 4:30 am to 0:00 am, Sunday 24 hours a day. Children's area, terrace, snacks, bar, newspapers and magazines, air conditioning, TV, Wi-Fi, fax, showers, conference room, telephones. Access: with Priority Pass, Lounge Club, DragonPass or Diners Club membership, through online booking or by paying at the door (€33.00).
Facilities and other services
The airport has a bank, currency exchange bureaus (8:00 am to 11:00 pm), ATMs, VIP lounges and free Wi-Fi access.
Food and Drinks- Restaurants, bars, coffee shops and fast food outlets on both levels. Flo Cafe and Panopolis are open 24 hours a day, although there are more options that stay open throughout the night in the summer.
Shopping- There are stores with duty-free articles, souvenirs, perfumes, cosmetics, spirits, electronics, candy.
Baggage- Porter service (Tel +357 9933 9936). Secure wrapping and luggage storage on level 2, check-in area (Tel +357 2400 8722). For enquiries about missing baggage, contact the police department, on level 2 (Tel +357 2480 4715 / 4716).
Other Services- Baby changing facilities, games areas.


text:
Recently, a top executive at an infamous global high-tech firm said, "The problem in Silicon Valley is we promote excellent engineers and expect them to be spectacular managers." He contended that without solid people and management skills, excellent engineers are set up to fail as managers. He went on to say that the qualities of a highly qualified engineer don't necessarily translate to good people management.
Managing people requires "über-communication"; listening, coaching, relationship-building, engaging, and all methods of communication which support and leverage the capabilities of other people. Engineers are used to working on specific projects – often autonomously – and have the special ability to bury themselves in tasks to reach completion. Although the end result is high-quality, the process often has very little interaction with the outside world. It is a different set of criteria and skills than managing; mostly relying on left-brain function, analytical thinking and technical capabilities.
However, this doesn't necessarily mean that excellent engineers can't be spectacular managers, but it does mean that companies need to ensure they have the following in place before promoting engineers to managerial positions:
1) An understanding of the challenges and the different sets of criteria for each role and
2) A program in place to allow managers to gain the knowledge and skills they need to do the job well
Additionally, here are 5 things to consider when you want to promote excellent individual engineers into managerial positions:
1) Make sure a manager role is what they want. It doesn't have to necessarily be the logical progression and some may not even want that kind of role, make sure expectations have been communicated clearly.
2) Remember IQ doesn't equal EQ. Just because someone is intelligent and brilliant, doesn't mean they have good social or people skills. Emotional intelligence is a critical component to being a successful people manager.
3) We don't hire untrained engineers, why would we hire untrained managers? It is astounding how many companies don't provide managerial training or may offer it reactively when things get tough or the organization goes through a change process.
4) Keep them out of the weeds. Engineers like to "tinker". They have a tendency focus on details rather than big picture. Try to encourage them to delegate and show how they can still be seen as an expert advice-giver, rather than the one who tinkers.
5) Assess & train cross-cultural skills. Communication is one thing, communicating across cultures adds another level of complexity. Make sure managers understand what it means to work across cultures, particularly when working virtually, globally.
For more information about developing your management programs and manager coaching, contact Lamson Consulting at firstname.lastname@example.com


text:
24 June 2016
Here's what Vice are saying
The sudden derailing of much-anticipated reforms to legalize medical marijuana in Mexico, as well as raise the possession threshold, has raised doubts over whether President Enrique Peña Nieto's initial promotion of the ideas was ever anything more than good public relations.
"It looks like he never really wanted it," said drug policy expert and activist Lisa Sánchez, noting that it is the president's own Institutional Revolutionary Party that has blocked the reforms. "It's either that, or the PRI now considers that Peña is a liability and his opinion is worth nothing from now until the next presidential elections in 2018."
Sánchez was trying to explain what happened to make the PRI recoil from a proposal that President Peña submitted to legislators in late April. This included both the legalization of marijuana-based medication, and raising the amount of marijuana individuals can carry without risking criminal prosecution from five to 28 grams, or one ounce.
Late this Friday the senate postponed discussion of the bill until next September at the earliest. Some say the delay has ensured that the momentum has now been lost and the most likely outcome is that the liberalization effort is now heading for the shelf.
The president had gained international kudos when he announced the upcoming bill as a "historic step" in his speech to the UN Assembly General's Special Session on drug policy in New York.
"We Mexicans know all about the range and defects of the prohibitionist approach and the war on drugs of the last 40 years," Peña had said. "Our country has suffered like few others from the effects of organized crime linked to drug trafficking."
But once the bill reached Mexico's legislature it came up against the president's party.
Activists were particularly concerned by the removal of the promised threshold increase, and the proposal to reclassify illegal weed possession as an offense in the federal penal code rather than a violation of health legislation.
This would ensure that approximately 13,000 people imprisoned for minor marijuana offenses could no longer be released.
Read full report at https://news.vice.com/article/mexicos-president-may-have-been-bluffing-about-his-support-for-weed-decriminalization


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- This fits your. Note:Please use glue if you want it stand up. 100% Brand new,never used
Item's color might be different from the picture because of the aberration.
Make your model railway come to life with these ""ready to paint"" model people.
You can choose which nationality they are and what colour clothes they wear.
Are you building an Autumnal scene¡§Cthen ""dress"" your people in autumnal colours!
This pack of 100 people offers a mix of varying genders and positions and is suitable for any scale modeller whether you are an architect,student or model railway enthusiast.
HO is also the perfect size for you allowing you to fit more details and more scale miles into a comparable area.
Pack of 100-mixture of different characters-both standing and seated.
Ready to paint.
Made from plastic.
Approximate measurements:Height:2.7cm Width:1cm.
Package Includes:
100Pcs white Model People FIGURES 1:75
BQLZR White Unpainted Architectural 175 Scale Model Figures B00EQ29CP2 Sl7WAtyF


text:
In a 1921 Picturegoer article, Jeanie Macpherson advised prospective writers not to worry about submitting scenarios with scene by scene outlines; instead they should send in a synopsis of 3000 words and a scenario staff would reshape the material for shooting. She warned her audience: "Do not have the camera in mind as you write." 1 In contrast, by 1926 Francis Marion in Photoplay was advising those interested in adaptations to go beyond plot, to translate the original story "into screen language." 2 Their different perspectives on how to write for the screen reflected the rapid changes in the craft during Hollywood's silent period. Women, like Macpherson and Marion, were very much a part of these changes. As Wendy Holliday points out, about 50% of the scenarios were written by women; although, the exact percentage is unknown due in part to inconsistent crediting. 3 In fact women's presence was felt in multiple areas of the American film industry including writing, directing, producing, and editing, as the industry initially welcomed, even sought out, their contribution. Women wrote both original and adapted scenarios. In addition, they contributed story ideas, served as story editors and continuity writers, and wrote titles. As department and unit heads, they further impacted the stories being told. Women were everywhere as the craft of screen writing took shape.
With many of the films and scripts from this period lost, scholars have turned to archival sources, such as fan and trade publications, memoirs and biographies, to explore women's contribution. They have documented women's work, and have examined both the social and economic forces that influenced women's entrance into the industry and the gendered context and nature of their work. However, research has been relatively silent on the ways in which these women influenced screen writing as a developing craft. Women writers offered insights on how to write the scenario or shooting script. And while many women met the studio and audience expectations for female-centered narratives, female protagonists and subject matter, they also pushed the boundaries of expectations by crafting strong independent female characters, by refusing to "write to gender," and/or by producing alternative cinematic forms. During their time in the industry, women helped shape the form and technique of cinematic writing and influenced both its tone and content. They carved a place for themselves in the history of a developing art form.
Advancing the Form
When women entered the industry as "writers," there was no existing craft to learn as there were no written scripts. Writing for cinema prior to 1912 involved submitting story ideas/plot synopses or writing titles. Ideas and synopses were elicited through magazine advertisements or contests, freely submitted, or written by company staffers. Women were counted among the many early contributors of these "stories," as gender was not an impediment. Karen Ward Maher notes in Women Filmmakers in Early Hollywood that women in all areas of cinematic production "enjoyed low craft and gender boundaries" in the very early days of cinema–a situation that would later change. 4 These early stories took the form of a few lines of text, a paragraph or a one-page plot summary. Producers/directors then took the story from page to screen, while a clerk on set "held the script," recording scenes, action, dialogue, and shooting directions. 5 These clerks were called script girls, since most were female secretaries or assistants, a testament to the different ways women were tied to early storytelling in Hollywood.
Writing for the screen was attractive to women, both those who freelanced from home (through open submission or writing contests) and those who sought full-time careers. Martin F. Norden in his study of The Moving Picture World articles from the teens explains that the open submission structure was appealing to women bound to the home as it offered them an opportunity "to pursue more creative experiences." 6 Maher finds a similar attraction in the company-sponsored contests advertised in popular fan magazines. Her research indicates that most winners of early company contests for the best "story idea" or plot synopsis were women. 7 Such women followed in the footsteps of those women writers who had been contributing stories to popular magazines since the nineteenth century. 8 Women also were drawn to full careers in the cinema. Cari Beauchamp argues in Creative Screenwriting that writing for the screen appealed to women, as did other jobs in the industry, because "With few people taking the new industry seriously, the doors were wide open to women." 9 Lizzie Francke in Script Girls: Women Screenwriters in Hollywood believes the arts in general, including cinema, offered attractive careers particularly to the white, middle class "New Woman" of the time, "the independent career minded and mostly middle-class females who were striding into the twentieth century." 10 For many, there was a financial need to work. As Sumiko Higashi explains in Virgins, Vamps and Flappers: The American Silent Movie Heroine, this need successfully challenged the separate spheres model that argued for women's place in the home. As a result, between 1910 and 1920 women's presence in the work force increased as did their wages. 11 The need for writers in Hollywood, then, emerged at a time when women were looking to expand opportunities, financial and/or creative, beyond the home.
Among the documented early career writers were Edison's Carolyn Wells who joined the staff as a writer in 1909, according to Lux Graphicus in Moving Picture World. 12 Mary Pickford began her career the same year, writing and acting in both Getting Even (1909) and The Awakening (1909). And Kathlyn Williams started as a writer with The Last Dance (1912), before her run as a serial queen. Gene Gauntier was also one of those early writers. She quickly became a driving force as both an actor and writer for Kalem productions. In "Blazing the Trail," which first appeared as a serialized article in the 1928 Women's Home Companion, she explains that though she was hired at Kalem as an actor, she began writing "crude" scenarios in 1907: "A poem, a picture, a short story, a scene from a current play, a headline in a newspaper. All was grist that came to my mill." 13 Her comments reflect the skeletal nature of early writing. When she first started, stories consisted of outlines with a few words describing each scene: "There was never a scenario on hand." 14 Like Gauntier, Anita Loos entered the business early; however, Loos focused her career solely on writing. In her 1977 memoir, Casts of Thousands, she explains how she began submitting stories from home, and was only a teenager when she captured the attention of D.W. Griffith. In fact when Loos came to Hollywood to meet him, at his request, he mistook her mother for his intrepid new writer. Loos writes that her first produced story was The New York Hat in 1912, and for the next three years, she turned out over one hundred stories/scenarios. Whatever Biograph rejected went to Vitagraph, Kalem, or Selig. 15 Loos admits in an interview with Film Fan Monthly in 1967, however, that what were called scenarios were pretty bare: "As a matter of fact, the films were practically composed on the set." 16
This assembly line of film production that both Gauntier and Loos identify resulted in early crediting problems that impacted the woman writer. In the absence of detailed scenarios, the final film was often far from the original story idea or plot summary, and the author forgotten. As a result, writing credits typically were either absent or assigned to producers or directors. 17 Scholars have explored this early issue, identifying gender bias as a "possible" cause. Jane M. Gaines in "Anonymity: Uncredited and Unknown in Early Cinema" sees the "anonymity" issue prior to 1911 as affecting both players and screen writers. Fan and trade magazines, she explains, eventually called for the crediting of players, but not writers. Though she does not argue for gender as a key factor in early anonymity, she admits that "In the first two decades of the century, anonymous is almost synonymous with the 'woman' writer." 18 Holliday, however, makes this issue the centerpiece of her 1995 dissertation, Hollywood's Modern Women: Screenwriting, Work Culture, and Feminism, 1910-1940. Uncredited status was linked to women, she argues, because most of the early amateur/freelance screen writers were women, and freelancers were usually not credited. 19 The link between gender and crediting bears further study. This problem only intensified as women took on full-time careers as writers.
By the mid-teens, the scenario started to take shape as something more than an idea implemented on set by a director. Women contributed to this developing craft by writing more detailed scenarios and instructing on the art itself. Among those women who actively wrote original or adapted scenarios, or both, were Zoë Akins, Hetty Gray Baker, Clara Beranger, Catherine Carr, Russian-born Sonya Levien, Loos, Macpherson, Marion, June Mathis, Bess Meredyth, and Eve Unsell. Jane Murfin adapted her own plays or wrote original scenarios, and Edith M. Kennedy is mentioned in the online AFI catalogue as a story contributor, scenarist, and adapter. Many of these women also advised prospective writers on the continually expanding scenario format. Their advice, which appeared in interviews and in their own written manuals, articles, and books, emphasized the importance of picturizing the material. Carr in The Art of Photoplay Writing (1914) asserts the need to visualize an action and even an emotion. This, she says, will produce "a human interest story." 20 Mathis in The Photo-Play Journal in 1917 explains, "In your mind's eye you must visualize your plot, just as you would stand on a mountain-top and gaze at beautiful scenery surrounding you. You must visualize your characters…You must see your characters." 21 Marguerite Bertsch in her book How to Write for Moving Pictures (1917) also provides detailed descriptions of what goes into a scenario and models for aspiring writers. Scenarios, she explains, must include a title, the number of reels, a one paragraph synopsis, a cast, a list of scenes, a list of props, and a detailed summary of each scene including its setting, character action, and maybe some dialogue. 22 By 1920 Loos and John Emerson in How to Write Photoplays were telling prospective writers to add descriptive subtitles and visual aids for the director, like telegrams or letters. 23 Writing for the screen had evolved well beyond the initial story ideas or plot summaries.
The need to bridge the gap between page and screen and to include the business end of film production led to further changes in the scenario and to the birth of the continuity or shooting script. Women again were on the frontlines. Janet Staiger, in "Blueprints for Feature Films: Hollywood's Continuity Scripts," argues that between 1908 and 1917 the increase in film length (more reels) and the desire for well-made films with narrative fluidity resulted in a shift prior to production "from the scenario script to the continuity script." 24 In "Dividing Labor for Production Control: Thomas Ince and the Rise of the Studio System," Staiger explains that continuities added the following to a scenario: director, cast and actors, locations, detailed mise-en-scene, intertitle placement, shooting schedule, budget, and distribution plan. 25 Women, like Beranger, Sada Cowan, Beulah Marie Dix, and Meredyth, were among the many continuity writers. However, it was Mathis and Ince at Metro who developed continuity scripts as the backbone of production. According to Lewis Jacobs "they can be credited with the make-up of continuity as we know it today." 26
Women also penned titles well before the continuity script came into play and instructed on the aesthetic of this new practice. Among the first title writers were women like Lenore Coffee, Katharine Hilliker, Loos, and Dorothy Yost. As Bertsch explains in her 1917 how-to book, title writing provides information on action, sets, and character emotion, and includes character dialogue, the latter a recent addition. She even advises on the art of title writing: "We must seek in our subtitles that harmony with our picture which causes them to heighten the action, bring out or express its underlying meaning or atmosphere;–all in that unobtrusive way which makes them part and parcel of the effect in toto." 27 Titling was a natural transition from story writing for women like Loos. As she notes in Kiss Hollywood Good-By (1974), Griffith shelved many of her early scenarios because they contained written dialogue. He believed that "people don't go to the movies to read." 28 He changed his mind when he saw the reception for her titled 1916 His Picture in the Papers. 29 As story, scenario, and title writer, Loos witnessed all aspects of the developing craft. According to her 1968 interview with Kevin Brownlow, Loos was Biograph's scenario department. 30
As screen writing was codified as a respected profession, women were represented in all areas of writing in all the major studios. Epes Winthrop Sargent in his 1914 The Moving Picture World article, "The Literary Side of Pictures," notes the following women writers and their studios: Baker (Bosworth), Carr (Vitagraph and North American), Beta Breuil (Vitagraph), Peggy O'Neil (Vitagraph), Bertsch (Vitagraph), Maibel Heikes Justice (Selig), and Mary Fuller (Edison). 31 According to John William Kellette that same year, Elizabeth Lonergan had worked at Biograph, Kalem, and Majestic. 32 Marion also was starting out at this time. By 1914 she was involved in all aspects of production as Lois Weber's assistant at Bosworth. She then moved briefly to the smaller Balboa in 1915 hoping to write, finally settling in at Famous Players where she began scripting for Pickford. 33 Sought after for her writing skills, Marion worked throughout the 1920s for a number of companies, including Norma Talmadge Productions, Goldwin Pictures (eventually Metro-Goldwyn-Mayer), and Fox Films. Macpherson, who acted before she took to writing in 1915, regularly contributed stories and adaptations for Jesse L. Lasky, prompting Alice Martin in 1916 to call her the "left half of Cecil de Mille's brain." 34 By 1919 Unsell had already worked with Pathé, Kalem, Universal, Metro, Triumph, and Famous Players-Lasky, according to a writer with the initials M.H.C. in The Picture Show. 35And a 1923 Photoplay article, "How Twelve Famous Women Scenario Writers Succeeded in This Profession of Unlimited Opportunity and Reward," lists Beranger, Ouida Bergère, Cowan, Dix, Marion Fairfax, Loos, Marion, Mathis, Murfin, Olga Printzlau, Margaret Turnbull, and Unsell as actively working in the industry. The article notes that these women "have caught the trick of writing and understand the picture mind." 36 Fan magazines found women's accomplishments noteworthy, as companies jockeyed for their skills.
Women's readiness to handle the complex art of writing for the screen is not surprising. Most career women joined the field from acting and/or related professions. Bergère began as a stage actor, and Beranger, Marion, and Printzlau were newspaper and/or magazine writers. Novelists and playwrights included Dix, Murfin, Turnbull, and Unsell. 37 Justice was a fiction writer, Marian Lee Patterson a magazine writer, and Baker a law librarian. 38 Carolyn Lowry in her 1920 First One Hundred Noted Men and Women of the Screen notes that Fairfax was a stage actor and dramatist, Mathis a stage actor and magazine fiction writer, and Weber a soprano and stage actor. 39 Loos was also a stage actor, a profession that bored her so much she started writing film plots. 40 Adele S. Buffington was a cashier at a movie house prior to writing horse operas at Fox, and Isabel Johnston was a journalist and book editor before writing for Vitagraph. 41 English fiction writer Elinor Glyn was recruited by Famous Players-Lasky in 1920 to write original film stories and to supervise their production. Scottish-born writer Lorna Moon was living in Minneapolis as a journalist when she was recruited by Cecil B. DeMille. Canadian-born Nell Shipman was a stage actress before writing scenarios and starting her own company in the US where she produced, directed, and wrote wilderness films. 42 And French-born Alice Guy Blaché was a secretary for Gaumont in France before moving to the US in 1907 and starting her own company, Solax, in 1910. Here she wrote, directed, and supervised productions. Women like Shipman and Guy Blaché found an early control in the industry because they could write, direct, and produce.
Influencing the Story
In addition to shaping the form of their craft, women influenced its content. Writing for the screen quickly emerged as a female art form, written by women for women. By 1910, 40% of the working class audience was female, according to Kathy Peiss, and company heads were well aware they had to meet the needs of this demographic. 43 To do so, they turned to the popular literary marketplace, and the romantic comedies, romantic dramas, and melodramas that had gained popularity among female readers in the previous century. These female-centered literary narratives were penned mostly by women and focused on women's social concerns as girlfriends, wives, and mothers. 44 Film companies hired women to write and adapt such stories for the screen. E. Ann Kaplan in "Mothering, Feminism and Representation: The Maternal in Melodrama and the Woman's Film 1910-1940" identifies some of these films collectively as the "woman's film." Unlike the maternal melodrama which speaks to both the male and female spectator, she explains, "the woman's film more specifically addresses the female spectator." 45 The common belief of the time was that women were uniquely suitable for writing the kinds of stories a female audience demanded. As Gary Carey explains in his study of Loos, women writers were seen as "more attuned than men to turning out the kitsch melodramas and hot-house romances that dominated the run-of-the mill Hollywood product of the period." 46 Even women writers acknowledged their innate ability to deal with stories of love and marriage. In a 1918 Motion Picture World article, Beranger asserts that domestic stories, love triangles, and human interest narratives are "more ably handled by woman than men because of the thorough understanding our sex has of these matters." 47 In a 1925 article in The Film Daily, Mathis declares that women know best the female mind and, as a result, "seem to succeed in the careful, fine detail work of scenario writing." 48 Among the women who delivered on these popular stories were Frederica Sagor who scripted romantic comedies, Mrs. Sidney Drew (Lucille McVey) who penned domestic comedies along with her husband, and Loos who was known for her slapstick comedies in the early years and romantic comedies throughout her career. Coffee, Julia Crawford Ivers, and Marion wrote the intensely emotional dramas and melodramas. There was no shortage of women writers in Hollywood willing to turn out the "writing to gender" studios demanded of them.
What women wrote, however, frequently straddled both Victorian and modern sensibilities. On the one hand, women in these films were stock characters, recognizable types: the virgin, the flapper, the working girl, the sacrificing wife/mother, the reformer, and the deceived/seduced woman. They were positioned in the social order as (potential) girlfriends, wives, and/or mothers who struggled to find and keep a man or to survive difficult domestic situations. Many, however, were also independent-minded women who negotiated for freedom inside of conventional relationships, sought unconventional relationships (across classes, for example), and tried to make the best of difficult relationships. Their stories showcase the tensions surrounding the gendered expectations of women in both the public and private sphere. 49 These edgy women are found in such films as Beranger's Miss Lulu Bett (1921), Ruth Ann Baldwin's The Marriage of William Ashe (1921), Marion's The Wind (1928), and Glyn's It (1927). Berenger's Lulu challenges the convention that women, unlike men, are solely defined by their marital status. Baldwin's Lady Kitty publishes political satire and poses nude for a charity event. And Marion's Letty struggles for dignity in an abusive relationship. 50 Glyn's Betty Lou is a working girl and a flapper, wielding both social and sexual power. Higashi argues that the working woman status of the time shaped the female characters in these Cinderella-themed stories. Careers led to marriage even for those women not actively seeking a partner. Betty Lou, however, is also a flapper. As such, she represents what Higashi calls a new style of femininity: rebellious, sexually precocious, and capable of male friendships. 51 Refusing to wait for a man, Betty Lou openly initiates a romance with her boss. Complications ensue as a result of class differences and Betty Lou's brazen personality, but the two eventually find common ground. While marriage is mentioned only briefly, this is the assumed next step in their relationship. The pull of marital expectations remained strong in these films, even for sexually-liberated flappers like Betty Lou.
Some women writers avoided stories of love and marriage by focusing on female characters who operate outside of the domestic sphere, though these stories frequently contained a romantic subplot. Grace Cunard and Gauntier created girl adventurers. Cunard, in collaboration with her husband Francis Ford, specialized in the female-lead adventure serials for Universal: Lucille Love, Girl of Mystery (1914) and The Broken Coin (1915). Gauntier's action-packed stories feature spunky, athletic women engaging in death-defying exploits. Her Girl Spy (1908-1911) is based on the exploits of Belle Boyd, a Confederate spy in the Civil War. Francke argues that Gauntier's choice of genre was an open challenge to the male action writer: "Gauntier had established that a woman writer was as adept with the thrills and spills of action-adventure genres as her male colleagues." 52 Gauntier does marry her girl spy off at the end of the series, but she admits in the November 1928 installment of "Blazing the Trail" that she did so because of the physical toll of doing her own stunts. In addition, her brains had been "sucked dry of any more adventures for the intrepid young woman." 53 Betty Burbridge, Carr, Baldwin, and Buffington also worked in another action arena: the western. 54 Beranger took on the thriller in The Bedroom Window (1924) about a female mystery writer who brings her talents to a murder case. And Shipman's women meet the challenges of wilderness life in such films as The Girl from God's Country (1921) and The Grub-Stake (1923). According to Kay Armatage, Shipman's heroine is a blend of vulnerable femininity and unbridled heroism which "allows her to resist conventional narrative inscriptions of the woman protagonist as victimized and rescued." 55 Both films were the work of her newly-formed Nell Shipman Productions, which she moved to Idaho in part because of Hollywood's continual challenge to the kinds of stories Shipman wanted to make. 56
In addition, women tackled controversial social issues or broadened the narrative scope of their work to include a focus on male protagonists. Fairfax's The Honor of His House (1918) and Macpherson's The Godless Girl (1928) deal with alcoholism and juvenile delinquency respectively. Writer/director Weber devoted her career to making films that called attention to social problems. Where Are My Children? (1916) explores reproductive rights, while both Shoes (1916) and The Blot (1921) grapple with poverty and its impact on women. Dorothy Davenport Reid also focused on the social problem film, confronting drug addiction in Human Wreckage (1923) in which she also starred. As with some of her other films, however, writing credit remains uncertain. Among the writers who expanded the narrative focus of their films were Mathis, who adapted Frank Norris' novel McTeague (Greed, 1924) about a dentist in the Midwest, and the epic Ben Hur: A Tale of the Christ (1925). Refusing to be labelled a woman's writer, Dix regularly wrote films for male stars like her original The Call of the East (1917), starring popular Japanese actor Sessue Hayakawa. Dix's uncompromising approach to writing in Hollywood bears further study.
Though some women may have challenged the "writing to gender" expected of them, they were still part of a collective codified in fan magazines as conventional working women. Authors were eager to assure readers that women could be "feminine" and still work in Hollywood. According to Photoplay's "How Twelve Famous Women Scenario Writers Succeeded," these were "normal, regular women…not short haired advanced feminists, not fadists." 57 Speaking of Macpherson, Doris Delvigne writes in the 1920 Motion Picture Magazine that "There's nothing masculine about this little French-Scotch girl who has interested the dramatic world with her craftsmanship. She's not a blue-stocking with emancipated ideas, nor has her contact with the biggest men in the motion picture world given her that swaggering independence which is supposed to adhere to begoggled authors. She is the most utterly feminine thing you ever beheld." 58 Of Unsell, M.H.C. writes, "She is so womanly–without the slightest trace of 'pose' or 'literariness,' and gives one a 'homey' feeling at once." 59 And Aline Carter in the 1921 Motion Picture Magazine praises Weber's ability to produce, write, and edit without giving up a home life: "… she is the original woman who loves to linger over the table and ask for recipes." 60 These popular magazines reminded the female audience that writing for the screen was women's work.
In some cases, however, this ideologically-coded image contrasted sharply with the woman writer's professional or personal life. According to Francke, Dix was a "self-confessed bluestocking"; she dressed informally on set and smoked with the crew. 61 Her daughter's biography notes that Dix openly refused female lead stories, disapproving of the Hollywood stereotypes of women and the fact that female-centered stories tended to deal with lighter topics. 62 Levien's biographer, Larry Ceplair, explains that before her film work she expressed radical political and social views, particularly as a writer for the Woman's Journal, the voice of the suffragette movement. He acknowledges, however, that she had difficulty reconciling her film work with these radical views. 63 Adela Rogers St. Johns, a Hollywood journalist, story consultant, screen writer, and author of source material, wrote about both conventional and unconventional women. Throughout her life St. Johns confronted gendered views of men and women, prompting sports journalist Mel Durslag to comment in her 1988 obituary that "She was a kind of wild, uninhibited woman before feminism came in." 64 In silent era Hollywood women negotiated a fragile balance between their public and private lives.
Among the women who made films outside the Hollywood system were African-American filmmakers Tressie Souders, Eloyce King Patrick Gist, and Zora Neale Hurston. As noted earlier, careers for women in Hollywood were pretty much accessible only to white women, particularly middle class white women. There is no evidence, however, that Souders, Gist, or Hurston even desired to work in Hollywood. Very little is known about the making or distribution of director/writer Souders' feature, A Woman's Error (1922), which was produced by the Afro-American Film Exhibitors Company in Kansas City. More is known about Gist and Hurston who made films that furthered their political, religious, and/or social agendas. As Gloria J. Gibson writes in "Cinematic Foremothers: Zora Neale Hurston and Eloyce King Patrick Gist," Hurston and Gist recognized the impact of the motion picture camera. 65 Gist and husband James made highly moralistic, non-theatrical films that accompanied their religious services. Hell Bound Train (ca 1929-1930), which she retitled and orated, consists of a series of religious allegories, while the short Verdict Not Guilty (1930-1933) tells the story of a woman pleading for entrance to heaven despite her efforts to "prevent" motherhood, a reference to either birth control or abortion. 66 Similarly, African-American folklorist and novelist Hurston's ethnographic films–Logging (1928), Children's Games (1929), and Baptism (1929)–chronicle the daily life of southern black culture. Little is known of the purpose of Hurston's filmmaking other than to present her research in a pictorial format. In fact, while black male filmmakers of the period have been the subject of extensive research, there has been very little scholarship on the work of black women filmmakers. Yet, as Gibson has argued, such women made their "mark with a camera." 67
The same could be said for those women working inside of the Hollywood system, but by the 1920s, a top-down model of studio production resulted in a series of ongoing problems, including both threats to creative autonomy and continuing struggles with low salaries. Marion and Pickford were frustrated particularly with the overly sentimental plots expected of them. According to Marion in Off With Their Heads: A Serio-Comic Tale of Hollywood, she and Pickford were fed up with Pickford's "eternal child" character and the endless happy endings studios demanded. She and Lillian Gish experienced similar constraints while working on The Wind. When told she had to soften the ending of the film, Marion and some of the crew "created our own storm, to no avail." 68 Also troublesome was the increasingly complex assembly line of production that resulted in a shooting script that bore little resemblance to the original scenario. Though promised pre-production control, Glyn found it difficult to shepherd her work through with minimal interference. Like many literary writers in Hollywood in the 1920s, her work was severely altered. According to her son's biography, "It was their names and not their literary abilities which were required by the studios." 69 In a 1923 New York Times interview entitled "Scenario Writers Must Find Theme," Mathis notes that when she first started out, she had to fight for her ideas. Though she gradually gained control of the production process, she still faced opposition: "… if a director does not want to make a production in a particular way, he needs a healthy guard to force him." 70 In addition to struggles with creative autonomy, writers in the growing story departments also grappled with low salaries. Though top writers like Marion, Loos, and Macpherson eventually commanded good salaries, the profession as a whole did not. Marion admits in Off With Their Heads, that "scenario writers were pushed into the background, poorly paid, their talent unexploited." 71 Coffee was particularly outspoken on the issue of equitable pay and suffered the consequences. In the 1920s, Louis B. Mayer fired her for demanding too much money, rehiring Coffee five years later. In the interim she found work with DeMille. 72 The career woman in Hollywood was experiencing the growing pains of a changing industry.
In addition, crediting problems continued well into the 1920s, even though freelance submissions, rarely credited in the early days, had fallen. 73 When multiple writers in the newly-formed story departments worked on the scenario and the final shooting script, crediting frequently acknowledged only one author, and not always the major contributor. Sometimes the last person who had a hand in the script, even only minimally, was the one receiving screen credit. Often writers who rescued weak scenarios, did not get acknowledged at all. Coffee, known as the fixer-upper for saving troubled productions through rewrites and titling, admits in an interview with Patrick McGilligan that she did not always get credit for such work. She recalls one time in the early days of sound when she had written additional dialogue on a film. Another writer phoned her and wanted her to give up the credit. She told him "I've heard the age of chivalry is gone, and now I believe it." 74 Coffee then hung up the phone. Sometimes adapters, particularly early and lesser-known writers, found their screen credit eclipsed by the author of the original works. They also were forgotten in film reviews, again in favor of the author of the original work. Even Fairfax, well-known in the business by the 1920s, experienced this problem. In 1926 she wrote and produced The Blonde Saint, from a Stephen French Whitman novel. However the only writing credit listed on the BFI copy is Whitman's. Reviews in Bioscope and the New York Times also ignore her authorship in favor of Whitman's. 75 Staiger believes that the "division of labor" resulting from the growing corporatization of the industry accounted for this threat to authorship. 76
Women, particularly those who had long careers in the industry, handled these problems with autonomy and authorship in a number of ways. They formed writer/director and writer/writer partnerships. They also became writing department and company heads, joined or formed independent units or companies, held multiple positions as writers, directors, and producers, and organized writing guilds. Marion quickly discovered that the only way to maintain complete control over her script was to be the writer and director. 77 The next best thing was to be part of writer/director partnerships. These included Loos and Emerson (co-writer), Meredyth and Wilfred Lucas (co-writer), and Macpherson and DeMille. 78Among the husband and wife writing partnerships, in addition to Loos and Emerson, were Mr. and Mrs. Sidney Drew. Early teams included Anne and Bannister Merwin at Edison and Maria A. Wing and William E. Wing at Biograph and Selig, though little is known about Anne and Maria's contributions. 79 Some writers were also scenario editors: Breuil and Bertsch at Vitagraph, Carr at North American, and Baker at Bosworth. 80 Both Marion and Fairfax formed their own companies: Frances Marion Pictures and Marion Fairfax Productions. Gauntier held multiple positions at Kalem–writer, actor, producer, director, critic, scenario editor, and studio manager–and founded her own company Gene Gauntier Feature Players with Sydney Olcott. 81 Lillian Case Russell started a film company with her husband. And Mathis headed the script unit at Metro; she also was a producer at Goldwyn and First National. The collaborative, egalitarian nature of their work and their presence in the upper echelons meant they had a hand in the final product. In addition, women were tackling inequities as active members of societies and leagues launched to protect authorship and autonomy. Baker and Weber were among the founding members of the Photoplay Authors' League, according to the Mariposa Gazette in 1914. 82 Finally, women's friendships helped them navigate a continually changing industry. According to Marsha McCreadie in The Women Who Write the Movies (1994), "there seems to have been an informal but strong and highly effect networking system among women." 83 Marion confirms this in an interview with De Witt Bodeen. St. Johns helped her secure the meeting with Weber that launched her career. 84 By the end of the silent period, women were hiring each other and teaching newcomers the business.
The women writer's dominance in the industry, however, virtually disappeared with the coming of sound. The industry that afforded them jobs and sometimes lucrative careers had altered drastically. Maher argues that the transformation of Hollywood into a business with both a national and international market and a centralized producer system pushed women from positions of power and left little room for both the independent and collaborative working culture women were used to. She notes, however, that such changes affected predominantly producers, directors, and editors, as women screen writers continued working into sound. 85 Some women writers, like Akins, Buffington, Burbridge, Coffee, Dix, Lillie Hayward, Adelaide Heilbron, Levien, Loos, Lovett, Marion, Meredyth, Murfin, Marion Orth, and St. Johns, did make the transition into sound, but they faced a severely altered professional environment. Marion quickly learned that writers now were "like Penelope–knitting their stories all day just to have somebody else unravel their work by night." 86 In a 1939 letter to Alice Kauser, Akins expresses her frustration with the movie business, noting that writing what one chooses had become "a rare privilege." 87 Those writing from home found their services were no longer wanted as both story ideas and scenarios now emerged from story departments. Drew and Williams, who made names for themselves in serials, discovered the form no longer desirable. Though long out of the business by the coming of sound, Gauntier noted in a 1924 letter to Photoplay that changes in the industry had made it impossible for her to continue working. Speaking of her final years in the business after her company folded in 1914, she writes, "Conditions had changed so. I went with Universal for a short time, when the new plant, Universal City, was opened. After being master of all I surveyed, I could not work under the new conditions." 88 Once a dominating force in the industry, women writers had become workers in a well-oiled machine. They were quickly fading from the public limelight.
Women who wrote for the screen in the silent era, however, did leave their mark. They were a significant part of concretizing the language of their craft. They legitimized writing for the screen as a new medium at a time when screen writing was not a discipline and only beginning to be a business. And they offered constructive views on the art of photoplay writing. However, due to the assembly line of production, the absence of pre-production shooting scripts in the early days, and the lack of systematic crediting throughout the period, the extent and nature of women's contribution in all areas of writing continue to be important subjects for researchers. There is still much work to be done on how women distinguished themselves as writers, sometimes resisting the formulaic Hollywood model of storytelling. Studies also need to explore how they struggled to establish authorship in the wake of industry changes, and how and why some women writers adjusted to these changes. The role of the independent filmmaker/writer, like Fairfax, Hurston, and Gist bears further study. Finally, scholarship needs to interrogate the intersection of social and economic factors that contributed to the woman writer's eventual loss of power in an industry they helped forge.
See also:Hetty Gray Baker, Ruth Ann Baldwin, Clara Beranger, Ouida Bergère, Marguerite Bertsch, Alice Guy Blaché, Beta Breuil, Adele S. Buffington, Lenore Coffee, Sada Cowan, Beulah Marie Dix, Mrs. Sidney Drew, Marian Fairfax, Gene Gauntier, Lillian Gish Eloyce King Patrick Gist, Elinor Glyn, Katharine Hilliker, Zora Neale Hurston, Julia Crawford Ivers, Maibel Heikes Justice, Sonya Levien, Anita Loos, Jeanie Macpherson, Francis Marion, June Mathis, Bess Meredyth, Lorna Moon, Jane Murfin, Mary Pickford, Olga Printzlau, Dorothy Davenport Reid, Lillian Case Russell, Frederica Sagor, Nell Shipman, Tressie Souders, Adela Rogers St. Johns, Margaret Turnbull, Eve Unsell, Kathlyn Williams, Dorothy Yost.
- Jeanie Macpherson, "The Market for Scenario Writers," The Picturegoer 2, no. 12 (December 1921): 40. ↩
- Francis Marion, "Why Do They Change the Stories on the Screen?," Photoplay XXIX, no. 4 (March 1926): 144. ↩
- Wendy Holliday, Hollywood's Modern Women: Screenwriting, Work Culture, and Feminism, 1910-1940 (Ph.D. diss., New York University, 1995), 100, 114, 140 (note 49), 144 (note 82). ↩
- Karen Ward Mahar, Women Filmmakers in Early Hollywood (Baltimore: Johns Hopkins University Press, 2006), 42. See also Holliday, 18. ↩
- See William K. Everson, American Silent Film (New York: DaCapo Press, 1998), 32; and Tom Stempel, Framework: A History of Screenwriting in American Film (New York: Continuum, 1988), 10-14. ↩
- Martin F. Norden, "Women in the Early Film Industry," Wide Angle 6, no. 3 (1984): 64. Anne Morey's study of gender expectations in "fictional" Hollywood also finds that such opportunities allowed women to write without sacrificing their domestic duties or threatening traditional concepts of femininity. See Hollywood Outsiders: The Adaptation of the Film Industry, 1913-34 (Minneapolis: University of Minnesota Press, 2003), 48-49. ↩
- Mahar, 41. ↩
- For information on women's contribution to nineteenth century popular magazines, see Donna Rose Casella Kern, "Sentimental Short Fiction by Women Writers in Leslie's Popular Monthly," Journal of American Culture 3, no. 1 (Spring 1980): 113-15. ↩
- Cari Beauchamp, "Frances Marion: 'Writing on the Sand With the Wind Blowing,'" Creative Screenwriting 1, no. 3 (Fall 1994): 56. Though Maher acknowledges the very early opening of the field to women, she disagrees with this "empty field" theory, arguing that "all work emerges from some previously gendered context" (5). ↩
- Lizzie Francke, Script Girls: Women Screenwriters in Hollywood (London: BFI Publishing, 1994), 6. ↩
- Sumiko Higashi, Virgins, Vamps and Flappers: The American Silent Movie Heroine (St Albans, VT: Eden Press, 1978), 96-97. ↩
- Lux Graphicus, "On the Screen," The Moving Picture World 5, no. 11 (11 September 1909): 342. ↩
- Gene Gauntier, "Blazing the Trail," Woman's Home Companion LV, no. 10 (October 1928): 183. ↩
- Ibid., 181. ↩
- Anita Loos, Cast of Thousands (New York: Grosset and Dunlap, 1977), 20-21, 25. ↩
- "FFM Interviews Anita Loos," Film Fan Monthly 69 (March 1967): 4. ↩
- See Stempel, 136. Norden also notes that women in the teens were poorly paid and frequently did not receive screen credit. He mentions the case of Grace Adele Pierce who was not credited for adapting Judith of Bethulia (1913) from the Bible, poem, and play. See "Women in the Early Film Industry," 64. ↩
- Jane M. Gaines, "Anonymity: Uncredited and Unknown in Early Cinema," in A Companion to Early Cinema, eds. André Gaudreault, Nicolas Dulac, and Santiago Hidalgo (Malden, MA: Wiley-Blackwell, 2012), 444, 445. ↩
- Holliday, 3, 37, 133, 319, 387. ↩
- Catherine Carr, The Art of Photoplay Writing (New York: H. Jordan, 1914), 9. ↩
- June Mathis, "Pursuing a Motion Picture Plot," The Photo-Play Journal II, no. 6 (October 1917): 25. ↩
- Marguerite Bertsch, How to Write for Moving Pictures (New York: George H. Doran Company, 1917), 32-130; see also Carr, 51-74. ↩
- John Emerson and Anita Loos, How to Write Photoplays (New York: James A. McCann, 1920), 15, 35, 38-41. ↩
- Janet Staiger, "Blueprints for Feature Films: Hollywood's Continuity Scripts" in The American Film Industry, ed. Tino Balio (Madison: University of Wisconsin Press, 1985), 177. ↩
- Staiger, "Dividing Labor for Production Control: Thomas Ince and the Rise of the Studio System," Cinema Journal 18, no. 2 (Spring 1979): 20 ↩
- Lewis Jacobs, The Rise of the American Film: A Critical History (New York: Columbia University, Teachers College Press, 1967), 328. ↩
- Bertsch, 74-83. See also Kevin Brownlow, The Parade's Gone By…(Berkeley: University of California Press, 1968), 82, 295-97. ↩
- Loos, Kiss Hollywood Good-By (New York: Viking, 1974), 7. ↩
- Ibid., 7-10. ↩
- Brownlow, 275. ↩
- Epes Winthrop Sargent, "The Literary Side of Pictures," The Moving Picture World 21, no.2 (11 July 1914): 202. ↩
- John William Kellette, "Makers of the Movies: The Lonergans," The Moving Picture World 21, no. 11 (12 September 1914): 1498. ↩
- See Beauchamp, Without Lying Down: Frances Marion and the Powerful Women of Early Hollywood (New York: Scribner, 1997), 36-37, 41, 44. ↩
- Alice Martin, "From 'Wop' Parts to Bossing the Job," Photoplay X, no. 5 (October 1916): 95. ↩
- M.H.C. (May Hershel Clarke). "Introducing Eve Unsell. Famous Scenario Writer Chats on Photo-Plays and Players," The Picture Show 1, no. 25 (18 October 1919): 12. ↩
- "How Twelve Famous Women Scenario Writers Succeeded," Photoplay XXIV, no. 3 (August 1923): 31-33. ↩
- Ibid., 31-33. ↩
- See Sargent, "The Literary Side of Pictures," 202. ↩
- Carolyn Lowry, The First One Hundred Noted Men and Women of the Screen (New York: Moffat, Yard and Company, 1920), 52, 118, 190. https://archive.org/details/firstonehundred00lowrgoog. ↩
- See Loos, Cast of Thousands, 23 ↩
- See Francke, 25; and Ann Martin and Virginia M. Clark, eds., What Women Wrote: Scenarios 1912-1929 (Frederick, MD: University Publications of America, Cinema History Microfilm Series, 1987), 22. ↩
- See the following: Anthony Glyn, Elinor Glyn: A Biography (London: Hutchinson, 1955), 273-74; Richard de Mille, My Secret Mother Lorna Moon (New York: Farrar, Straus, and Giroux, 1998), 176-77; and Nell Shipman, The Silent Screen & My Talking Heart (Boise, ID: Boise State University, 1987), 11-35, 40-43. ↩
- Kathy Peiss, Cheap Amusements: Working Women and Leisure at the Turn-of-the-Century New York (Philadelphia: Temple University Press, 1986), 148. ↩
- See Casella Kern, "Sentimental Short Fiction by Women Writers in Leslie's Popular Monthly," 113-22. ↩
- E. Ann Kaplan, "Mothering, Feminism and Representation: The Maternal in Melodrama and the Woman's Film 1910-1940," in Home is Where the Heart Is: Studies in Melodrama and the Woman's Film, ed. Christine Gledhill (London: BFI Publishing, 1987), 124, 126. ↩
- Gary Carey, "Written on the Screen: Anita Loos," Film Comment 6, no. 4 (Winter 1970-71): 51. ↩
- Clara Beranger, "Are Women the Better Script Writers?," The Moving Picture World 37, no. 8 (24 August 1918): 1128. She also argues on the same page that there are more women than men writing in Hollywood. ↩
- Mathis, "The Feminine Mind in Picture Making," The Film Daily XXXII, no. 58 (7 June 1925): 115. ↩
- Interviews of and articles by women writers in the New York Times, Variety, Photoplay, The Moving Picture World, Motion Pictures News, Motion Picture Magazine, Picturegoer, Bioscope, and Skoll-Herald indicate that some women willingly turned out the "writing to gender" demanded of them, while others criticized the dominant ideology presented in such narratives. See Casella, "Feminism and the Female Author: The Not So Silent Career of the Woman Scenarist in Hollywood, 1896-1930," The Quarterly Review of Film and Video 23 (2006): 222-32. ↩
- The multiple shooting scripts for The Wind indicate how Marion's gritty tale of Letty's defiance of an arranged and brutal marriage softened with each rewrite. See The Margaret Herrick Library, Turner/MGM Scripts, 3376-f.W-836-839 and 3377-f.W840-844. See also note 68. ↩
- Higashi, 102-106. ↩
- Francke, 9. ↩
- Gauntier, "Blazing the Trail," Women's Home Companion LV, no. 11 (November 1928): 170. ↩
- See Helen Colton, "Meet the Gals Who Write 'Em, Not Ride 'Em." New York Times (31 October 1948): X5. ↩
- Kay Armatage, The Girl from God's Country: Nell Shipman and the Silent Cinema. (Toronto: University of Toronto Press, 2003), 31. ↩
- Ibid., 118-119. ↩
- "How Twelve Famous Women Scenario Writers Succeeded," 31. ↩
- Doris Delvigne, "Mind the Little Things," Motion Picture Magazine XIX, no. 6 (July 1920): 73. ↩
- Aline Carter, "The Muse of the Reel," Motion Picture Magazine XXI, no. 2 (March 1921): 62, 105. ↩
- Francke, 23-24. ↩
- Evelyn F. Scott, Hollywood. When Silents Were Golden (New York: McGraw-Hill, 1972), 73. ↩
- Larry Ceplair, "A Great Lady: A Life of the Screenwriter Sonya Levien," in Filmmakers, No. 50, ed. Anthony Slide (Lanham, MD: Scarecrow Press, 1966), viii, 15. ↩
- "Hearst Reporter Adela Rogers St. Johns Dies." Obit. Pittsburgh Post-Gazette (11 August 1988): 10. ↩
- Gloria J. Gibson, "Cinematic Foremothers: Zora Neale Hurston and Eloyce King Patrick Gist," in Oscar Micheaux and His Circle: African-American Filmmaking and Race Cinema of the Silent Era, eds. Pearl Bowser, Jane Gaines, and Charles Musser (Bloomington: Indiana University Press, 2001), 195. Gibson also notes that Gist and Hurston worked under the financial constraints of independent filmmaking, much like women of color today (195). Scholars also have mentioned journalist, historian, and musician Drusilla Dunjee Houston, though she was never actively involved in filmmaking. Houston wrote an anti-lynching screenplay, an answer to Griffith's Birth of a Nation (1915) that was never produced. ↩
- Ibid., 199-204. ↩
- Ibid., 196. ↩
- Marion, Off With Their Heads: A Serio-Comic Tale of Hollywood (New York: Macmillan, 1972), 64, 67, 160. ↩
- Glyn, 275. ↩
- "Scenario Writers Must Find Theme," New York Times (15 April 1923): X3. ↩
- Marion, Off With Their Heads, 17. ↩
- See Thomas Slater, "Lenore J. Coffee," in American Screenwriters, Second Series, ed. Randall Clark (Detroit: Gale Research Company, 1986), 93. ↩
- Staiger notes the disappearance of freelance submissions in "Blueprints for Feature Films," 190. ↩
- Patrick McGilligan, "Lenore Coffee: Easy Smiler, Easy Weeper," in Backstory: Interviews with Screenwriters of Hollywood's Golden Age, ed. Patrick McGilligan (Berkeley: University of California Press, 1986), 142-43. ↩
- "The Blonde Saint." Bioscope 70, no. 1066 (17 March 1927): 55-56; and Mordaunt Hall, "The Screen," New York Times (23 November 1926): 27. ↩
- Staiger, "Dividing Labor," 21-23. ↩
- See De Witt Bodeen, "Frances Marion: Part II, She Wrote the Scripts of Some of the Milestone Movies," Films in Review XX, no. 3 (March 1969): 139. ↩
- When she was a script supervisor, Macpherson worked closely with DeMille to guarantee her work was filmed as written. Francke believes that DeMille's output was far more varied due to his collaboration with Macpherson (16). ↩
- See Edward Azlant, "Screenwriting for the Early Silent Film: Forgotten Pioneers, 1897-1911." Film History 9, no.3 (September 1997): 243-44. ↩
- See Azlant, 241. Writer/actor teams also were common with women film writers pairing with women actors. Marion wrote regularly for Pickford, Clara Kimball Young, Constance and Norma Talmadge, and Marie Dressler (Bodeen, "Frances Marion Wrote the Scripts of Some of the Milestone Movies," Films in Review XX, no. 2 [February 1969]: 80-81, 87). ↩
- Researchers continue to struggle with determining Gauntier's authorship, since existing screen credit does not reflect the extent of her contribution. In "Blazing the Trail," which covers her Kalem years, Gauntier notes writing, producing, and directing activities, but does not address the frequent absence of screen credit (October 1928, 183-184; November 1928:166, 168-170; LV, no. 12 [December 1928]: 132, 134; and LVI, no. 3 [March 1929]: 19). The final installment of "Blazing the Trail" in March, does mention one disagreement with Kalem over crediting: "Now we learned among other disconcerting facts that From the Manger to the Cross was to be distributed without our names. The Kalem Company alone would profit by our own work" (146). A few paragraphs later, she alludes to possible career problems, but provides no detail: "So our family of pathfinders disbanded, as pioneers do when the long trail is ended, and each one departed into a new environment to build for himself. As settlers in a new land, some were submerged while others rode blithely on the top crest of popularity" (146). Correspondence five years earlier with Photoplay author Frederick James Smith, however, suggests the breadth of her work: "In addition to playing the principal parts, I also wrote, with the exception of a bare half-dozen, every one of the five hundred or so pictures in which I appeared. I picked locations, supervised sets, passed on tests, co-directed with Sidney Olcott, cut and edited" ("Unwept, Unhonored and Unfilmed," Photoplay XXVI, no. 2 [July 1924]: 67, 101). See also Gaines, "Pink-Slipped: What Happened to the Women in the Silent Film Industry," in The Wiley-Blackwell History of Film. Volume 1. Origins to 1928, eds. Cynthia Lucia, Roy Grundmann, and Art Simon (Malden, MA: Blackwell, 2012), 157. This situation never seemed to bother Gauntier as she was involved in multiple aspects of a production and did receive credit for her acting. Gauntier saw filmmaking as an ensemble endeavor. However, the tone of the March installment of "Blazing the Trail" suggests that even this ensemble contribution was getting lost in industry expansion. ↩
- "Photoplay Authors' League Organized," Mariposa Gazette 1 (30 May 1914): 3. http://cdnc.ucr.edu/cgi-bin/cdnc?a=d&d=MG19140530.2.51. Pierce sought the assistance of both the Photoplay Authors' League and the National League of Pen Women when she was denied screen credit for adapting Judith of Bethulia. See Sargent, "The Photoplaywright," The Moving Picture World 20, no. 8 (23 May 1914): 1109. ↩
- Marsha McCreadie, The Women Who Write the Movies. (New York: Burch Lane Press, 1994), 6. ↩
- Bodeen, "Frances Marion Wrote the Scripts," 75. See also Bodeen, "Frances Marion: Part II," 139, 142. ↩
- Maher, 134, 157, 203. Gaines in "Pink-Slipped: What Happened to the Women in the Silent Film Industry" notes that women filmmakers did not totally disappear with the coming of sound. She recommends that scholars "move from the narrative of 'no woman in 1925' to the narrative of the ascendance for some that was 'over by 1925'" (164). ↩
- Bodeen, "Frances Marion: Part II," 139. ↩
- Zoë Akins to Alice Kauser, 20 October 1939, Zoë Akins Papers, ZA 1898, Box 79, Huntington Library, San Marino, CA. See also Alan Kreizenbeck, Zoë Akins: Broadway Playwright (Westport, CT: Greenwood Press), 149, 208. ↩
- Smith, 102. ↩


text:
Now is the time to start thinking about 2020 and delivery for your students.
'All Comers Welcome' is designed to make it easier to involve your students in the conference.
We invite you to consider the different ways you can present your students' journeys:
- A poster tour – make one poster size panel to show the journey of one or more students. The posters will be mounted on display boards along the wall of the auditorium. The first session after lunch will be a 45min 'tour' where everyone can walk around the room and view the work done, and talk to the students and their teachers. Posters remain your property and, we imagine, may make a great banner for your foyer.
- Workshops, presentations, panel presentations, Q&A sessions
– these types of presentations may suit your needs.
– Time limit: 60 min – you should consider leaving 10 – 15 min for questions.
– Shorter sessions of 45min or 30min will also be considered
2020 Call for presentations
Closes on March 27th.
Critical Dates
Proposals should be submitted by March 27th
Don't forget to include a short biography to accompany your abstract in the program.
If you are presenting with someone else, include both biographies. Co-presenters will only be considered as a presenter if they are delivering a significant portion of the workshop.
Student presenters (up to four per presentation) will not be charged a registration fee. Please keep student numbers down: five or more will incur a $45.00 fee for catering purposes.
Acceptances will be sent by April 10th


text:
Don't nuke her, bro! Rep. Eric Swalwell plays tough guy with Tomi Lahren over 'gun safety'
Rep. Eric Swalwell, whom you might have seen on cable TV for the past two years pushing the Russian collusion narrative, is running for president alongside every other Democrat in politics, and the focus of his campaign is going to be on taking guns and attacking the NRA.
The Atlantic reported that Swalwell was "running for president on gun safety," but that's not true — if he wanted to promote gun safety, he'd encourage citizens to buy guns and take gun safety classes offered by the NRA. When the guy pulls the nuclear weapons card at the first sign of pushback against gun confiscation, it's pretty clear what "gun safety" means to him.
The idea of Swalwell running for president is hilarious, so while we don't always agree with Tomi Lahren, we can excuse her for laughing.
Swalwell didn't take that well.
Again, maybe she never even got past "Eric Swalwell running for White House" before bursting into laughter. But we really appreciate Swalwell's tough guy act, especially since when he's president he'll have the codes for those nukes, and they're legit.
That you're taking the bait from Lahren does not do anything for you.— Bob (@EasternModerate) April 6, 2019
Does Swalwell think nuclear weapons are funny?
Swalwell thinks he's going to win a debate with Donald Trump after winning a debate with 48 other Democratic candidates; Lahren might be a nice reality check.
Of course not — there were 3,000 Parkland survivors, but only two or three of them count.


text: Maccabi Haifa continued its surge up the Premier League standings on Sunday night, beating Ashdod SC 4-1 to leapfrog into third place.Haifa was in 13th position out of 14 teams when Arik Benado took charge of the side in place of Reuven Atar less than two months ago.The Greens haven't lost in eight matches since, winning six of their past seven encounters to emerge as a championship contender once more.Haifa could have clinched the win in the first half, but it converted just one of its many chances, with Eyal Golasa's splendid 40th-minute goal giving Benado's men a halftime lead.Ashdod finally displayed some urgency and accuracy at the start of the second half and Hatem El-Hamid leveled the score in the 56th minute, snapping Haifa's four-match clean-sheet streak.However, despite conceding its first goal since November 26, Haifa showed its character by regaining the lead against the run of play through Hen Ezra in the 75th minute before Eyal Meshumar (92) and Alon Turgeman (94) put the icing on the cake in stoppage time."We played an exceptional match," said Benado, whose team closed to within seven points of league-leader Maccabi Tel Aviv, which visits Ironi Kiryat Shmona on Monday. "The players fought hard and played attacking soccer. We put on a show and I'm proud of the players."Haifa dominated Ashdod right from the kickoff and should have really taken the lead in the 11th minute, but Weeam Amasha made a mess of his shot with just 'keeper Ofir Marziano to beat.Marziano denied Golasa and Ezra before the former broke the deadlock with a superb effort, turning in the box and firing an unstoppable shot into the top left corner.El-Hamid netted a deserved equalizer for the hosts nine minutes into the second half, but Haifa weathered the storm and Ezra's goal broke Ashdod's spirit before Meshumar and Turgeman poured salt on the floundering Ashdod's wounds.


text:
Smith Services Ltd, a leading supplier of industrial rope access services, announced today it has opened a new HEAD OFFICE in Perth, Scotland.
Unit 9, Inveralmond Way
Inveralmond Industrial Estate
The strategic location will allow the company to better serve its growing client-base.
As part of our on-going Company expansion, Smith Services Ltd required additional space to accommodate our growing team of staff in accounts, administration, customer services and sales.
This move has also given the company the infrastructure required to support our clients now and for years to come.


text: It has been a long time since I have uploaded a blog post or podcast. I think it is time to relaunch this podcast/blog/website. In the past 6 months, my son has graduated from high school, we have moved to a new town, started in a new place of ministry, taken my son to college and began life as empty nesters. I have been pretty busy but I think know is the right time to relaunch. I hope that you will continue to come back and read my blog and listen to my podcast. I will try to get the content coming at a steady pace. I will also do my best to make it helpful for you. I hope to interview all kinds of people doing all kinds of ministry from all kinds of places.


text:
Editor's Note:
On March 7, 2016, the United Nation put on record:
"Delayed and incomplete food assistance, as well as limited access to water and sanitation services in drought-affected areas are increasing the risk of communicable diseases."
- The United States Aid for International Development (USAID), Ethiopia's largest relief aid provider observes:
"Ethiopia remains one of the world's least developed countries, ranked 173 out of 187 in the 2014 UNDP Human Development Index, with average per capita incomes less than half the current sub-Saharan average…Household food insecurity, hunger and undernutrition remain critical issues; the poor nutritional status of women and children has been a consistent problem in Ethiopia. Undernutrition is an underlying cause of 53 percent of infant and child deaths. Rates of stunting and underweight have decreased over the past decade but remain high with 44 percent of children under five stunted and 29 percent underweight. Lack of dietary diversity and micronutrient-dense food consumption, and problematic child feeding practices contribute to the high rates of child undernutrition. Only half of infants are exclusively breastfed and introduced complementary foods at the appropriate time, and only 4 percent of young children are receiving a minimal acceptable diet.6 One quarter of women of reproductive age are undernourished, leaving their children predisposed to low birth weight, short stature, lower resistance to infections, and higher risk of disease and death.
Children in rural areas are more likely to be stunted (46 percent) than those in urban areas (36 percent), and great regional variations persist, with Amhara (52 percent), Tigray (51 percent), Affar (50 percent), and Benishangul-Gumuz (49 percent) more severely affected, while Addis Ababa (22 percent) and Gambela (27 percent) have the lowest rates."
- In May 2015, and based on long-term study, the FAO had reported that 32 percent of Ethiopians are undernourished, even under normal circumstances, much less as cruel time as now when greater part of the country is being deprived of by EL Niño!
However, it is in the face of this that the regime dishonestly tells the whole world it is in control of the situation.
For instance, when the needs in the country are enormous and at the same time, because of public pressure, the TPLF regime is dismissing hundreds of officials throughout the system for stealing food aid and food aid is not reaching those in need in many parts of the country, on February 29/2016 Mitiku Kassa of NDRMC said Ethiopia has become successful in tackling the impact of the drought without a single person left to starve (መንግሥት የችግሩን ሁኔታና አዝማሚያ በመተንተን፣ በምግብና ምግብ ነክ ባልሆኑ አቅርቦት ላይ አስፈላጊውን ዝግጅት በማድርግ በወቅቱ እርዳታ ለሚያስፈልገው የህብረተሰብ ክፍል ምላሽ ማቅረብ መቻሉንም ነው አቶ ምትኩ የገለጹት።), according to Fana. As usual, this is an absolute lie!
As an orchestrated ruling party position, these exact words were repeated, according to The Guardian, by Boru Jilo, deputy administrator for Fantalle district in Oromia region. He said, "Because of the government's response, there is no single livestock or human who died as a result of the drought,"
The fact of the matter is that people have been starved, although the situation has not loomed into famine. Hungry people are informing journalists that they have not been receiving food and water. Recall that The Guardian on March 3/2016 got it first hand from an aid recipient Ajo Masha who said, "We finished everything we had, and all of our cows are just dying,. Unless there is a miracle, we are simply waiting to die."
Hungry people are no different from legal prisoners in Ethiopia today. The security forces are fanning each and every drought affected district to prevent people from abandoning their God-forsaken villages in search of food or to beg from the better off!
The TPLF regime says not true. Its evidence is its words, it thinks, must stand against that of hungry Ethiopians and those that are trying to help them, despite numerous obstacles – including for journalists to make it difficult for them to report on the sad man-and-politics-made reality!
Posted by The Ethiopia Observatory (TEO)
by Adam Justice, IBT
Food and Agriculture Organization (FAO) of the United Nations is appealing for urgent aid for the people in Ethiopia, as Africa's second most populous nation faces its worst drought in 50 years.
The devastating drought sparked by the worst El Niño in records has driven Ethiopia to an alarming state of food insecurity and malnutrition, the agency said. Water and animal feed are scarce in most parts of the country, leading to crop failures and widespread livestock deaths.
Shortage of clean water is also posing a threat to human health, with people drinking water from the same pond as their animals. Malnourished people and animals, some drinking water from murky pond in the north-eastern Afar region of Ethiopia, are seen in a video released by the FAO on 7 March.
"This is dirty water and people are drinking it. So, it's not only going to affect their lives, but the diseases that goes along with it, because they are drinking water from the same pond where animals defecate, where animals are drinking," said Patrick Kormawa, FAO Subregional Coordinator for Eastern Africa.
"Our appeal to the international community is to support development organizations like FAO, to be able to provide safe drinking water, to be able to provide water for the animals, to be able to provide water for the crops, so that people will have a decent life. This is a catastrophe," Kormawa added.
There are extremely high livestock mortality rates due to poor grazing resources, feed shortages and limited water in the Afar Region and this has led to sharp declines in milk and meat production – a vital source of nutrition for these communities.
"I lost 25 goats. We lost most of our cattle," said cattle herder, Oumer Beri. "We received animal feed and hay. Some of our animals were saved because of this support. But this is not enough and we need more animal feed support to save our remaining animals."
The El Nino weather phenomenon has caused drought and flooding across Africa, leaving 20m people short of food in the south of the continent and 14m in the east, the United Nations said. The number in need is greatest in Ethiopia. Famine, triggered by war and drought, killed one million people in Ethiopia in 1984. The nation now has one of Africa's fastest-growing economies but many people are still small-scale farmers and herders dependent on seasonal rains.
The drought is not just a food crisis – above all, it is a livelihood crisis. FAO is urgently appealing for $13m (£9.18m) by the end of March for seed support – both food crop and forage seed – to enable them to provide survival feed for drought and core breeding stock to livestock-dependent households as well as continuing their work to provide safe and separate water resources for animals and people.
Related from IBT:
Ethiopia claims Eritrea behind Oromo protests but activists warn against 'state propaganda'
Oromo protests: Ethiopia says crackdown claims 'abysmal propaganda' as situation peaceful
Ethiopia needs $245m to stop food aid running out by April
Ethiopia: Thousands left displaced in Somali region due to severe drought


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Date:08 August 2019, Thursday
Location:S16-05-96, DSAP Computer Lab 4, Faculty of Science
Time:02:00PM to 03:00PM
Universe is teaming with objects that exhibit a wide range of variability in brightness at different wavebands leading to time series data. Majority of data from gravitational wave detectors, pulsar timing array, exoplanet surveys, multi-messenger astronomy, and current and forthcoming digital sky surveys, is in the form of irregularly spaced time series. Scientific interpretation of astronomical time series is complicated by the instrumental effects, variety of variable astronomical phenomena, the dependent uninteresting noise, and the often irregular cadence of observations. Brief review of statistical issues in time-domain astronomy will be presented.


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Resources by Jane Finnis
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'Let's Get Real' details the online analytics methodology, research and key findings of a major study into how arts and cultural organisations can evaluate online success. It suggests new ways to plan, invest and collaborate on the development of digital cultural activities. The guide explains how to define what you are trying to do online, and who you are doing it for; how to focus your online investment; how to recognise the value - and limits - of social media; how to question whether the web is enabling you to reach new audiences, and how to standardise methods of reporting online metrics to external stakeholders.Read more
Measuring the effectiveness of digital innovation
In order to see whether digital marketing efforts are working, cultural organisations have to measure the right things and use the right tools. This article looks at two case studies: one of a group of major UK institutions conducted by Culture 24, and another by The Powerhouse Museum in Sydney. It looks at how to choose the right tools for measuring digital engagement, and how to build analytics into the fabric of projects.Read more
"Follow me": How do we know if digital 'pull' marketing is working?
How do we know if online 'pull' marketing is working? Case studies from Contact Manchester, complemented by tips from Culture24 for using Google Analytics effectively.Read more