A theatrical production of Ibsen ’ s Hedda Gabler by The Opposites Company of the Theatre, in which the title character was presented as “ essentially good ”, in keeping with Siegel ’ s interpretation of the play, was highly praised in Time magazine, but severely criticized in the New York Times, which also published Siegel ’ s response to the critics.

He also advised his students, “ It isn ’ t the subject that counts but what you feel about it ” and “ Forget about art and paint pictures of what interests you in life .” In this manner, Henri influenced Hopper, as well as notable future artists George Bellows and Rockwell Kent.

It comes slowly .” His fellow illustrator Walter Tittle described Hopper ’ s depressed emotional state in sharper terms, seeing his friend “ suffering … from long periods of unconquerable inertia, sitting for days at a time before his easel in helpless unhappiness, unable to raise a hand to break the spell .” In 1912, Hopper traveled to Gloucester, Massachusetts, to seek some inspiration and did his first outdoor paintings in America.

In 1918, Hopper was awarded the U. S. Shipping Board Prize for his war poster, “ Smash the Hun ,” and he was able to exhibit on three occasions: in 1917 with the Society of Independent Artists, in January 1920 ( a one-man exhibition at the Whitney Studio Club, which was the precursor to the Whitney Museum ), and in 1922 ( again with the Whitney Studio Club ).

Always reluctant to discuss himself and his art, Hopper simply summed up his art by stating, “ The whole answer is there on the canvas .” Hopper was stoic and fatalistic — a quiet introverted man with a gentle sense of humor and a frank manner.

Though a realist painter, Hopper ’ s “ soft ” realism simplified shapes and details.

Regarding his style, Hopper defined himself as “ an amalgam of many races ” and not a member of any school, particularly the “ Ashcan School ”.

Though critics and viewers interpret meaning and mood in these cityscapes, Hopper insisted “ I was more interested in the sunlight on the buildings and on the figures than any symbolism .” As if to prove the point, his late painting Sun in an Empty Room ( 1963 ) is a pure study of sunlight.

As Hopper scholar Gail Levin wrote of “ Hotel Room ”:

Hopper ’ s Room in New York ( 1932 ) and Cape Cod Evening ( 1939 ) are prime examples of his “ couple ” paintings.

Jo Hopper noted in their log book, “ he open book is Plato, reread too late ”.

In Office at Night ( 1940 ), another “ couple ” painting, Hopper creates a psychological puzzle.

Hopper went on to make several “ office ” pictures, but none with a sensual undercurrent.

In keeping with the title of his painting, Hopper later said, “ Nighthawks ” has more to do with the possibility of predators in the night than with loneliness.

Hopper ’ s wife, as usual, posed for him for the painting, and noted in her diary, “ Ed beginning a new canvas — a burlesque queen doing a strip tease — and I posing without a stitch on in front of the stove —- nothing but high heels in a lottery dance pose .”

Hopper did produce a commissioned “ portrait ” of a house, The MacArthurs ’ Home ( 1939 ), where he faithfully details the Victorian architecture of the home of actress Helen Hayes.

She reported later, “ I guess I never met a more misanthropic, grumpy individual in my life .” Hopper grumbled throughout the project and never again accepted a commission.

Hopper also painted Portrait of Orleans ( 1950 ), a “ portrait ” of the Cape Cod town from its main street.

When Jo Hopper commented on the figure in Cape Cod Morning “ It ’ s a woman looking out to see if the weather ’ s good enough to hang out her wash ,” Hopper retorted, “ Did I say that?

“ There would be no enduring conflicts — harmony, no matter how contrived and specious, would ultimately triumph in the last frame ... In true Hollywood fashion, no Capra film would ever suggest that social change was a complex, painful act.

“ Throughout his career Capra depended upon his skill as an editor to achieve the contrast of the individual and the group, critical in the success of his Hollywood movies .” Capra thought it would be most effective to use the enemy ’ s original film and propaganda in the series in order to expose the enemies with their own images.

In Hollywood, Martin plunged herself into auditions — so many that she became known as “ Audition Mary ”.

" Both Jensen and Springarn were also confused " by the film ’ s Reconstruction setting, states Jim Hill Media, writing that “ It was something that also confused other reviewers who from the tone of the film and the type of similar recent Hollywood movies Jezebel ( film ) | Jezebel assumed it must also be set during the time of slavery .” Based on the Jensen and Springarn memos, White released the “ official position ” of the NAACP in a telegram that was widely quoted in newspapers.

It included a high-definition digital transfer of Peter Bogdanovich ’ s director ’ s cut, two audio commentaries, one from 1991, featuring Bogdanovich and actors Cybill Shepherd, Randy Quaid, Cloris Leachman, and Frank Marshall ; the other from 2009, featuring Bogdanovich “ The Last Picture Show ”: A Look Back, ( 1999 ) and Picture This ( 1990 ), documentaries about the making of the film, A Discussion with Filmmaker Peter Bogdanovich, a 2009 Q & A, screen tests and location footage, and excerpts from a 1972 television interview with director François Truffaut about the New Hollywood.

In August 2011, former child star Corey Feldman told ABC's Nightline, “ I can tell you that the No. 1 problem in Hollywood was and is and always will be pedophilia.

In the years that followed World War II, shadows darkened the scenery to add psychological complexity to a number of early film noir dramas, like Leave Her to Heaven, while at the same time a secret battle involving blacklisted Broken Arrow screenwriter Albert Maltz, a prominent member of the “ Hollywood Ten ," was being fought on the same dusty ground.

Suzanne is subsequently taken by the occupants of a car labeled “ Critters of Hollywood ”.

According to one version, it was an invention of Hollywood film makers who wanted “ dancers to stay in the same plane, to avoid going in and out of focus ”.

“ When Schneider managed to hunt up Keaton, he found that genius of the silent screen — old, broke, ill, and alone — some $ 2 million ahead in a four-handed poker game with an imaginary Louis B. Mayer of MGM and two other invisible Hollywood moguls.

The band was also featured, along with a 70-piece orchestra, on the live album “ An Evening of Magic ,” which was recorded at the Hollywood Bowl on July 16, 1978, at the height of Mangione ’ s success from “ Feels So Good .” Performances of material new and old included versions of “ Main Squeeze ,” “ Hill Where the Lord Hides ” and “ Chase the Clouds Away .” Mangione opened and closed the show with “ Feels So Good ” and its “ Reprise ” version.

In an interview in TV Ontario's series Film 101, “ Hollywood Asylum, Explored or Exploited ?”, film actor Brad Dourif ( who played Billy Bibbit in One Flew Over the Cuckoo's Nest ) stated that Sampson had been imprisoned for a crime he did not commit.

On May 5th, 2012 the Astra Dance Company opened a theatrical production of “ The Cabinet of Dr. Caligari ” in Hollywood, California at the El Portal Theatre and extended with an encore presentation from September to October 2012.

The cemetery, the first in Hollywood, was founded in 1899 on as “ Hollywood Memorial Park Cemetery ” by developer Isaac Lankershim and his son-in-law, Isaac Van Nuys.

They renamed it “ Hollywood Forever ” and started restoring, refurbishing and adding to it, investing millions in revitalizing the grounds, offering documentaries about the deceased that are to be played in perpetuity on kiosks and are posted on the Web, and organizing tours to draw visitors.

" Berg even called the film a “ bastardization .” Because of what Salinger's agent later called "' a terrible movie ' made in the 1950s " of one of his stories, the author never again relinquished control of his work to Hollywood filmmakers, despite persistent interest in adapting his most famous work, The Catcher in the Rye, for the screen.

She stated, “ I make my pictures for what Hollywood spends on lipstick ,” and observed that Hollywood “ has been a major obstacle to the definition and development of motion pictures as a creative fine-art form .” She set herself in opposition to the Hollywood film industry ’ s standards and practices.

Heineken, Target and Macy ’ s have used songs from The Orchard ’ s catalogue in their advertisements ; The Black Angels and The Raveonettes were featured on True Blood, Frankie Avalon ’ s “ Venus ” was played on Dexter and both the Dum Dum Girls ’ “ Coming Down ” and Kina Grannis ’ “ The One You Say Goodnight To ” were heard on season 5 of Gossip Girl ; and songs distributed by The Orchard that have made it into film soundtracks include The Red Army Choir of Alexandrov ’ s “ Soviet National Anthem ” in X-Men: First Class, Frankie Avalon ’ s classic “ Swingin ’ on a Rainbow ” in The Help and Macon Greyson ’ s “ Black Light ” in The Wrestler.

" In 2008, she made a guest appearance on Gossip Girl, followed by a cameo on an episode of The Sarah Silverman Program — where the cast formed a mock band called the “ Loeb Trotters .”

On September 27, 2010, their song “ On The Run ” from their album, Midnight Matinée was featured in The CW hit show Gossip Girl.

A powerful, yet unstable social hierarchy structures interactions between Group Members in any given clique, always topped by the highest-status member, labeled by psychologists as the “ Leader ” or “ Queen Bee .” In her now famous ethnography of adolescent cliques, ‘’ Queen Bees and Wannabes: Helping your Daughter Survive Cliques, Gossip, Boyfriends & Other Realities of Adolescence ,’’ author Rosalind Wiseman explains the standard set of roles most frequently adopted by male and female clique members.

The GLF ’ s " A Gay Manifesto " set out the aims for the fledgling gay liberation movement, and influential intellectual Paul Goodman published “ The Politics of Being Queer ” ( 1969 ).

“ The Power to Destroy: Understanding Stratospheric Ozone Politics as a Common Pool Resource Problem ”, in J. Barkin and G. Shambaugh ( eds.

* Downie, David ( 2013 ) “ Stratospheric Ozone Depletion .” The Routledge Handbook of Global Environmental Politics.

* Joshua Cohen, “ Deliberation and Democratic Legitimacy ” in Deliberative Democracy: Essays on Reason and Politics, eds.

“ Governing a Republic: Rousseau ’ s General Will and the Problem of Government .” Republics of Letters: A Journal for the Study of Knowledge, Politics, and the Arts 2, no.

“ Weary of Petticoat Government ”: The Specter of Female Rule in Early Nineteenth-Century Shaker Politics .” Communal Societies.

Sexual Morality and the Law ( originally published as La loi de la pudeur ), is the Chapter 16 of Politics, Philosophy, Culture ( see “ Notes ”), pp. 271 – 285.

“ Faith and Election: The Christian right in Congressional Campaigns 1978 – 1988 .” The Journal of Politics 55 ( 1 ), ( February ): 80 – 91.

According to Paul Lawrence Rose in his article “ The Politics of Antony and Cleopatra ," the views expressed in the play of “ national solidarity, social order and strong rule ” were familiar after the absolute monarchies of Henry VII and Henry VIII and the political disaster involving Mary Queen of Scots.

* Zarrow, Peter, “ Politics and culture in the May Fourth Movement ”, in Zarrow, Peter: China in war and revolution, 1895-1949 ( New York: Routledge ), 2005, 149-169.

* Lanser, Susan S. “ Feminist Criticism, ` The Yellow Wallpaper ,’ and the Politics of Color in America .” Rpt.

“ Charlotte Perkins Gilman v. Ambrose Bierce: The Literary Politics of Gender in Fin-de-Siècle California .” Journal of the West ( July 1993 ): 52-60.

* Tuttle, Jennifer S. “ Rewriting the West Cure: Charlotte Perkins Gilman, Owen Wister, and the Sexual Politics of Neurasthenia .” The Mixed Legacy of Charlotte Perkins Gilman.

“ Listening to Guinevere: Female Agency and the Politics of Chivalry in Tennyson ’ s Idylls .” Studies in Philology, Vol.

“ Chinese Americans and the Politics of Race and Culture ” Temple University Press, 2008

During these years he published three more books: “ Sentido y Forma de una Política ” (“ Meaning and Shape of Politics ”), “ La Verdad Tiene Su Hora ” (“ Truth Has Its Time ”), y “ Pensamiento y Acción ” (“ Thought and Action ”).

According to data from the Center for Responsive Politics, the top 100 individual super PAC donors in 2011 – 2012 made up just 3. 7 % of contributors, but accounted for more than 80 % of the total money raised, while less than 0. 5 % of the money given to “ the most active Super PACs ” was donated by publicly traded corporations.

Brian Holmes, “ Liar's Poker: Representation of Politics / Politics of Representation ,” springerin 1 / 03 ( 2003 ; also in German ); http :// www. springerin. at / dyn / heft_text. php? textid = 1276 & lang = en

* Smith, Konden R., “ The Reed Smoot Hearings and the Theology of Politics: Perceiving an ‘ American ’ Identity ,” Journal of Mormon History, 35 ( Summer 2009 ), pp. 118 – 62.

Her work includes articles for magazines and newspapers around the world ( e. g., Wall Street Journal, International Herald Tribune, The Independent ( UK ), The Irish Times, The Toronto Globe and Mail, The LA Times, La Jornada ( Mexico ), The Review of the International Red Cross, Columbia University ’ s Journal of Politics and Society ) and chapters to numerous books ( e. g., This I Believe: The Personal Philosophies of Remarkable Men and Women, edited by Jay Allison and Dan Gediman book is the result of the “ This I Believe ” series on National Public Radio ; The Satanic Bible By Caesar 999 ; A Memory, A Monologue, A Rant, and A Prayer, edited by Eve Ensler ; Lessons from our Fathers, by Keith McDermott ; Girls Like Us: 40 Extraordinary Women Celebrate Girlhood in Story, Poetry and Song, by Gina Misiroglu ; The Way We Will be 50 Years from Today: 60 of the World ’ s Greatest Minds Share Their Visions of the Next Half-Century, edited by Mike Wallace ).

* Gorsuch, Anne E. “ Soviet Youth and the Politics of Popular Culture during NEP ,” Social History, 17. 2 ( 1992 ): 189-201. in JSTOR