Academic literature on the topic 'Duvernet (Firm)'

The spectrum of black women's spirituality in television has become nearly as diverse as the portraits of Afro-Atlantic spiritual practices that became central to key literary works of black feminist authors of the 1980s, such as Toni Cade Bambara, Paule Marshall, Toni Morrison, and Alice Walker. While many are the spiritual and televisual daughters of the authors mentioned above, this essay argues that the appearance of this wider range of black women's spirituality and activism in episodic television owes its greatest debt to two films from the 1990s, Julie Dash's, Daughters of the Dust (1991) and Kasi Lemmons’ Eve's Bayou (1997). I focus here on two shows which were themselves created by Black women feature film directors, Shots Fired (Gina Prince Bythewood with Reggie Rock Bythewood) and Queen Sugar (Ava DuVernay). I examine how characters like Pastor Janae (from Shots) and Nova Bordelon (from Sugar) use their spiritual practices in service of social justice, family, and community healing in ways that connect them to the women of Dash and Lemmons’ earlier films.

The fast gait of jirds (Meriones shawi shawi) was analyzed by means of high-speed X-ray cinematographic film (500 frames/s). The gait is asymmetrical, related to the transverse gallop with a cycle duration of 0.15 s, for a speed of 1 m∙s−1. The flight phase, which can last for up to 10% of the cycle duration, follows the takeoff of one anterior limb. The kinematics of the hind limb reveal that the angular excursion of the femur is small, but is increased 100% by dorsiflexion (stance phase) and ventroflexion (swing phase) of the vertebral column. During the propulsive moment, the knee joint is stable while the ankle joint opens quickly to a wide angle (70° in 40 ms). The shank joint and the head oscillate vertically, and the relative movements of the anterior and posterior parts of the body create dynamic effects facilitating the cantilevered position of the forequarters during 35% of the cycle. This kinematic analysis reveals that these small mammals differ from large ones in the way they use the geometry of their limbs even when the limbs are moved in a parasagittal plane during fast running.

Over the last decade a number of historical dramas, including Selma (Ava DuVernay, 2014), Twelve Years a Slave (Steve McQueen, 2013), and The Birth of a Nation (Nate Parker, 2016), have been the recipients of numerous accolades, screening at festivals and winning prestigious awards. The films are linked by a focus on the past, particularly the antebellum and Civil Rights eras, and a shared commitment to providing historical narratives from African American perspectives. In many ways, they continue in the tradition of the slave narrative/abolitionist melodrama, with Twelve Years a Slave perhaps the closest embodiment of the genre and Selma, despite its more contemporary setting, a close second. At first glance, the green-lighting of such historical films, particularly those that capitalize on the genre's melodramatic aspects, can be interpreted as signaling the industry's belief that antiblack racism is a thing of the past, or perhaps a conviction that American society is ready to face its “original sin” of slavery. A more generous interpretation might suggest a genuine media interest in African American history. Regardless, the continuing engagement with such narratives raises important questions about the longstanding relationship between cinema and history, and the former's capacity to relate African American stories within a medium that has its own troubled representational past as a birthright, one memorialized in D. W. Griffith's The Birth of a Nation (1915). Films such as Nate Parker's The Birth of a Nation and Selma reflect upon and refract many pasts and presents, prompting considerations of what's changed, and, more importantly, what hasn't. They also raise questions about the feasibility of the historical genre's ability to convey black history, especially when the form is overdetermined by contemporary expectations of historical accuracy. If Hollywood's plantation/Civil Rights formula no longer works, then productive alternatives can be created, either in fiction or nonfiction film, that cannot only relate the past but also link that past to the ongoing effects of antiblack racism in the twenty-first century.

Nuclear Medicine Annual 1995. Edited by L. M. Freeman. 288 pages. Lippincott-Raven Publ., Philadelphia 1995. ISBN 0-7817-0285-2. Price: USD 129. Reviewed by Bo Jung. Clinical Applications of Doppler Ultrasound, second edn. Edited by K. J. W. Taylor et al. Raven Press 1995. ISBN 0-7817-084-8. Price: USD 149. Reviewed by Lillemor Forsberg. Mediastinal Tumors Update 1995. Edited by D. E. Wood and C. R. Thomas Jr. 133 pages. Springer-Verlag 1995. ISBN 3-540-58750-0. Price: DEM 120. Reviewed by Olov duvernoy. Gastrointestinal Radiology. A Pattern Approach. Third edn. by R. L. Eisenberg. 1194 pages. Lippincott-Raven, Philadelphia 1996. ISBN 0-397-51480-0. Price, hardbound: USD 195. Reviewed by Rickard Nyman. Radiographic Positioning. Pocket Manual by C. A. Dennis et al. Churchill Livingstone, Edinburgh 1995. ISBN 0-3-1618096-3. Price, spiral band: GBP 24.50. Reviewed by Rickard Nyman. Urological Radiology. Radiological Diagnosis of Urological Disease: Plain Film, Sonography, Angiography, CT, and MRI. Edited by E. Löhr and K. W. Sievers. 178 pages. Hogrefe & Huber Publishers, Seattle 1995. ISBN 0-88937-131-8. Price: USD 89.00. Reviewed by Claes-Göran Lindberg. Ultrasound in Gastroenterology. Edited by P. A. Dubbins and A. E. A. Joseph. Churchill Livingstone, New York 1994. ISBN 0-0443-08905-1. Reviewed by Anders Elvin. Atlas of Brain Function by W. W. Orrison Jr. Thieme Medical Publishers Inc., New York 1995. ISBN 3-13-101131-9. Price, cloth: DEM 98. Reviewed by Raili Raininko.

Historically, images of Black women in media have been confined to one-dimensional, caricatured representations such as the mammy, jezebel, and 'angry Black woman'. However, a small segment of Black female filmmakers have committed to the re-presentation of Black women. This study focuses on two Black female directors, Gina Prince-Bythewood and Ava DuVernay, who have re-presented multi-dimensional images of Black women at the center of their stories. In this thesis, Prince-Bythewood’s "Love & Basketball" (2000) and "Beyond the Lights" (2014) and DuVernay’s "The Door" (2013) and "Selma" (2014) are the subjects of the chapters as I examine themes such as community, motherhood, and girlhood from the films.