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In Bed with Susie Bright 535: Twin-cest: Porn A...
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Just when you thought you've seen it all, the porn world brings us a real doosie. Breaking a taboo that makes many people uncomfortable are a pair of teenaged twin brothers who have sex together. Elijah and Milo Peters perform on camera and are becoming new gay-porn superstars. Susie looks at the reasons why these siblings might really be in love. Or is it all for the money? It's undeniably incest, but viewers are hooked. The brothers have kissed, given each other blow-jobs, and had anal sex with each other. And… they say they are in love. YouTube and other video audiences say give us more! Then, it's our "Try This at Home" mailbag. Susie has a letter from a listener who needs some business advice: "How do I set up my own prostitution business with all the bells and whistles?" Have a question? You can call Susie's hotline at 831-480-5110. And you can send your confidential questions - plus requests for free samples and blog banners! - to susie@susiebright.com. [Episode 535, August 10, 2012] Explicit Language Warning: You must be 18 years or older to purchase this program. 1. Language: English. Narrator: Susie Bright. Audio sample: http://samples.audible.de/pf/suzy/120810/pf_suzy_120810_sample.mp3. Digital audiobook in aax.

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The role of monstrous bodies in Tod Browning's ...
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Seminar paper from the year 2009 in the subject English Language and Literature Studies - Comparative Literature, grade: 1,7, University of Cologne (Englische Seminar 1), course: The films of Tod Browning, language: English, abstract: Table of contents 1. Introduction...........................................................................................3 2. Freaks..................................................................................................4 3. Monstrous bodies ...................................................................................6 4. Outlook .............................................................................................13 5. Conclusion...........................................................................................14 Appendix...............................................................................................16 List of references......................................................................................20 1. Introduction 'I'm a creep, I'm a weirdo. What the hell am I doing here? I don't belong here.' (Radiohead - Creep, 1993) Since the beginning of mankind there have always been a few humans who differed from the vast majority. They showed (and still show) various features which separated them from 'normal people'. These characteristics can be caused by genetic defects or other, medical reasons and lead to a life 'outside of the boundaries of 'normal''. Physically and / or mentally they differ from the majority. Some are taller than average people, some are smaller. Some are hermaphrodites. Some have missing or extra body parts, some lack extremities at all. These so called 'freaks' are defined by freedictionary.com as having 'an abnormally formed organism' and 'regarded as a curiosity or monstrosity'. Tod Browning's film Freaks deals with handicapped people, who comply with this definition and will be the core theme of this term paper, so that the role of monstrous bodies in this specific movie will be explained and analyzed. In order to do that, it will be started with a rendering of the movie's content, important basic facts about it and its' effect on the viewers and the critics, before the analysis will be focused. Are the 'freaks' in the movie creeps and weirdos or aren't they and if so, what else are they

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Internet Branding & Impact on Institutions of h...
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The major traditional media to promote an organization are television, newspapers, magazine and radio. However the market is changing as many consumers are spending more time on the Internet and using mobile devices. Web branding is getting more attention. Institutions of higher learning promote their brand on the Web for several reasons. Television viewers are migrating to the Internet. Web users are spending significantly less time watching television and more time using the Web. This trend will continue, especially as the Web enabled mobile phones are becoming commonplace. In addition, many Web users are well educated and have high incomes. These Web surfers are a desired target for many advertisers.One of the major advantages of using the Web over mass advertising are precise targeting, interactivity, rich media that grabs attention, cost reduction, efficiency and eager customer acquisition. In comparison to traditional media, the Web is the fastest growing communication medium by far. Web users surpassed 2 billion in 2011. Of course, marketers are interested in a medium with such potential reach, both locally and globally.

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Humor and Its Pursued Strategies in 'Smoke Sign...
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Seminar paper from the year 2010 in the subject English Language and Literature Studies - Literature, grade: 1,7, University of Münster (Englisches Seminar), course: Negotiating Representations of Native Americans in Native American Feature Films, language: English, abstract: From the day when the first settlers landed on the American coast it had been reported back to their people in Europe what the Native population is like and how they create their cultural lives. Since that time, Native Americans have been externally conceptualized in various forms, as for example in form of the 'noble savage' or the 'vicious savage', and almost never as having a sense of humor (Gruber 142). Humor in connection with Native American characters has among other reasons been avoided by image makers for it would have allowed recipients to identify with such human characteristics (Gruber 7). This would have meant to invalidate a powerful colonial 'casting mold' for dehuminazing stereotypical images about Nativeness. This hegemonic tool proves to be the most enduring one of colonization by replacing guns and troops (Gruber 157) with occupied Non-Native minds. Filmic representation perpetuated these distorted ideas about Native Americans further by drawing on those widespread clichés and inventing new ones (Gruber 142; Mihelich 130), as for example the Native American 'ecologist' (Cornell 109) or the spiritual 'shaman' living in absolute piece with nature. Thus, till today Native Americans are confronted with the task of dealing with biased images of themselves which are externally imposed on them by the surrounding dominance of Non-Native societies and discourses. In this paper I will discuss how Native filmmakers Chris Eyre and Sherman Alexie effectively use just this powerful genre of popular culture to tackle habituated representations of Native Americans and offer Native versions of Nativeness. In Smoke Signals (1998) they rework and transform existing stereotypes by creating a meta level on which the powerful mechanism of image making is exposed. This meta level can be established through the use of humor (Gruber 35). I will fill a desideratum in this context by breaking the concept of 'humor' down into its single aspects and then applying those to humorous material in Smoke Signals whereby distilling various strategies, not only the means for survival, which are used to pursue the subversive aim. In a structural approach I will have a closer look at which aspects of humor are actually used and what kinds of strategies originate from them considering a mixed audience consisting of Native as well as Non-Native viewers.

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Celluloid Indians
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Native American characters have been the most malleable of metaphors for filmmakers. The likeable Doc of Stagecoach (1939) had audiences on the edge of their seats with dire warnings about 'that old butcher, Geronimo'. Old Lodgeskins of Little Big Man (1970) had viewers crying out against the demise of the noble, wise chief and his kind and simple people. In 1995 Disney created a beautiful, peace-loving ecologist and called her Pocahontas. Only occasionally have Native Americans been portrayed as complex, modern characters, in films like Smoke Signals. Celluloid Indians is an accessible, insightful overview of Native American representation in film over the past century. Beginning with the birth of the movie industry, Jacquelyn Kilpatrick carefully traces changes in the cinematic depictions of Native peoples and identifies cultural and historical reasons for those changes. In the late twentieth century, Native Americans have been increasingly involved with writing and directing movies about themselves, and Kilpatrick places appropriate emphasis on the impact that Native American screenwriters and filmmakers have had on the industry. Celluloid Indians concludes with a valuable, in-depth look at influential and innovative Native Americans in today's film industry.

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Popular Culture as Art and Knowledge
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This volume settles the debate between analytic and continental philosophy. It turns to art, more specifically popular culture, to demonstrate the validity of continental philosophy. Drawing on the philosophy of Georg Hegel (perhaps the most important of continental philosophers), James Kreines holds that reason in the world metaphysically exists. Reasons of the world are reasons of the Hegelian Absolute. Thus, similar to the fact that gravity is curves in the space-time continuum along which matter moves - reasons are the grooves in the Absolute along which human decision-making occurs. Art allows us to conceptualize, understand, speculate about the grooves (reasons) of the Absolute. Two key points can be drawn from Kreines's position: first, normative values are embedded in reality. Thus, in complete contradistinction to analytic philosophy, there is no bifurcation between the empirical and the normative - to exist is to have normative value. Secondly, the role of social science is to cogitate, explore, identify the reasons of the world that shape social, political norms. Such an approach would decisively move the social sciences away from an emphasis on statistically significant patterns of human behavior (e.g., voting studies) and toward an approach that seeks to analyze the reasons of the world that motivate/shape social and political decisions. Art (particularly popular culture) becomes an important source in identifying the way that people reason about the world and how they perceive political elites reasoning in the world. To adjudicate between continental and analytic philosophy this book on relies on the broadcast iterations of Star Trek, as well as Nazi cinema. With regard to contemporary American politics, in addition to Star Trek, it draws on the television series Game of Thrones, Veep, House of Cards, and The Man in the High Castle. Popular culture is germane to philosophy and contemporary politics because television/movie creators frequently try to attract viewers by conveying authentic philosophical and political motifs. Conversely, viewers seek out authentic movies and television shows. This is in contrast to opinion surveys (for instance), as the formation of the data begins with the surveyor seeking to directly solicit an opinion - however impromptu or shallow.

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The Elements of Journalism
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In July 1997, twenty-five of America's most influential journalists sat down to try and discover what had happened to their profession in the years between Watergate and Whitewater. What they knew was that the public no longer trusted the press as it once had. They were keenly aware of the pressures that advertisers and new technologies were putting on newsrooms around the country. But, more than anything, they were aware that readers, listeners, and viewers — the people who use the news — were turning away from it in droves. There were many reasons for the public's growing lack of trust. On television, there were the ads that looked like news shows and programs that presented gossip and press releases as if they were news. There were the 'docudramas,' television movies that were an uneasy blend of fact and fiction and which purported to show viewers how events had 'really' happened. At newspapers and magazines, celebrity was replacing news, newsroom budgets were being slashed, and editors were pushing journalists for more 'edge' and 'attitude' in place of reporting. And, on the radio, powerful talk personalities led their listeners from sensation to sensation, from fact to fantasy, while deriding traditional journalism. Fact was blending with fiction, news with entertainment, journalism with rumor. Calling themselves the Committee of Concerned Journalists, the twenty-five determined to find how the news had found itself in this state. Drawn from the committee's years of intensive research, dozens of surveys of readers, listeners, viewers, editors, and journalists, and more than one hundred intensive interviews with journalists and editors, The Elements of Journalism is the first book ever to spell out — both for those who create and those who consume the news — the principles and responsibilities of journalism. Written by Bill Kovach and Tom Rosenstiel, two of the nation's preeminent press critics, this is one of the most provocative books about the role of information in society in more than a generation and one of the most important ever written about news. By offering in turn each of the principles that should govern reporting, Kovach and Rosenstiel show how some of the most common conceptions about the press, such as neutrality, fairness, and balance, are actually modern misconceptions. They also spell out how the news should be gathered, written, and reported even as they demonstrate why the First Amendment is on the brink of becoming a commercial right rather than something any American citizen can enjoy. The Elements of Journalism is already igniting a national dialogue on issues vital to us all. This book will be the starting point for discussions by journalists and members of the public about the nature of journalism and the access that we all enjoy to information for years to come.

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People's Party
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Marc Milllett, an intelligent, well traveled, young professor of political science at Stanton University, has spent four years researching the evolution of the U.S. political system into its present day, voter-unresponsive state ('The Project'). His research shows that voter apathy has grown alarmingly - more than 52 % of those eligible do not vote. In order to find the cause of this disenchantment he has arranged to monitor the campaigns of the major candidates in the upcoming presidential election - one of which is Senator Harry Stennis. Harry is a charismatic fourth generation Texan with more than enough money to self-finance his independent party campaign ('The People's Party'). He is driven by a strong need to give back by returning the government to the people. Harry has selected a young go-getter campaign manager, Jerry Hogan, who is committed to running a campaign based on serving the needs of the voters by promising to deal with the real issues. Marc and Harry gradually develop a personal relationship which blossoms into an invitation to appear on national TV as part of a town meeting Q&A session set up by Jerry Hogan. After assuring himself that his part will be limited to explaining The Project Marc accepts and he scores with the viewers. Because of his stage presence and the recognized need for The Project he becomes a sought after talk show guest and a beacon of hope to the disenchanted voters. Harry's main competitor is Republican Senator Claude Hankings, a self made man from rural Ohio. Claude's campaign is based on giving something to get something. He has an old-school Washington campaign manager who knows who to give it to and what to get back. Claude easily wins his primaries and leads by 8 points in the polls with only 10 days left before the vote. The only options which would give Harry an outside chance to pull off an upset win are: to make a deal with the big labor unions and accept the strings attached which would violate his campaign pledge to the voters; or, to make a last ditch, all-out effort to motivate those disenchanted non-voters. After much soul searching, Harry decides to make a sincere appeal to the apathetic non-voters and try to convince them that if they voted for The People's Party they would be electing a government 'of the people, by the people and for the people'. Jerry Hogan has saved three ten minute national TV slots for a final push. Harry uses those slots to explain his reasons for running; to introduce his selection of those who would serve as his cabinet members; and to let the man he has selected as a running mate speak for himself. At noon on voting day, Claude Hankings leads by 4%. Harry and his team Can only wait and watch as the TV reports the vote count. 'The People's Party' is a timely novel factually portraying how the U.S. arrived at today's broken electoral system which produces governments answering to the moneyed special interests groups rather than the will of the voters. It is factual enough to be believed and entertaining enough to be enjoyed

Anbieter: Orell Fuessli CH
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The role of monstrous bodies in Tod Browning's ...
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Seminar paper from the year 2009 in the subject English Language and Literature Studies - Comparative Literature, grade: 1,7, University of Cologne (Englische Seminar 1), course: The films of Tod Browning, language: English, abstract: Table of contents 1. Introduction...........................................................................................3 2. Freaks..................................................................................................4 3. Monstrous bodies ...................................................................................6 4. Outlook .............................................................................................13 5. Conclusion...........................................................................................14 Appendix...............................................................................................16 List of references......................................................................................20 1. Introduction 'I'm a creep, I'm a weirdo. What the hell am I doing here? I don't belong here.' (Radiohead - Creep, 1993) Since the beginning of mankind there have always been a few humans who differed from the vast majority. They showed (and still show) various features which separated them from 'normal people'. These characteristics can be caused by genetic defects or other, medical reasons and lead to a life 'outside of the boundaries of 'normal''. Physically and / or mentally they differ from the majority. Some are taller than average people, some are smaller. Some are hermaphrodites. Some have missing or extra body parts, some lack extremities at all. These so called 'freaks' are defined by freedictionary.com as having 'an abnormally formed organism' and 'regarded as a curiosity or monstrosity'. Tod Browning's film Freaks deals with handicapped people, who comply with this definition and will be the core theme of this term paper, so that the role of monstrous bodies in this specific movie will be explained and analyzed. In order to do that, it will be started with a rendering of the movie's content, important basic facts about it and its' effect on the viewers and the critics, before the analysis will be focused. Are the 'freaks' in the movie creeps and weirdos or aren't they and if so, what else are they

Anbieter: Thalia AT
Stand: 09.12.2019
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