Neo-nazi terrorism and countercultural fascism: the origins and afterlife of James Mason’s siege

People of the Wind (Iran), 1976/1999. 110 min. Dir.: Anthony Howarth. Prod.: Anthony Howarth, David Koff for an Elizabeth F. Rogers Publication. Distributed by Milestone Film and Video, 275 West 96th Street, Suite 28C, New York, NY 10025. Tel: 800/603-1104. Fax: 212/222-8952. Email: MileFilms@aol.com. Farsi with English narration by James Mason - Volume 34 Issue 2

American films have often been seen as agents of Americanisation. James Mason's long career as an actor seems to support such a trajectory, from inhabitant of a locality to a transatlantic star. Likewise audiences have been considered as following a similar journey, as they transported themselves to America via seats in the cinema and their living rooms. This article examines Mason's relationship with his home town of Huddersfield in order to explore the development of his sense of place, as he first distanced himself from the town and then, as he got older, adopted a Yorkshire identity. In response, audiences in Huddersfield used Mason's stardom to express their civic identities.

James Mason, the "Confederate Lobby" and the Blockade Debate of March 1862 Charles M. Hubbard The Civil War was from the beginning an international event affecting the views and attitudes of nations around the world. Some governments supplied arms and munitions to both combatants. The disruption ofcommercial shipping threatened the economies ofGreat Britain, France, Belgium, and Spain; and the manufacturing areas of Europe lost access to raw materials, particularly cotton, from the South. Europe's merchants were confronted with closed and blockaded ports. The higher tariffs and increased insurance costs cut deeply into profit margins. The war required governments to reassess their interests and adjust foreign policy to accommodate the changing international environment. The Confederate States ofAmerica sought international recognition and legitimacy and sent representatives to Europe to pursue those objectives. The initial Confederate mission, led by William Yancey, met with little success; and he was recalled in the fall of 1 86 1.1 On January 26, 1 862, a new representative, James Murray Mason, arrived in London. The day after his arrival, he penned a note to Confederate secretary of state Robert M. T. Hunter, expressing an overly optimistic view of the diplomatic potential in Great Britain; "my impressions decidedly are that, although the ministry may hang back in regard to the blockade and recognition through the Queen's speech at the opening of Parliament next week, the popular voice through the House of Commons will demand both."2Also identified in Mason's I would like to thank the Mellon Foundation and the Appalachian Colleges Association for the grant that enabled me to research and write this essay. 1 Emory Thomas, The Confederate Nation (New York: Harper and Row, 1979), 82-85; Charles M. Hubbard, The Burden of Confederate Diplomacy (Knoxville: University of Tennessee Press, 1998), 65-71; Brian Holden Reid, The Origins of the American Civil War (New York: Addison Wesley Longman, 1996), 385-87. 2 James Mason to R. M. T. Hunter, London, Jan. 30, 1862, U.S. Department ofthe Navy, Official Records of the Union and Confederate Navies in the War of the Rebellion, 30 vols. (Washington, D.C: GPO, 1 894-1 927), ser. 2, vol. 1 :752-53 (hereafter cited as ORN). Civil War History, Vol. xlv No. 3 © 1999 by The Kent State University Press 224CIVIL WAR HISTORY message is the subtle, but important, shift away from a diplomatic strategy relying completely on "King Cotton," in favor of a campaign to have the British declare the naval blockade of Southern ports illegal under international law. The failure of the Confederacy's initial strategy demonstrated to the Richmond government the need for a more indirect approach. Southerners believed, not without some justification, that recognition was inevitable if cotton was withheld from the textile manufacturers of England.3 If the shift in strategy obtained a denunciation of the blockade, events and confrontations similar to the Trent affair might produce intervention. The new strategy did not abandon King Cotton but was more subtle in that it blamed the Union blockade, not the Confederacy, for economic depression in the textile regions. In fact, Mason and his friends failed to appreciate completely the opportunity presented in this transfer of responsibility to the Union. Regardless of the side that caused the shortage, the Confederates believed that international recognition would necessarily follow the loss of manufacturing profits. The parliamentary debate in March 1 862 over the blockade was a direct result of the cooperative effort of the Southern agents and their British supporters. Members of Parliament sympathetic to the Southern cause saw the blockade issue as an opportunity to restore some military advantage to the Confederacy. The overriding goal of Confederate diplomatic initiatives in Europe was to obtain international recognition. In fact, recognition possibly accompanied by intervention was the only diplomatic goal that could have affected the outcome of the war.4 The so-called Confederate Lobby emerged from the blockade debate as a relatively cohesive group. From the Confederate perspective, it was vital for the British to declare the Federal blockade illegal. From the British point of view, the outcome would not only affect the policy of the Palmerston government, it was also likely to set a precedent...

James Mason and the Centennial Tour-Ney

North by Northwest chronicles a cross-country chase in which Cary Grant is mistakenly identified as a spy and pursued by spies and police from the UN building in New York to Mount Rushmore in South Dakota. The Production Code lodged three key objections to the film: the possible homosexuality of the henchman played by Martin Landau; Cary Grant’s status as a twice-divorced man; and any hint that the double agent played by Eva Marie Saint is a ‘woman of loose morals.’ The Code also seriously questioned the advisability of identifying Saint’s character as the mistress of the lead spy, played by James Mason. Hitchcock accommodated many of the Code objections by dubbing in dialogue changes, a few of which are visible on-screen. In the film’s climax, he looped in dialogue in which Grant welcomes Eva Marie Saint as his new wife as he helps her into an upper berth on the Twentieth Century Limited, but undermines this lip service with a final scene of the train going through a tunnel a clear bit of phallic symbolism.

Crafts, James Mason (1839-1917), chemist and professor

Book reviewed in this article:Modernization and Development: Bartley, Numan V. The New Smith 1945–1980: The Story of the South's Modernization.Modernization and Development: Pudup, Mary Beth, Dwight B. Billings, and Altina L. Waller. Appalachia in the Making: The Mountain South in the Nineteenth Century.Modernization and Development: Chevalier, Jacques M. and Daniel Buckles. A Land Without Gods: Process Theory, Maldevelopment and the Mexican Nahuas.Modernization and Development: Cassen, Robert. 1994. Population and Development: Old Debates, New Conclusions.Modernization and Development: Cohen, Joel E. 1995. How Many People Can the Eartzt Support?Modernization and Development: Pratt, Jeff. The Rationality of Rural Life: Economic and Cultural Change in Tuscany.Modernization and Development: Kurtz, Don. South of the Big Four.Environment and Natural Resources: Binkley, Marian. Risks, Dangers, and Rewards in the Nova Scotia Offshore Fishery.Environment and Natural Resources: Margavio, Anthony and Craig J. Forsyth, with Shirley Laska and James Mason. Caught in the Net: The Conflict between Shrimpers and Conservationists.Community: Dasgupta, Satadal (ed.). The Community in Canada: Rural and Urban.Community: Daniels, Thomas L., John W. Keller, and Mark B. Lapping. The Small Town Planning Handbook.Rural History: Shoemaker, Nancy (ed.). Negotiators of Change: Historical Perspectives on Native American Women.Rural History: Pickle, Linda Schelbitzki. Contented Among Strangers: Rural German‐Speaking Women and Their Families in the Nineteenth‐Century Midwest.Rural History: Yoder, Franklin L. Opening a Window to the World: A History of Iowa Mennonite School.

MP10-04 IMPLEMENTATION OF ONLINE INSTRUCTIONAL VIDEOS IMPROVES NURSING COMFORT WITH COMMONLY ENCOUNTERED URINARY CATHETER CARE SCENARIOS

Acute myeloid leukemia (AML) is a particularly devastating collection of hematological cancers and whilst somewhat rare, the patient survival rate is abysmal without bone marrow transplantation. Traditional chemotherapies administered to AML patients cause significant and devastating side effects. Additionally, more than 30% of patients fail to respond to these initial treatments and most patients that do respond will eventually relapse within 5 years. As such, understanding the evolution of AML to identify novel targets, and therefore drug treatment regimens, is a significant medical need. Genomic rearrangements and other Structural Variations (SVs) have long been known to be causative and pathogenic in multiple cancers, including leukemias. Indeed the discovery of the “Philadelphia chromosome” (eventually identified as a BCR-ABL translocation) as causative in Chronic Myeloid Leukemia has prompted much research into SVs in cancers, including the development of targeted therapeutics against oncogenic proteins resulting from genomic rearrangements. These SVs may be involved in cancer initiation, progression, clonal evolution, and drug resistance, and a better understanding of SVs from individual AML patients may help guide therapeutic options. Here we show utilization of an innovative whole genome imaging technology to detect known, and novel, SVs in AML patients' samples. Importantly, this new technology provides an unprecedented level of granularity and quantitation unavailable to other current techniques and it allows an unbiased detection of novel SVs, which may be relevant for disease pathogenesis and/ or drug resistance. Coupled with standard gene expression analyses we have also assessed the chemosensitivities of these samples to 120 FDA approved oncology drugs and 335 epigenetic modulating agents. Here we show how integrative analysis of these diverse datasets is used to associate the detected genomic rearrangements with drug sensitivity profiles, potentially identifying novel therapeutic targets for individual AML patients. Citation Format: Darren Finlay, Rabi Murad, Karl Hong, Joyce Lee, Andy Pang, Chi-Yu Lai, Carol Burian, James Mason, Alex Hastie, Jun Yin, Kristiina Vuori. Detection of genomic structural variations associated with drug sensitivities and resistance in AML using novel whole genome imaging [abstract]. In: Proceedings of the Annual Meeting of the American Association for Cancer Research 2020; 2020 Apr 27-28 and Jun 22-24. Philadelphia (PA): AACR; Cancer Res 2020;80(16 Suppl):Abstract nr 3529.

Exquisite Attention Walter Hess (bio) Poems. Grace Zabriskie. New York Quarterly Books. http://nyqbooks.org. 160 pages; paper, $16.95. Even in our media- and celebrity-besotted world, the fact that an actor writes poetry is not without interest. While so much literature, and especially poetry, derives from workers in the academy, the appearance of a book from one who might be considered an outsider is certainly to be welcomed. Actor/poets acted and wrote long before the present academic factories produced the present cohort. We know, of course, of the marvelous group of actor/poets who lived in the sixteenth and seventeenth centuries, and while in the eighteenth there seemed to be a decline in the number and capacity of these double-duty artists, nevertheless Christopher Smart and Charlotte Lennox, for example, wrote and published poetry and had stints as actors. David Garrick, of course, acted and had a stint as a poet. Surely there are actor/poets today, but where are their books? Brando? And I would think Steve Martin might have poems—he does have novels. Woody Allen? Is Tim Burton an actor as well as a filmmaker? He has poems (in both French and English). James Mason? Victor Borge was known to write poetry. Chris Rock? Miranda July? And there must be a good group of performers of greater or lesser note who write poetry, but where are their books? Grace Zabriskie, actress and artist, has a book, modestly entitled, Poems, and it is lovely. It is lovely, I think, because it is so well observed. She sees and reports, and it is hardly ever reportage. Into this sharpness of focus, there is braided an imagination that only verifies the testimony of the eye, and that engenders a large and varied range of feelings to which this reader can only nod in assent. Zabriskie, the actress, knows well how to summon those details out of life's experiences that go to compose both a role and a poem. This understanding, most obviously, has led, over many years, to a very long list of credits with some of our leading directors. And it is the notion of "many years" that vaults the pages of this present work. Memory is summoned, and a biography is retrieved. The very first poem, short and almost an epigraph, evokes the passage of time and the need "to put prints in the dust." In a later page, affixed like a highway sign at the far margin, one reads "MEMORY SAVES," a notion that might be the motto for the book. Most actors' lives are hard. They are, especially, when living beyond or beneath the level where media gossip surfaces, simply ordinary workers with imagination often, as extraordinary as their ambition. They are, for the most part, free-lancers, part timers in search of a living that might display that imagination on giant screens or stages, before vast audiences. That imagination and desire for size and scope is quickly apparent in this volume's remarkable second poem: "The Castle Builds Herself." That castle narrates itself, speaks of its creation ex nihilo. A thing of mortar and lath, it recounts its own biography in which it enfolds childhood fantasies into a family history, tells of the emergence of personality to the point that this self-creation recognizes that in the process of self-creation, of self-objectivization, an art has been made. That art considers both the personality of this castle/author, as well as the text that this "author" has made. The poem is a paean to imagination as well as to the cost that growth entails. Further, this interesting and complex allegory is seen as proceeding in the past and so partakes of the notion of memory that vaults the majority of its pages. There is a photograph of the author at the end of the volume, a "head shot" of a very beautiful woman, perhaps in her early sixties. The brow is noble and swept back, the cheekbones classically high, wonderful large eyes that seem to see everything, but it is the mouth, lips pressed together, that one must interpret. Is it an incipient welcoming smile or a pause perhaps waiting...

HREE recent presentations of Shakespeare on the motionpicture and television screens reveal that many of the qualities of a Shakespeare play can be preserved in these media, which, if used with art and integrity, can bring out new meanings and relationships in noteworthy and stimulating productions. Their obvious advantage is that they can bring acted Shakespeare to a much wider audience than ever before possible. The new MGM film, Julius Caesar, and the recent television productions of Hamlet by the National Broadcasting Company and Othello presented in Canada by the Canadian Broadcasting Company, are productions that utilize the advantages of the camera in telling a story and revealing character in a visual medium. The two-hour Caesar marks a definite advance for Hollywood over its earlier Shakespearian films like A Midsummer Night's Dream and Romeo and Juliet, which were not so much Shakespeare as they were Hollywood's elaboration of a plot from Shakespeare. Julius Caesar is the best Shakespeare film Hollywood has made, and in the opinion of at least one viewer, is superior to Olivier's film Hamlet, though not his Henry V. A good deal of the credit probably should go to John Houseman, producer of the film, and a man familiar with Shakespeare productions, having codirected the Mercury Theatre, which put on Julius Caesar and Shakespeare's chronicle plays, and more recently he directed King Lear on Broadway. Working with director Joseph L. Mankiewicz, Houseman has produced a suspenseful and dramatic film Caesar, true to the text, beautifully spoken, and generally well acted. Director Mankiewicz has used the camera to provide an underlying rhythm which gives a good continuity from scene to scene, mounts in tension and suspense through the conspiracy and assassination, the funeral orations, the battle and finally the deaths of Cassius and Brutus. The opening scenes exemplify this fluidity and rhythm, with the camera focusing upon certain key objects, like the bust of Caesar in the opening frame, and then as Flavius and Marullus are arrested by the armed guards, upon the staff of the blind, Teiresias-like soothsayer, as the triumphal procession of Caesar bursts onto the scene. After the procession has passed, the camera moves in on the faces of Cassius, played by John Gielgud, and Brutus, by James Mason. It

Discussion of “Framework for Modeling Lead in Premise Plumbing Systems Using EPANET” by Jonathan B. Burkhardt, Hyoungmin Woo, James Mason, Feng Shang, Simoni Triantafyllidou, Michael R. Schock, Darren Lytle, and Regan Murray

V09-06 PROSTATE-CAPSULE SPARING RADICAL CYSTECTOMY WITH MODIFIED W-POUCH ORTHOTOPIC NEOBLADDER RECONSTRUCTION

Previous articleNext article No AccessA Management Agency Perspective of the Economics of Fisheries RegulationLEE G. ANDERSONLEE G. ANDERSON Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Marine Resource Economics Volume 4, Number 21987SPECIAL ISSUE: ECONOMICS OF CHESAPEAKE BAY MANAGEMENT Article DOIhttps://doi.org/10.1086/mre.4.2.42628985 Views: 1Total views on this site Citations: 7Citations are reported from Crossref Copyright © 1987 Taylor & FrancisPDF download Crossref reports the following articles citing this article:Lone Grønbœk Kronbak, Frank Jensen An empirical investigation of compliance and enforcement problems: The case of mixed trawl fishery in Kattegat and Skagerrak, Food Economics - Acta Agriculturae Scandinavica, Section C 8, no.11 (Apr 2011): 59–73.https://doi.org/10.1080/16507541.2011.566420C.T.T. Edwards, R. Hillary, E. Hoshino, J. Pearce, D.J. Agnew Bioeconomic evaluation of fisheries enforcement effort using a multifleet simulation model, Fisheries Research 107, no.1-31-3 (Jan 2011): 253–260.https://doi.org/10.1016/j.fishres.2010.11.007Lars G. Hansen, Frank Jensen, Clifford Russell The Choice of Regulatory Instrument When There Is Uncertainty About Compliance with Fisheries Regulations, American Journal of Agricultural Economics 90, no.44 (Nov 2008): 1130–1142.https://doi.org/10.1111/j.1467-8276.2008.01169.xA. Keane, J. P. G. Jones, G. Edwards-Jones, E. J. Milner-Gulland The sleeping policeman: understanding issues of enforcement and compliance in conservation, Animal Conservation 11, no.22 (Apr 2008): 75–82.https://doi.org/10.1111/j.1469-1795.2008.00170.xFrank Jensen, Niels Vestergaard Moral hazard problems in fisheries regulation: the case of illegal landings and discard, Resource and Energy Economics 24, no.44 (Nov 2002): 281–299.https://doi.org/10.1016/S0928-7655(02)00003-9A. V. Margavio, Shirley Laska, James Mason, Craig Forsyth Captives of conflict: The TEDs case, Society & Natural Resources 6, no.33 (Jul 1993): 273–290.https://doi.org/10.1080/08941929309380825Rick O. Boyd, Christopher M. Dewees Putting theory into practice: Individual transferable quotas in New Zealand's fisheries, Society & Natural Resources 5, no.22 (Apr 1992): 179–198.https://doi.org/10.1080/08941929209380785

Alfred Hitchcock never wrote an autobiography and IT'S ONLY A MOVIE is as close to one as we will ever have. Drawn from years of interviews with Hitchcock his friends and the actors who worked with him on such classics as THE BIRDS, PSYCHO and REAR VIEW WINDOW, Charlotte Chandler has created a rich, complex, affectionate and honest picture of the man and his milieu. Chandler interviewed many of the stars who appeared in his films, among them Cary Grant, Ingrid Bergman, James Stewart, Sir Laurence Olivier, Sir Michael Redgrave, Sir John Gielgud, Tippi Hedren, James Mason, Kim Novak, Anthony Perkins and Janet Leigh. IT'S ONLY A MOVIE is a rich, affectionate and honest look at the life of the master of suspense who made cinematic history.