5,867 research outputs found
Letter to Timothy Coggins regarding Wes Daniels, April 27, 1992
A letter from Lennye Wellins to Timothy Coggins regarding information about Wes Daniels
Letter to Wes Daniels regarding appointment to the Scholarship Committee, June 6, 1990
A letter from Timothy Coggins to Wes Daniels appointing Daniels to the Scholarship Committee
Letter to Timothy Coggins regarding the Southeastern Law Librarian, January 22, 1988
A letter from Wes Daniels to Timothy Coggins thanking Coggins for sending copies of the Southeastern Law Librarian
Letter to Timothy Coggins regarding membership news for the Southeastern Law Librarian, February 11, 1987
A letter from Wes Daniels to Timothy Coggins providing membership news for publication in the Southeastern Law Librarian
Letter to Timothy Coggins regarding chapter manual development, April 16, 1987
A letter from Wes Daniels to Timothy Coggins thanking Coggins for passing on contact information to assist with developing the SEAALL chapter manual
Letter to Roy Mersky nominating Wes Daniels for a social activism award, April 28, 1992
A letter from Timothy Coggins to Roy Mersky nominating Wes Daniels for a social activism award
Letter to Wes Daniels regarding a SEAALL procedures manual, April 13, 1987
A letter from Timothy Coggins to Wes Daniels on the development of a procedures manual for SEAALL
Letter to Mary Cross and Carol Billings regarding an award for Wes Daniels, May 15, 1992
A letter from Timothy Coggins to Mary Cross and Carol Billings informing them that Wes Daniels won the Spirit of the Law Librarianship Award
Letter to Wes Daniels regarding Scholarship Committee annual report, January 16, 1991
A letter from Timothy Coggins to Wes Daniels requesting a report of the activities of the Scholarship Committee to distribute at the SEAALL Annual Meeting
Variations on the Author
“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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