1,721,195 research outputs found
Cowboy Jim Allen
No full textDr. Jim Allen wears a stethoscope around his neck and a rope in his hand. He is a calf roper at the Dinosaur Roundup Rodeo
James (Jim) Allen 01
No full textThis photograph of Jim Allen discussing one of his dory fishing experiences was taken during an interview that was collected as part of the Launching through the Surf: The Dory Fleet of Pacific City project.https://digitalcommons.linfield.edu/dory_photos/1020/thumbnail.jp
Jim Allen Spotting Rookie Jump
No full textCave Junction (Siskiyou Smokejumper Base) spotter Jim Allen in an airplane for the first jump for rookie smokejumpers.https://dc.ewu.edu/allen_photos/1054/thumbnail.jp
Coleman Y. Ward, Lonnie Johnson, Jim Allen
Full text linkColeman Y. Ward (left, staff) is pictured with Lonnie Johnson (seating, alumnus) and Jim Allen (right, staff).https://scholarsjunction.msstate.edu/ua-photo-collection/6351/thumbnail.jp
Jeffrey Grant, Jim Allen, John Rydeski, circa 1981
No full textJohn Rydeski (right), three time MVP on the men's track and field team, poses with Jeffrey Grant, runner-up MVP, and track coach Jim Allen (center), circa 1981
Jim Allen: Radical Drama BeyondDays of Hope
Full text linkDue to a desire to establish television as a serious medium, television drama has often been seen as a forum for writers, with names such as David Mercer, Dennis Potter and Trevor Griffiths identified by critics as the driving force, or auteur, behind the works that bear their names rather than, as in much writing about film, the director. However, while this has been so, there are also many examples of writers whose contribution to television writing has been much less celebrated, often due to their close collaboration with a high-profile director who in many critics’ view remains the most influential contributor to the final piece of work. One practitioner who arguably has failed to get the critical credit he is due is Jim Allen, a writer still perhaps best known for his work with one such high-profile director, Ken Loach
Tse-Na-Gat (Everett Hatch); Paul S. Randolph, Old Polk; Bob Martin, Navajo interpreter; and Jim Allen, Ute interpreter, March, 1915
No full textFive men standing. Original caption: "Tse-Na-Gat, or Everett Hatch; Paul S. Randolph, orderly to General Scott; Old Polk; Bob Martin, Navajo Indian interpreter; and Jim Allen, Ute Indian interpreter, March, 1915"
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“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
- …
