1,721,207 research outputs found
Tennis players Mark Stevens (left) and Coleman Clark, 1938
No full textPlaying table tennis are, from left, Mark Stevens and Coleman Clark, 1938https://mavmatrix.uta.edu/specialcollections_startelegram1930s/1944/thumbnail.jp
Mark Stevens and Darlene Fields "Stranger at Soldier Springs"
No full textMark Stevens and Darlene Fields filmed part of "Stranger at Soldier Springs" in Tucson in February of 1957. [Chapter 8 Page 157
Kevin Hagen, Gail Kobe, Forrest Tucker and Mark Stevens
No full textKevin Hagen, Gail Kobe, Forrest Tucker and Mark Stevens relaxed at the Mountain Oyster Club in December of 1957. They were in town to film a movie called "Tucson," which apparently was never released. [Chapter 2 Page 34
Friend or foe? Social media's legal pitfalls
No full text Social media platforms are a double-edged sword: they are very useful for promoting a business or gaining influence, but they can cause great harm to a business' reputation when used incorrectly. Mark Stevens helps to find a balance in social media policies </jats:p
How care homes can make the most of the apprenticeship levy
No full text The apprenticeship levy is now effect, with big businesses across the UK beginning to pay in. In this article, Mark Stevens explains what this levy is, what its intended purpose is, and how care homes can make use of the additional funding that it offers </jats:p
Lecture by Mark Stevens & Annalyn Swan, given at Florida International University, April 7, 2006
No full textMark Stevens and Annalyn Swan read from and discuss their book de Kooning: An American Master.
This lecture is the 100th lecture of the Steven and Dorothea Green Critics\u27 Lecture Series.
Introduction by Dahlia Morgan
Use of social media in the workplace: take-home messages from cautionary tales
No full text Social media can be a boon for clinics wishing to promote themselves, but a curse should it be abused by an employee, maliciously or otherwise. Clinics which ignore potential issues in this area risk serious commercial damage. Mark Stevens outlines what employers need to know, what actions should be taken to manage a breach of company social media policy, and how to avoid employment tribunals </jats:p
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe 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
Get PDF“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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