305,378 research outputs found
[Letter from Alex Bradford to H. E. Slaymaker - July 27, 1940]
No full textLetter from Alex Bradford to H. E. Slaymaker addressing the various meetings on the potential appointment of Alex Bradford to either the British or Canadian forces
[Letter from Alex Bradford to H. E. Slaymaker - September 30, 1940]
No full textLetter from Lance Corporal Alex Bradford to H. E. Slaymaker informing of Mr. Bradford's stationing at Camp Borden with the 2nd Canadian Motorcycle Regiment for training purposes. Mr. Bradford also provides information on his previous housing in Corpus Christi
[Letter from Alex Bradford to Mr. H. E. Slaymaker - July 13, 1940]
No full textLetter from Alex Bradford to H.E. Slaymaker providing an update about his current status and informing that the next letter will come in a week or two
Scale and distribution of excess deaths among HIV positive adults by diagnosis, care and treatment history in African population based cohorts 2007-2011
No full text“Just Being Transparent Baby”: Surveillance Culture, Digitization, and Self-regulation in Paul Schrader’s The Canyons
No full textPaul Schrader’s micro-budget 2013 feature The Canyons was almost unanimously disparaged upon release, with critics pointing to its emotional detachment, flat digital aesthetic and lack of realistic characterization as its major flaws. This chapter rails against these criticisms and explores the complex aesthetic, socio-political, and moral purpose of Schrader’s film. The chapter argues that a theoretical approach to The Canyons as an expression of the post-humanist condition fostered by the influx of surveillance cameras and social media into the fabric of everyday life allows us to perceive of his work as a cultural tool that forces us to reflect upon our relationship with media images. A reading of the feature through the theoretical framework of Foucault's visual economy of self-regulation fills a gap within Schrader scholarship by arguing for an interpretative paradigm which investigates the symbiotic relation between alienation, narcissism and the mediatised nature of contemporary social experience at the centre of The Canyons, thus offering a substantial insight on the fragmentation and disintegration of affect and personhood within a digitized culture
Appeaser No. 1 Said Too Much
No full textIncomplete, unsigned letter from someone in the Canadian A. S. Force in England, addressed to the H.B.M. Consul, H. E. Slaymaker with the subject "W. R. Davis." It includes a clipping about William Rhodes Davis, who has been taking money from Nazis, with portions of text underlined in black ink and red pencil. The correspondence is written on letterhead for The American Eagle Club
A comparative assessment of the quality of age at first sex and age at first marriage reporting in three HIV cohort studies in sub-Saharan Africa
No full textOBJECTIVES: To assess inconsistencies in reported age at first sex (AFS) and age at first marriage (AFM) in three African cohorts, and consider their implications for interpreting trends in sexual and marital debut.METHODS: Data were analysed from population-based cohort studies in Zimbabwe, Uganda and South Africa with 3, 10 and 4 behavioural survey rounds, respectively. Three rounds over a similar time frame were selected from each site for comparative purposes. The consistency of AFS and AFM reports was assessed for each site by comparing responses made by participants in multiple surveys. Respondents were defined as unreliable if less than half of all their age-at-event reports were the same. Kaplan-Meier functions were used to describe the cumulative proportion (1) having had sex and (2) married by age, stratified by sex, birth cohort and site, to compare the influence of reporting inconsistencies on these estimates.RESULTS: Among participants attending all three comparable rounds, the percentage with unreliable AFS reports ranged from 30% among South African women to 56% among Zimbabwean men, with similar patterns observed for AFM. Inclusion of unreliable reports had little effect on estimates of median age-at-event in all sites. There was some evidence from the 1960-9 birth cohort that women in Uganda and both sexes in South Africa reported later AFS as they aged.CONCLUSION: Although reporting quality is unlikely to affect comparisons of AFS and AFM between settings, care should be taken not to overinterpret small changes in reported age-at-event over time within each site
‘Enter the Memory’: interactivity, authorship, and the empowered spectator in the digital audio-visual essays of Chris Marker
No full textThis article theorizes the cinematic essay as a fluid, self-reflexive form which addresses the spectator directly in order to engage them in an intellectual process of dialogical exchange. Because it encourages the active involvement of the viewer in the determination of essayistic meaning, the cinematic essay challenges traditional models of authorship. As opposed to relaying information to a passive viewer from a position of authority and omniscience, the cinematic essayist offers tentative thoughts and ruminations which the spectator is called upon to critically interrogate and treat as the foundation for their own essayistic reflections. This article focuses on two of Chris Marker’s late period works to examine the relationship between dialogical exchange, interactive spectatorship, and the capabilities of the digital database: Immemory (1997) and Ouvroir (2012). In these works, Marker carries over his career-long impulse towards dialogism to the realm of the digitized database, composing intricate, intermedial constellations of archival materials which the viewer may peruse in whatever order they please. This article offers two substantial contributions to existing scholarship: firstly, it demonstrates the impact of digital technology on the nature of spectatorial engagement in essayistic audio-visual texts; secondly, it explores the role that technological innovation played in facilitating communicative exchange between filmmaker and spectator across Marker’s body of work. Applying close textual analysis to two of Marker’s late projects illustrates that Marker embraced new media in a particularly enthusiastic and exploratory fashion in the latter part of his career because the technology offered his new ways to break down the barrier between artist and viewer, create intellectually active viewing situations, and treat the spectator as an empowered co-creator of artistic meaning.<br/
In the shadow of women: frustrated gazes and thwarted desire in José Luis Guerín’s In the City of Sylvia
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