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US Presidential Elections of the 1890s

Department of Syariah Judiciary) KLCC Kuala Lumpur City Centre KPI Key performance indicator MSC Multi-Media Super Corridor NDP New Development Policy (1991–2001) NEP New Economic Policy (1971–90) NGO Non-governmental organization OKB Orang kaya baru (new rich people) OWC Obedient Wives Club PAS Parti Islam Se-Malaysia (Pan-Malaysian Islamic Party) PC Polygamy Club abbreviations and acronyms xvi abbreviations and acronyms PGSM Persatuan Peguam Syarie Malaysia (Malaysian Syarie Lawyers Association) RELA Ikatan Relawan Rakyat Malaysia (The Malaysian People’s Volunteer

Reporting. He lives and works in Washington, DC where he writes, edits, and blogs for the labor movement, and is the creator of the satirical website, The Washington Pox (www.dcpox .com). He is past president of The National Writers Union. THE CENTER FOR INVESTIGATIVE REPORTING, founded in 1977, is the oldest nonprofit investigative newsroom in the United States. CIR produces multi- media reporting that enables people to demand accountability from gov- ernment, corporations, and others in power. From its offices in Berkeley, California, CIR’s stories appear in

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International Encyclopedia of Social Sciences, David L. Sills, Editor. Vol. XIII, pages 406-413. Copyright © 1968 by Crowell Collier and Mac- millan, Inc. THE PSYCHOANALYTIC REVIEW for article "Father and Son in Christianity and Confucianism," by Robert N. Bellah. Reprinted from The Psychoanalytic Review, Vol. 52, No. 2, Summer 1965, through the courtesy of the Editors and the Publisher, National Psychological Associa- tion for Psychoanalysis, New York, N.Y. SEABURY PRESS for article "The Dynamics of Worship," by Robert Bellah, from Myron B. Bloy, Jr.'s (editor) Multi-Media

broadened options for the permanent collection, exhibitions, com- munications, and institutional collaborations. Of special signifi cance as well is a new approach to “curating” all of the museum’s public spaces—the lobbies and interior and exterior plazas, heretofore lifeless—as vital environments supporting a range of artistic and education-oriented programs. In early 2012, for example, using video and state-of-the-art digital technologies, the multi- media artist Doug Aitken created a new commissioned work, Song 1, a fi lm projected on the entire 220-foot exterior

in Remix

Plants of Eastern Madera County, California, Volumes I and II, 2001: Coarsegold Resource Conservation District, P.O. Box 1288, North Fork, CA 93643. 4 1 6 S U G G E S T E D R E A D I N G S I N N AT U R A L H I S T O Ry B O TA N I C A L G L O S S A Ry 4 1 7 Joshua Tree National Park Wildflowers, 1999: Hartman Multi- media, 6117 Reseda Blvd., Suite Hl, Reseda, CA 91335, (818) 881-4246. Sierra Wildflowers, Volume 1. Sequoia-Kings Canyon National Parks and Sequoia National Forest, 1998: Hartman Multime- dia, 6117 Reseda Blvd., Suite Hl, Reseda, CA 91335

publishing house, licensing operation, film business, and multi- media clearinghouse—has begun to take the responsibility of its cul- tural power more seriously. Specifically, after a decade of tentpole fran- chises featuring white male superheroes, DC debuted Wonder Woman (2017, Warner Bros.) and Marvel introduced Black Panther (2018, Walt Disney Studios). Both films were wildly successfully with critics and fans, as well as at the global box office. Notably, these films came out of formidable film studios at the top of their game. Disney in particular has been at the

changing business model and cultural disposition of video rental stores during the 1990s; the importance of this company cannot be understated. I contrast the logics of these companies with the art-minded endeavors of several small, “restricted” video distributors: Kino Lorber (formerly Kino International), Zeitgeist Films, and Facets Multi-Media.18 Kino Lorber provides an eclectic mix of foreign films and silent film classics, while Zeitgeist focuses on documentaries and a handful of auteurs. Facets is a special case. In addition to distributing specialty videos

medium, 1, 47, 53, 56, 71, 85; feminist theory of, 9, 10; gender roles in, 9, 106-8, 137, 139, 141-48; generic re- combination in, 96—97, 158; identification with characters in, 47, 130-31, 139; and ide- ology, 84; imaginary plenitude of, 36; and interactive multi- media, 4, 6; and intertextual- ity, 40, 46-47; Japanese, 152, 158, 160-61; Lacanian theory of, 12; mastery of, 1, 29-30; multigenerational appeal of, 133; oedipal narrative in, 130; and passive spectatorship, 36, 97; and patriarchy, 65, 142; positioning of spectator in, 39, 65, 96; as prior