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In 1962 John Goldmark, cattle rancher, Harvard Law School graduate, and distinguished three-term state legislator for a lightly populated area in north central Washington, was overwhelmingly defeated in his bid for reelection. He and his wife, Sally, had been accused of being communists by a small group of right-wing extremists. The Goldmarks sued their accusers for libel and when their case came to trial in the winter of 1963-64 it has become a cause celebre throughout the country. Witnesses of national reputation crossed the country to testify, the eastern press covered the case, and issues of civil liberties, the communist challenge to the values of American society, and the radical right movement were fought out before a rural jury. The charge that the American Civil Liberties Union was a communist front, among other issues, was litigated for the first time. Today the Goldmark trial can still tell us much about democracy, civil liberties, and trial by jury. William Dwyer was the Goldmarks' chief counsel. His gripping story of their nightmare and ultimate vindication is a classic of American trial court history. He provides a vivid picture of the political climate and its effect on everyone involved--plaintiffs, defendants, and counsel for both sides. In addition he gives us a fascinating description of the courtroom drama itself, revealed in the extensively quoted testimony, and a fascinating account of the way trial lawyers plan the strategy of a case: from jury selection, the questioning and cross-examination of witnesses, to final arguments.
Annotation A trade-oriented book on the music in classic cartoons from Bugs Bunny to Tom and Jerry and beyond.
Erich Wolfgang Korngold (1897-1957) was the last compositional prodigy to emerge from the Austro-German tradition of Mozart and Mendelssohn. He was lauded in his youth by everyone from Mahler to Puccini and his auspicious career in the early 1900s spanned chamber music, opera, and musical theater. Today, he is best known for his Hollywood film scores, composed between 1935 and 1947.
This groundbreaking collection by the most distinguished musicologists and film scholars in their fields gives long overdue recognition to music as equal to the image in shaping the experience of film. Refuting the familiar idea that music serves as an unnoticed prop for narrative, these essays demonstrate that music is a fully imagined and active power in the worlds of film. Even where films do give it a supporting role—and many do much more—music makes an independent contribution. Drawing on recent advances in musicology and cinema studies, Beyond the Soundtrack interprets the cinematic representation of music with unprecedented richness. The authors cover a broad range of narrative films, from the "silent" era (not so silent) to the present. Once we think beyond the soundtrack, this volume shows, there is no unheard music in cinema.
This collection of essays explores the link between comedy and animation in studio-era cartoons, from filmdom’s earliest days through the twentieth century. Written by a who’s who of animation authorities, Funny Pictures offers a stimulating range of views on why animation became associated with comedy so early and so indelibly, and illustrates how animation and humor came together at a pivotal stage in the development of the motion picture industry. To examine some of the central assumptions about comedy and cartoons and to explore the key factors that promoted their fusion, the book analyzes many of the key filmic texts from the studio years that exemplify animated comedy. Funny Pictures also looks ahead to show how this vital American entertainment tradition still thrives today in works ranging from The Simpsons to the output of Pixar.
Our massive, global system of consumption is broken. Our individual relationship with our stuff is broken. In each of our homes, some stuff is broken. And the strain of rampant consumerism and manufacturing is breaking our planet. We need big, systemic changes, from public policy to global economic systems. But we don’t need to wait for them. Since founding Fixup, a pop-up repair shop that brought her coverage in The New York Times, Salon, New York Public Radio, and more, Sandra Goldmark has become a leader in the movement to demand better “stuff.” She doesn’t just want to help us clear clutter—she aims to move us away from throwaway culture, to teach us to reuse and repurpose more thoughtfully, and to urge companies to produce better stuff. Although her goal is ambitious, the solution to getting there is surprisingly simple and involves all of us: have good stuff, not too much, mostly reclaimed, care for it, and pass it on. Fixation charts the path to the next frontier in the health, wellness, and environmental movements—learning how to value stewardship over waste. We can choose quality items designed for a long lifecycle, commit to repairing them when they break, and shift our perspective on reuse and “preowned” goods. Together, we can demand that companies get on board. Goldmark shares examples of forward-thinking companies that are thriving by conducting their businesses sustainably and responsibly. Passionate, wise, and practical, Fixation offers us a new understanding of stuff by building a value chain where good design, reuse, and repair are the status quo.
The author mesmerizing readers with her command of key details about the circumstances surrounding each crime, as well as her consistently masterful examination of the criminals involved.
A crucial and compelling account of New York Times Co. v. Sullivan, the landmark Supreme Court case that redefined libel, from the Pulitzer Prize–winning legal journalist Anthony Lewis. The First Amendment puts it this way: "Congress shall make no law...abridging the freedom of speech, or of the press." Yet, in 1960, a city official in Montgomery, Alabama, sued The New York Times for libel—and was awarded $500,000 by a local jury—because the paper had published an ad critical of Montgomery's brutal response to civil rights protests. The centuries of legal precedent behind the Sullivan case and the U.S. Supreme Court's historic reversal of the original verdict are expertly chronicled in this gripping and wonderfully readable book by the Pulitzer Prize Pulitzer Prize–winning legal journalist Anthony Lewis. It is our best account yet of a case that redefined what newspapers—and ordinary citizens—can print or say.