Margaret Booth was an American film editor. Born in Los Angeles, she started her Hollywood career as a "patcher", editing films by D. W. Griffith, around 1915, her brother was actor Elmer Booth. She worked for Louis B. Mayer when he was an independent film producer; when Mayer merged with others to form Metro-Goldwyn-Mayer in 1924, she worked as a director's assistant with that company. She edited several films starring Greta Garbo, including Camille. Booth edited such diverse films as Wise Girls, Mutiny on the Bounty, A Yank at Oxford, The Way We Were, The Sunshine Boys, The Goodbye Girl, The Cheap Detective, Seems Like Old Times, Annie, she was supervising editor and associate producer on several films for producer Ray Stark, culminating with executive producer credit on The Slugger's Wife when she was 87. Her list of official credits, represents only a fraction of her film work. In its 1982 article about Booth's long tenure as MGM's supervising film editor, the Village Voice describes her as "the final authority of every picture the studio made for 30 years."
The Academy of Motion Picture Arts and Sciences in 1978 presented her an Academy Honorary Award for her work in film editing. She is the second longest-lived person to have been given an Oscar. In 1983, she was awarded the Women in Film Crystal Award for outstanding women who, through their endurance and the excellence of their work, have helped to expand the role of women within the entertainment industry. In 1990, Booth was honored with the American Cinema Editors Career Achievement Award. Booth, at age 104, died in 2002 from complications after suffering a stroke, she is interred at Inglewood Park Cemetery in Inglewood California. In its obituary for Booth, the British newspaper The Guardian states, "All the filmmakers had to go through her in order to have a final editing of sound and vision approved," while describing her approach:She was a pioneer of the classic editing style, the so-called "invisible cutting", the aim of, to make the transition from one image to another as seamless as possible, so the audience was unaware of the flow of shots within a sequence.
Narrative was dominant, maintaining a continuity of time and space, matching cuts to action. She was the first "cutter" to be called a "film editor." Fine Clothes Memory Lane The Enemy Bringing Up Father Wise Girls Mutiny on the Bounty Camille A Yank at Oxford The Way We Were The Sunshine Boys The Goodbye Girl The Cheap Detective Seems Like Old Times Annie List of centenarians Margaret Booth on IMDb Margaret Booth at Women Film Pioneers Project October 31, 2002 obituary – Los Angeles Times Gomery, Douglas. "Margaret Booth," in Tom Pendergast and Sara Pendergast, International Dictionary of Film and Filmmakers, Edition 4, ISBN 978-1-55862-449-8. Online version of article retrieved December 24, 2007. Lewis, Kevin. "The Moviola Mavens and the Moguls: Three Pioneering Women Editors Who Had the Respect of Early Hollywood's Power-Brokers", in Editors Guild Magazine, Vol 27, No. 2. Archived at WebCite from this original URL 2008-06-22. Margaret Booth at Find a Grave Literature on Margaret Booth
Vittorio Hösle is an Italian-born German philosopher. He has authored works including Hegels System, Moral und Politik, Der philosophische Dialog, he has been in the United States since 1999, at the University of Notre Dame where he is the Paul Kimball Professor of Arts and Letters. Since 2008, he has served as the founding Director of the Notre Dame Institute for Advanced Study. Hösle completed his doctorate in philosophy about the "Hegels System" at age of 21, earned his Habilitation at the age of 25, both from Eberhard Karls Universität Tübingen; because of his speed in accomplishing these feats, he was called a “Wunderkind” and “the Boris Becker of philosophy,”. As of July 2009, Hösle has written or edited 32 books, written over 125 articles. In Europe he has become “something of a celebrity, the subject of two documentaries shown on TV stations throughout Europe and Korea.” On 6 August 2013 Pope Francis appointed him ordinary member of the Pontifical Academy of Social Sciences. Hösle estimates that he, can communicate in at least seventeen different languages, listing German, English, Russian and French.
Hösle’s magnum opus is his 1,000 page Morals and Politics. In it, he claims to present “a comprehensive vision of all the knowledge needed to answer the difficult question of what constitutes moral policies in the various fields of politics such as foreign policy, domestic policy, economics and such.” To do so it offers a normative foundation of the relation between ethics and politics, a descriptive theory of the objects of political philosophy, from both of which premises he derives “a concrete political ethics” appropriate for the twenty-first century. Morals and Politics attempts to overcome the complete decoupling of politics from ethics which begins with Machiavelli, finds its most horrifying ultimate expression in Carl Schmitt. Hösle argues that only objective moral reason itself can criticize excess moralism in politics because “it is only a self-limitation of the moral that can be taken not a limitation of the moral by something external to it—for this something external would itself have to appear before the tribunal of moral judgment.”Hösle defends not just universalism, but maintains that the increase of universalist ethical consciousness in Christianity is an undeniable form of moral progress.
Hösle states that his greatest concern is that "in the historical cataclysms that face us, we will abandon not the self-destructive aspects of modernity, but rather its universalism.” Hösle believes that Carl Schmitt, like Friedrich Nietzsche before him and the related movement of National Socialism, all illustrate the “artificial atavism” of those who attempt to repudiate universalist ideas after their historical discovery. Such repudiations result in raw power-positivism, rather than the naïve identification with traditional, pre-modern culture, the surface intention of such “counter-enlightenment” theories. Hösle defends ethical universalism and many recent achievements of the modern state, such as “the international codification of human rights.” He argues that the foundation of the worldview which supports human rights is “eroding with increasing speed,” and therefore the political cataclysms of the twentieth century are by no means “merely superficial phenomena that belong to the past.”
Hösle challenges certain modern excesses, such as the loss of a transcendent horizon of consciousness, He argues that an excessive focus on economic growth and ever-expanding consumption has increased perceived needs more than it can meet them, which leads to self-absorption and lovelessness, a demand for more resources ecologically than can be sustained for future generations or universalized to all the people of the world. Hösle considers the modern state’s liberal capitalism, as qualified by the late-modern welfare state, a significant moral achievement due to its efficient production and distribution of goods. Hösle argues these moral reasons to limit moralism in economics, that John Rawls’s difference principle cannot be unconditionally valid in economics, that the technical expertise of economists is a necessary component in determining the proper means of preventing excessively large social oppositions from arising. Hösle’s own philosophy combines “objective idealism” with a theory of intersubjectivity.
In this way he seeks to unite the traditional idealistic philosophy of Plato and Hegel with the transcendental pragmatics developed by Karl-Otto Apel. Hösle describes himself as attempting to revitalize “objective idealism”: “The conviction that we can have synthetic a priori knowledge, that this knowledge discovers something, independent of our mind, is of particular importance for practical philosophy, it grounds the position called ‘moral realism’: Albeit the moral law is neither a physical nor a mental nor a social fact, it is nevertheless. A useful introducti
The Museum of Maritime Science is a marine science museum located in Higashiyashio, Tokyo on Odaiba, Japan. Exhibits include Japanese boats, items related to the navy, shipping industry, sailing, maritime recreation, ship design and building, the environment of the seas and oceans around Japan; the museum building itself is modelled after the British ocean liner Queen Elizabeth 2. Outside the museum building are a number of exhibits including a large screw propeller, Ayumi I-Go Ocean Floor House, Tankai Submarine and PC-18 submersible, a wooden fishing boat from Kujūkuri, Osesaki lighthouse and Anorisaki Lighthouse. Since May 1979 the icebreaker Sōya has been moored alongside the museum open to the public. List of museums in Tokyo Museum website