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Terrence Malick

Terrence Frederick Malick is an American film director and producer. Malick began his career as part of the New Hollywood film-making wave with the films Badlands, about a murderous couple on the run in 1950s American Midwest, Days of Heaven, which detailed the love-triangle between two labourers and a wealthy farmer in the First World War, before a lengthy hiatus, he returned to directing with films such as The Thin Red Line, The New World, The Tree of Life, being awarded the Golden Bear at the 49th Berlin International Film Festival and the Palme d'Or at the 64th Cannes Film Festival, respectively. Malick's films have been noted for exploring themes such as individual transcendence and conflicts between reason and instinct, they are marked by broad philosophical and spiritual overtones, as well as the use of meditative voice-overs from individual characters. The stylistic elements of the director's work have inspired divided opinions among film scholars and audiences, his first five films have nonetheless ranked in retrospective decade-end and all-time polls.

Terrence Malick was born in Illinois. He is Emil A. Malick, a geologist, his paternal grandparents were of Assyrian descent. Malick attended St. Stephen's Episcopal School in Austin, while his family lived in Bartlesville, Oklahoma. Malick had two younger brothers: Larry. Larry Malick was a guitarist. In 1968, Larry intentionally broke his own hands due to pressure over his musical studies, their father Emil went to Spain to help Larry, but his son died shortly after committing suicide. The early death of Malick's younger brother has been explored and referenced in his films The Tree of Life and Knight of Cups. Malick received a B. A. in philosophy from Harvard College, graduating summa cum laude and Phi Beta Kappa in 1965. He did graduate work at Oxford, as a Rhodes Scholar. After a disagreement with his advisor, Gilbert Ryle, over his thesis on the concept of world in Kierkegaard and Wittgenstein, Malick left Oxford without a degree. In 1969, Northwestern University Press published Malick's translation of Heidegger's Vom Wesen des Grundes as The Essence of Reasons.

After returning to the United States, Malick taught philosophy at Massachusetts Institute of Technology while freelancing as a journalist. He wrote articles for Newsweek, The New Yorker, Life. Malick started his film career after earning an MFA from the brand-new AFI Conservatory in 1969, directing the short film Lanton Mills. At the AFI, he established contacts with people such as actor Jack Nicholson, longtime collaborator Jack Fisk, agent Mike Medavoy, who procured for Malick freelance work revising scripts, he wrote early uncredited drafts of Dirty Harry and Drive, He Said, is credited with the screenplay for Pocket Money. Malick was co-writer of The Gravy Train, under the pseudonym David Whitney. After one of his screenplays, Deadhead Miles, was made into what Paramount Pictures believed was an unreleasable film, Malick decided to direct his own scripts. Malick's first feature-length work as a director was Badlands, an independent film starring Martin Sheen and Sissy Spacek as a young couple on a crime spree in the 1950s Midwest.

It was influenced by the crimes of convicted teenage spree killer Charles Starkweather. Malick raised half of the budget by approaching people outside of the industry, including doctors and dentists, by contributing $25,000 from his personal savings; the rest was raised by executive producer Edward R. Pressman. After a troubled production that included many crew members leaving halfway through the shoot, Badlands drew raves upon its premiere at the New York Film Festival; as a result, Warner Bros. bought distribution rights for three times its budget. Malick's second film was the Paramount-produced Days of Heaven, about a love triangle that develops in the farm country of the Texas Panhandle in the early 20th century. Production began in the fall of 1976 in Canada; the film was shot during the golden hour, with natural light. Much like Malick's first feature, Days of Heaven had a lengthy and troubled production, with several members of the production crew quitting before shooting was finished due to disagreements over Malick's idiosyncratic directorial style.

The film had a troubled post-production phase, as Billy Weber and Malick spent two years editing, during which they experimented with unconventional editing and voice-over techniques once they realized the picture they had set out to make would not work. Days of Heaven was released in 1978 to positive responses from critics, its cinematography was praised, although some found its story lackluster. In The New York Times, Harold C. Schonberg wrote that it "is full of striking photography. However, it won the Academy Award for Best Cinematography and the prize for Best Director at the 1979 Cannes Film Festival. Days of Heaven has since grown in stature, having been voted one of the 50 greatest American films made in a 2015 critics' poll published by BBC. Following the release of Days of Heaven, Malick began developing a project for Paramount, titled Q, that explored the origins of life on earth. During pre-production, he moved to Paris and disappeared from public view for years. During this time, he wrote a number of screenplays, including

The Tower of Babel (Bruegel)

The Tower of Babel was the subject of three paintings by Pieter Bruegel the Elder. The first, a miniature painted on ivory, was painted while Bruegel is now lost; the two surviving paintings distinguished by the prefix "Great" and "Little", are in the Kunsthistorisches Museum and the Museum Boijmans Van Beuningen in Rotterdam respectively. Both are oil paintings on wood panels; the Rotterdam painting is about half the size of the Vienna one. In broad terms they have the same composition, but at a detailed level everything is different, whether in the architecture of the tower or in the sky and the landscape around the tower; the Vienna version has a group in the foreground, with the main figure Nimrod, believed to have ordered the construction of the tower, although the Bible does not say this. In Vienna the tower rises at the edge of a large city, but the Rotterdam tower is in open countryside; the paintings depict the construction of the Tower of Babel, according to the Book of Genesis in the Bible, was built by a unified, monolingual humanity as a mark of their achievement and to prevent them from scattering: "Then they said,'Come, let us build ourselves a city, a tower with its top in the heavens, let us make a name for ourselves.

Bruegel's depiction of the architecture of the tower, with its numerous arches and other examples of Roman engineering, is deliberately reminiscent of the Roman Colosseum, which Christians of the time saw as a symbol of both hubris and persecution. Bruegel had visited Rome in 1552–1553. Back in Antwerp, he may have refreshed his memory of Rome with a series of engravings of the principal landmarks of the city made by the publisher of his own prints, Hieronymous Cock, for he incorporated details of Cock's engravings of Roman views in both surviving versions of the Tower of Babel; the parallel of Rome and Babylon had a particular significance for Bruegel's contemporaries: Rome was the Eternal City, intended by the Caesars to last forever, its decay and ruin were taken to symbolize the vanity and transience of earthly efforts. The Tower was symbolic of the religious turmoil between the Catholic church and the polyglot Protestant religion, popular in the Netherlands; the subject may have had a specific topicality, as the famous Polyglot Bible in six languages, a landmark in Biblical scholarship, was published in Antwerp in 1566.

Although at first glance the tower appears to be a stable series of concentric pillars, upon closer examination it is apparent that none of the layers lies at a true horizontal. Rather the tower is built as an ascending spiral; the workers in the painting have built the arches perpendicular to the slanted ground, thereby making them unstable, a few arches can be seen crumbling. The foundation and bottom layers of the tower had not been completed before the higher layers were constructed. Lucas van Valckenborch, a contemporary of Bruegel's painted the Tower of Babel in the 1560s and in his career after seeing Bruegel's depiction. Both were part of a larger tradition of painting the tower during the 17th centuries; the story of the Tower of Babel was interpreted as an example of pride punished, and, no doubt what Bruegel intended his painting to illustrate. Moreover, the hectic activity of the engineers and workmen points to a second moral: the futility of much human endeavour. Nimrod's doomed building was used to illustrate this meaning in Sebastian Brant's Ship of Fools.

Bruegel's knowledge of building procedures and techniques is correct in detail. The skill with which he has shown these activities recalls that his last commission, left unfinished at his death, was for a series of documentary paintings recording the digging of a canal linking Brussels and Antwerp. Both towers are shown partly-built with stone facings over a massive brick framework, a typical technique in Roman architecture, used in the Colosseum and other huge Roman buildings. Grand and formal architecture of this sort is not a usual interest of Bruegel in either paintings or drawings, although it was typical subject matter for many of his contemporaries. Nadine Orenstein, in discussing his only known drawing of buildings in Rome, concludes from the details taken from the Colosseum in both Tower paintings that he "must" have recorded them in drawings on his visit ten years before, but given the easy availability of prints this does not seem conclusive. There are no surviving drawings that are any other of Bruegel's paintings.

This is despite indications. Both Tower versions are full of the type of details which are to have been worked out in sketches first. Except for a lack of mountains, the paintings contain the main ingredients of the world landscape, a type of composition followed in many of Bruegel's earlier landscapes; the Vienna tower is built around a steep small mountain, which can be seen protruding from the architecture at the centre near the ground and to the right higher up. The Vienna painting is dated "Brvegel. FE. M. CCCCC. LXIII ", on the stone block directly in front of the king, it was painted in 1563 for the Antwerp banker Nicolaes Jonghelinck, one of Bruegel's best patrons, who owned no fewer than 16 of his paintings. The painting appears as the main element on one box art design of the video game Civilization III, they are mentioned in Shadowman, where Jaunty explains that Bruegel was shocked at how The Asylum resemb

List of Ohio State University Moritz College of Law alumni

The following is a list of notable alumni of the Ohio State University Moritz College of Law in Columbus, Ohio: Linda L. Ammons, Dean of Widener University School of Law Terry A. Bethel, Professor Emeritus of Law at the Indiana University Maurer School of Law Walker J. Blakey, Professor Emeritus of Law at the University of North Carolina School of Law David N. Diner, Dean of Judge Advocate General's Legal Center and School John W. Garland, President of Central State University RonNell Andersen Jones, Professor of Law at the University of Utah S. J. Quinney College of Law Joan Krauskopf, Professor Emeritus of Law at the Moritz College of Law Arthur T. Martin, Dean of the Ohio State University Moritz College of Law LeRoy Pernell, Dean of Florida A&M University College of Law and Northern Illinois University College of Law L. Orin Slagle, Dean of the Florida State University College of Law and Moritz College of Law Don W. Sears and Professor Emeritus of Law at the University of Colorado Law School.

Turner, 26th and 30th Ohio Attorney General and Justice of the Ohio Supreme Court George Voinovich, 65th Governor of Ohio and United States Senator from Ohio Bob Fitrakis, editor-in-chief of the Columbus Free Press Chris Geidner, award-winning journalist and legal editor for BuzzFeed Madison Gesiotto, columnist for the Washington Times and Miss Ohio USA 2014 Erin Moriarty, Emmy Award winning journalist for CBS News and 48 Hours William Miller Drennen, Chief Judge of the United States Tax Court Ann Donnelly, United States District Judge for the Eastern District of New York Robert Duncan, first African-American United States District Judge for Ohio and Ohio Supreme Court Justice Wallace Samuel Gourley, United States District Judge for the Western District of Pennsylvania Donald L. Graham, United States District Judge for the Southern District of Florida James L. Graham, United States District Judge for the Southern District of Ohio George Philip Hahn, United States District Judge for the Northern District of Ohio Kenneth Harkins, United States Court of Federal Claims Judge Charles Sherrod Hatfield, United States Court of Customs and Patent Appeals Judge Jeffrey J. Helmick, United States District Judge for the Northern District of Ohio Benson W. Hough, United States District Judge for the Southern District of Ohio David A. Katz, United States District Judge for the Northern District of Ohio Sara Elizabeth Lioi, United States District Judge for the Northern District of Ohio George Curtis Smith, United States District Judge for the Northern District of Ohio Jeffrey Sutton, United States Court of Appeals Judge for the Sixth Circuit William Kernahan Thomas, United States District Judge for the Northern District of Ohio Herman Jacob Weber, United States District Judge for the Southern District of Ohio James F. Bell, Associate Justice of the Ohio Supreme Court Brent D. Benjamin, Justice of the Supreme Court of Appeals of West Virginia Lloyd O. Brown, Associate Justice of the Ohio Supreme Court Paul W. Brown, Associate Justice of the Ohio Supreme Court Howard E. Faught, Associate Justice of the Ohio Supreme Court Judith L. French, Associate Justice of the Ohio Supreme Court W. F. Garver, Associate Justice of the Ohio Supreme Court Thomas M. Herbert, Associate Justice of the Ohio Supreme Court Wade L. Hopping, Florida Supreme Court Justice Robert E. Leach, Chief Justice of the Ohio Supreme Court Yvette McGee Brown, first African-American female Justice of the Ohio Supreme Court John M. Matthias, Associate Justice of the Ohio Supreme Court Henry A. Middleton, Associate Justice of the Ohio Supreme Court Thomas J. Moyer, Chief Justice of the Ohio Supreme Court Paul Pf