White Dog is a 1982 American drama film, which Samuel Fuller directed from a screenplay he and Curtis Hanson had dramatized, which, in turn, they based on Romain Gary's 1970 novel of the same name. The film depicts the struggle of a dog trainer named Keys, black, trying to retrain a stray dog found by a young actress, a "white dog"—a dog trained to make vicious attacks upon, to kill, any black person. Fuller uses the film as a platform to deliver an anti-racist message as it examines the question of whether racism is a treatable problem or an incurable condition; the film's theatrical release was suppressed for a week in the United States by Paramount Pictures out of concern over negative press after rumors began circulating that the film was racist. Prior to the date, it was released internationally in France in July 1982, its first official American home video release came in December 2008 when The Criterion Collection released the original uncut film to DVD. Critics praised the film's hard-line look at racism and Fuller's use of melodrama and metaphors to present his argument, its somewhat disheartening ending that leaves the impression that while racism is learned, it cannot be cured.
Reviewers questioned the film's lack of wide release in the United States when it was completed and applauded its belated release by Criterion. In the Civil Rights era of the United States, actress Julie Sawyer accidentally runs over a stray White German Shepherd Dog. After the veterinarian treats him, Julie takes him home while trying to find his owners. A rapist breaks into her house and tries to attack her, she decides to adopt him, against the wishes of her boyfriend Roland Graele. Unbeknown to her, the dog was trained by a white racist to attack black people on sight; the dog sneaks out of the house, kills a black truck driver. Julie takes the dog to work with her, he mauls a black actress on the set. Realizing that her dog is vicious, Julie takes him to a trainer, who tells her to euthanize the dog. Another dog trainer named Keys, black, undertakes reprogramming the dog as a personal challenge, he dons protective gear and keeps the dog in a large enclosure, taking him out on a chain and exposing himself to the dog each day and making sure he is the only one to feed or care for the dog.
The dog escapes and kills an elderly black man in a church, after which Keys manages to recover him, opts not to turn him over to authorities to continue the training, over Julie's protests. He warns her that the training has reached a tipping point, where the dog might be cured or go insane, he believes. After a lengthy time, it seems. Julie confronts the dog's original owner, who has come to claim him, who trained him to attack black people, she angrily tells him the dog has been cured by a black person in front of his grandchildren who knew the dog to be a loving pet. Just as Julie and Keys celebrate their victory, the dog, without warning, turns its attention to Carruthers and brutally attacks him; the dog had not shown any aggression towards him. To save his employer's life, Keys is forced to shoot and kill the dog, the film ends with the image of the dog's body lying in the center of the training enclosure. White Dog is a "blunt cinematic parable about race relations" that questions whether racism is a curable mental illness or learned behavior, or if it is an untreatable disease.
The unnamed white German Shepherd is the metaphor of racism, with his radically contrasting moments of innocent, typical dog behavior when not around black persons, his snarling viciousness when he sees a target. Paul Winfield's character Keys, who believes he can help the dog unlearn this behavior, represents the view that racism can be unlearned. Keys's attempts to reprogram the dog become a "bold literalization of the race war," and as the film progresses Keys becomes obsessed with the idea that he can cure the dog. Much like Captain Ahab, he declares that if he fails with this dog, he will find another and another until he succeeds. Keys's counterpart, Carruthers, a white trainer, believes the dog is irredeemable and should be killed, representing the view that racism cannot be cured; the snarling dog, its white fur stained with bright red stage blood, becomes a imposing, outscale Fuller image – the embodiment of snarling and implacable hatred. Typical, too, is the way Fuller emphasizes the radical contrast between the dog in its innocent, unaroused state – big brown eyes staring up at McNichol – and its plunging, salivating attack mode.
Scenes showing Kristy McNichol innocently burying her hands in the dog's fur and his normal loving behavior when alone with her provides a stark image of "how hatred can be familiar, reassuringly close." J. Hoberman argues that the film "naturalizes racism in an unnatural way" in the contrasting depictions of white characters horrified by the dog's behavior, black characters who grimly accept it as a fact of life; the film's ending has been argued to emphasize Fuller's own view that racism is something, learned, but that once learned is a "poison" that can never "be banished from those it infects." But on the other hand, the dog is cured of attacking blacks, but not cured of his own hatred since the last thing he does is to attack a white man, without being provoked into doing so at that. The ending implies therefore that it
R v Martineau, 2 SCR 633 is a leading Supreme Court of Canada case on the mens rea requirement for murder. One evening in February 1985, Patrick Tremblay and 15-year-old Mr. Martineau set out to rob a trailer owned by the McLean family in Valleyview, Alberta. Martineau was armed with a pellet gun and Tremblay was armed with a rifle. Martineau was under the impression they were going to commit only breaking and entering and that no one would be killed. However, during the robbery, Tremblay killed Mr. and Mrs. McLean. Martineau was charged with second degree murder under section 213 and of the Criminal Code for both deaths and was transferred to adult court. At trial, Martineau was convicted. On appeal, the Alberta Court of Appeal overturned the decision, holding that section 213 violated section 7 and section 11 of the Canadian Charter of Rights and Freedoms; the issue before the Supreme Court was whether the appeal court was correct in holding section 213 as a violation of sections 7 and 11 of the Charter.
The Supreme Court upheld the ruling of the Appeal Court, holding that section 213 violated the Charter and could not be saved under section 1. The Majority was written by Lamer CJC with Dickson CJC, Wilson and Cory JJ concurring. Section 213 is known as the "constructive murder" provision of the Criminal Code. Section 213 defined culpable homicide as murder if a person causes the death of another human while committing specific indictable offences, such as breaking and entering. One could be charged with murder under section 213 despite having neither an intent to kill nor the subjective knowledge that death might ensue from one's actions; that was in contrast to the other murder provisions in the Code, which require a subjective intent and foresight for a conviction. Section 213 of the Code violated both sections 11 of the Charter, it violated the principle of fundamental justice that an appropriate mens rea must be proven by the Crown. Furthermore, the appropriate level of mens rea should be correlated to the severity of the punishment and the social stigma stemming from conviction.
Murder is a major indictable offence: both the punishment and stigma stemming from conviction are severe. They were the case so the state must show subjective intent to prove the offence. However, as stated above, such a requirement was absent from section 213. Thus, the violation was not justifiable under section 1 of the Charter because it failed the proportionality test. L'Heureux-Dubé J, dissented, she held. According to her, subjective foresight of death for the offence of murder was not a principle of fundamental justice; the judgment cites two Chief Justices. That is because Dickson was Chief Justice at the time of the hearing but retired before the judgment and was replaced by Lamer, who wrote the decision as Chief Justice. List of Supreme Court of Canada cases Full text of Supreme Court of Canada decision at LexUM and CanLII
The 2012–13 Football League Championship was the 128th season in the history of Millwall Football Club. It was their 87th season as a Football League side and their 38th in the second tier of English football; this season marked Millwall's third continuous season in the Championship, after promotion from League One in 2010. This was manager Kenny Jackett's fifth and final season in charge of the club, he resigned at the end of the campaign on 7 May 2013. Millwall reached the semi-final of the FA-Cup for only the fifth time in their history, losing to Wigan Athletic. In the league, Millwall flirted with the play-offs in the first half of the season, after a 13-game unbeaten run, but they finished poorly and narrowly avoided relegation by two points on the last day of the season. Millwall kicked off their pre-season campaign with a tour of Ireland, playing in the Republic of Ireland for two games before crossing the border to finish with a match in Northern Ireland, they returned to England for three more away games before the Football League Championship kicked off.
As of 5 May 2013 Last updated: Official Website
Jan van Troyen was a Flemish engraver and etcher. He is known for the work he did for David Teniers the Younger on the illustrations for the Theatrum Pictorium, an publication which gave an overview of the paintings in the collection of the Archduke Leopold Wilhelm, he accompanied Teniers to Vienna after the Archduke Leopold Wilhelm returned there in 1658. He was there to make engravings after paintings in the Archduke's cabinet that were to be published in the 1673 version, he is last recorded in Brussels in 1670 and 1671. Most of his works are engravings of Italian paintings in the Archduke's cabinet, he was related to the painter of Italianate landscapes Rombout van Troyen. Template:Flemish-artist-stub
Princeton Township is a township in Mille Lacs County, United States. The population was 2,256 at the 2010 census. Princeton Township was established in 1857. According to the United States Census Bureau, the township has a total area of 32.5 square miles, of which 31.7 square miles is land and 0.73 square miles, or 2.23%, is water. As of the census of 2000, there were 1,947 people, 693 households, 553 families residing in the township; the population density was 59.8 people per square mile. There were 709 housing units at an average density of 21.8/sq mi. The racial makeup of the township was 97.64% White, 0.21% African American, 0.41% Native American, 0.46% Asian, 0.05% Pacific Islander, 0.15% from other races, 1.08% from two or more races. Hispanic or Latino of any race were 0.67% of the population. There were 693 households out of which 36.5% had children under the age of 18 living with them, 68.7% were married couples living together, 5.9% had a female householder with no husband present, 20.1% were non-families.
15.3% of all households were made up of individuals and 5.9% had someone living alone, 65 years of age or older. The average household size was 2.81 and the average family size was 3.10. In the township the population was spread out with 27.4% under the age of 18, 7.9% from 18 to 24, 30.8% from 25 to 44, 23.5% from 45 to 64, 10.5% who were 65 years of age or older. The median age was 37 years. For every 100 females, there were 104.1 males. For every 100 females age 18 and over, there were 105.5 males. The median income for a household in the township was $52,083, the median income for a family was $53,200. Males had a median income of $37,788 versus $22,287 for females; the per capita income for the township was $20,737. About 4.7% of families and 4.7% of the population were below the poverty line, including 3.7% of those under age 18 and 3.5% of those age 65 or over
Shanghai Affairs is a 1998 Hong Kong martial arts film directed by and starring Donnie Yen. This film is Yen's second directorial feature. Tong Shan is a doctor. Tong opens a clinic in a poor village in Shanghai to help sick people who cannot afford medical care. However, the Axe Gang, led by Yue Lo-chat and plans to tear apart the village and build a casino there. Tong and his assistant, protect the village and drive the gang away, angering Yue. One day, Tong meets Yue's younger sister, Yue Siu-sin, mute due to an illness. Tong cures Siu-sin and their relationship grows closer, which angers Yue more since he is against western medicine; some kids are kidnapped and found dead without internal organs. Tong investigates and discovers that his mentor, Lui Mung, Yue are the masterminds behind this. Lui and Yue frames Tong and Yue starts a persecution on Tong. Donnie Yen as Tong Shan, the main protagonist, a charitable doctor who studied in Great Britain and returned to Shanghai to cure poor people. Athena Chu as Yue Siu-sin, Yue Lo-chat's younger sister, a young girl, mute due to an illness.
She is cured by Tong Shan and becomes his love interest. Yu Rongguang as Yue Lo-chat, the main antagonist, the leader of the Axe Gang Cheung Hung as Yip Ling, Yue Siu-sin's friend Ruco Chan as Bond Lau, Tong Shan's assistant Yan Yee-shek as Lung, Yue Lo-chat's henchmen who mistakenly killed Siu-sin during his mission to kill Tong Shan. Sing Cheung-ban Man Cho-han Lam Yiu-san Lee Qui Lam Man-ying Shanghai Affairs at the Hong Kong Movie DataBase Shanghai Affairs at Hong Kong Cinemagic Shanghai Affairs on IMDb Shanghai Affairs film review at LoveHKFilm.com