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In the early part of the twentieth century, migrants made their way from rural homes to cities in record numbers and many traveled west. Los Angeles became a destination. Women flocked to the growing town to join the film industry as workers and spectators, creating a \"New Woman.\" Their efforts transformed filmmaking from a marginal business to a cosmopolitan, glamorous, and bohemian one. By 1920, Los Angeles had become the only western city where women outnumbered men. In Go West, Young Women, Hilary A. Hallett explores these relatively unknown new western women and their role in the development of Los Angeles and the nascent film industry. From Mary Pickford's rise to become perhaps the most powerful woman of her age, to the racist moral panics of the post–World War I years that culminated in Hollywood's first sex scandal, Hallett describes how the path through early Hollywood presaged the struggles over modern gender roles that animated the century to come.

To what extent did the increase in wage inequality among men in the United States over the past three decades result from job loss and/or employment instability? We propose a simple method for decomposing the change in wage inequality into components due to upward and downward between-employer mobility and within-employer wage changes using data on men's wages and job mobility from the 1977–2005 waves of the Panel Study of Income Dynamics. We find that downward employer mobility—a proxy for job displacement based on movement to a lower paid job with a new employer—has the largest effect on inequality over a two-year period. However, the effect of job displacement declines with time. We find that the effect of job loss accounts for 39 percent of the increase in wage inequality during the average eight-year period from 1977 through 2005, compared to 52 percent that is attributable to wage changes for workers who stay with the same employer.

ACJ: BASIS IN LAW: Three Branches: Law Enforcement, Courts, Corrections; Ancient Origins of Criminal Justice; English Common Law and Colonial America ; Independence, Revolution and Bill of Rights;Due Process under 4th, 5th, 6th, 8th, 14th Amendments. U.S. LAW ENFORCEMENT: Police, U. S. Marshalls, Texas Rangers; August Vollmer and Police Professionalism; Detention, Arrest, Evidence; Federal Law Enforcement; Probable Cause, Miranda Warning. U.S. COURT SYSTEM: Local, State and Federal Courts; Prosecutors and Defense Attorneys; Hearings, Plea Bargaining and Trial; Punishment and Sentencing; Capital Punishment. U.S. CORRECTIONAL SYSTEM: Four Functions of Corrections; History of U.S. Jails and Prisons; Prisoner Rights and Litigation; Parole and Recidivism; Juvenile Justice System. FUTURE OF ACJ: Privatization of Prisons; In Psychology, Sociology, Social Work, Penology & Criminology; In Law Enforcement.

Purpose: The purpose of this paper is to explore the extent to which project preferences and social capital constrain mobility in project-based careers. Design/methodology/approach: The paper analyzes the careers of 352 individuals who entered the motion picture industry between 1988 and 1990. It uses motion picture credit histories to generate role sequence paths. The paper quantifies differences between paths using optimal matching techniques and cluster analysis to classify paths into clusters. It validates the classification by testing hypotheses about differences between path clusters. Findings: In addition to a large group of individuals who exit the industry after the initial credit, the paper identifies three distinct clusters of career paths that exhibit differences in the sex of individuals on them, in the persistence of relationships with employers, in employer characteristics, and in the nature of subsequent projects. Research limitations/implications: Because the paper is exploratory, general hypotheses are tested. Motion picture production may be an extreme example of project-based production, which would limit generalizability. Practical implications: Managers, individuals and career experts should recognize that mobility can be constrained and channeled by preferences in project type and by social capital. Employer celebrity appears to play no role in the careers of assistants, but control over many projects plays a significant role. Originality/value: The paper demonstrates non-organizational constraints on mobility in project-based, apparently boundaryless, self-managed careers. (Contains 6 tables.)

This paper examines the negotiations of race in The Princess and the Frog within the dual contexts of its setting and release. Central to these negotiations are Tiana's racial identity and her passing as a frog, as well as the film's attempt to pass as an African American princess narrative. In the process of excavating the film's racial contexts, this paper also addresses its reception by American critics, as well as how Disney, in its hypersensitivity to racial issues and its desire to fulfill so many competing agendas, has paradoxically created an animated feature which generally elides race, even as it redeploys multiple racial stereotypes. This paper concludes by (re)considering the implications of a black Disney princess who spends more time onscreen in green and embraces a hyper-ethos of hard work, as well as how the simulated selves on display renegotiate notions of racial identity in the twenty-first century.

This article examines empirically how American cultural hegemony operates through the medium of film—in this case, via the James Bond \"007\" movie seríes. It is evident that Amerícan values are diffused worldwide via the motion picture industry. The 007 seríes is a masterpiece that successfully adjusted to the Hollywood system where American capital and structure prevails. The films are controlled by U.S. funding and refiect Amerícan perspectives vividly. Between the lines in the scripts, filmgoers are urged to link the United States with positive—hence legitimate—values and accept American's dominant position. The authors of this study argue that the \"007\" movie seríes satisfies certain conditions to diffuse and reproduce Amerícan hegemony. Moreover, since the seríes reflects different aspects of the international environment, it is an appropriate case to speculate about hegemony in films.

Using the conflicted reception history of the film Monster's Ball as a way to track the workings of white liberal ideology, which would, for example, sanitize racism, Holland offers a reading not only of the interracial desire that is this film's most spectacular element but also, and more provocatively , of the association explored in this film between death, whiteness, and women. In doing so, she begins to sketch the psychic life, the unconscious, of the prison-industrial complex.

This video by the U.S. Department of Homeland Security is about protection of critical infrastructure.

The National Infrastructure Protection Plan provides an integrated framework and strategy for the public and private sector to come together to protect the chemical sector of the critical infrastructures.