Laura Mulvey is Professor of Film and Media Studies at Birkbeck College, University of London. She has written extensively on film and film theory. Her books include Fetishism and Curiosity (1996), Death Twenty-four Times a Second: Stillness and the Moving Image (2006), Experimental British Television (edited with Jamie Sexton, 2007), and Visual and Other Pleasures (2nd edition, 2009). She has co-directed films, including Riddles of the Sphinx (1978) and Frida Kahlo and Tina Malatti (1980), as well as the documentary Disgraced Monuments (1996).

*Reception to follow*

Few architectural tracts remain from the medieval period in the west. Two tracts on architecture that this paper utilizes from this period—one by Gervase in 1185, and one by Edmer in 1116—both discuss subjects that collectively include the fire, building, and arrangement of different architectural campaigns at Canterbury Cathedral. Here, these texts are used to trace the written knowledge of the succession of churches—those of Lanfranc, Anselm, William of Sens, and William the Englishman, the last of whose termination of the cathedral remains intact today.

In February President Obama announced the beginning of negotiations designed to produce a US-EU Free Trade Agreement. Mutual tariffs are already low and trade high; business and labor constituents seem supportive, and officials are eager to conclude this agreement “on one tank of gas,” i.e., quickly. But significant issues will be in play, including: opening markets for agriculture products, trade in services, and access to public contracts.

On March 23, Suspiciously in Love will be screened in the Melwood Screening Room at 5:00 PM. The film follows a shy man named Albert who seeks love online. There, he stumbles upon Basia. She poses as a mysterious woman named Simone and he as a handsome French beau. They maintain the façade until their first date in “real life.” Purchase tickets at http://www.cmu.edu/faces/#. This film is a part of the Carnegie Mellon International Film Festival.

This paper analyzes the 1965 Film Montages of the West German artist Peter Roehr. Roehr’s untitled Film Montages of American and European commercial advertisements utilized an explicitly mechanical aesthetic to remove removed any personal identification, political impetus, or artistic qualities from the montages. Such an extreme disavowal of subjectivity through the cold objective logic of mechanical precision indicated that these montages could, and should, be understood in two other ways: as Roehr’s purposeful self-silencing, and as critiques of commodity fetishization.

"Whoever controls the media, controls the mind." - Jim Morrison

Hear about opportunities to teach English or conduct research abroad through the Fulbright U.S. Student Program. Fulbright alumni and current Fulbright participants will join representatives from the university’s National Scholarships advising office to provide information on the Fulbright experience and how to best prepare for it.

Comparing Legislatures implies numerous challenges to capture the complexity of democratic logics playing in these institutions, especially when these legislative bodies are embedded in institutional settings and present features that are seen as unique or exceptional. This talk aims at presenting a specific reading of comparative legislative research on two exceptional Legislatures, namely the European Parliament and the US Congress. Dr.

Mrs. Gianna Angelopoulos-Daskalaki was elected Member of Parliament of the Greek Republic in 1989 and was re-elected the following year. In 1998, the Republic of Greece appointed her Ambassador-at-Large for her service leading Greece’s successful bid to host the 2004 Olympic Games. Two years later, she was asked to assume the presidency of the ATHENS 2004 Organizing Committee for the Olympic Games, which was at the time behind schedule and over-budget.

Among the Baroque paintings held in the Royal Collection in London are two works from the early modern Netherlands: the Dutch artist Rembrandt van Rijn's Portrait of the Shipbuilder Jan Rijcksen and his Wife Griet Jans, 1633, and the Flemish artist Anthony van Dyck's Cupid and Psyche, 1640. At first glance, these paintings could not look more different, yet they have more in common than at first appears.