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The Financing of Catastrophe Risk
Is it possible that the insurance and reinsurance industries cannot handle a major catastrophe? Ten years ago, the notion that the overall cost of a single catastrophic event might exceed $10 billion was unthinkable. With ever increasing property-casualty risks and unabated growth in hazard-prone areas, insurers and reinsurers now envision the possibility of disaster losses of $50 to $100 billion in the United States. Against this backdrop, the capitalization of the insurance and reinsurance industries has become a crucial concern. While it remains unlikely that a single event might entirely bankrupt these industries, a big catastrophe could place firms under severe stress, jeopardizing both policy holders and investors and causing profound ripple effects throughout the U.S. economy. The Financing of Catastrophe Risk assembles an impressive roster of experts from academia and industry to explore the disturbing yet realistic assumption that a large catastrophic event is inevitable. The essays offer tangible means of both reassessing and raising the level of preparedness throughout the insurance and reinsurance industries.
Hollywood Shot by Shot
To what extent have Hollywood feature films shaped the meanings that Americans attach to alcoholics, their families, and the alcoholic condition? To what extent has the mass culture of the movie industry itself been conceptually shaped by a broad, external societal discourse? Norman Denzin brings to his life-long study of alcoholism a searching interest in how cultural texts signify and lend themselves to interpretation within a social nexus. Both historical and diachronic in his approach, Denzin identifies five periods in the alcoholism films made between 1932 and the end of the 1980s, and offers a detailed critical reading of thirty-seven films produced during these six decades. "Professor...
Rethinking Holocaust Film Reception
Taking early 21st century Britain as a case study, Rethinking Holocaust Film Reception: A British Case Study presents an intervention into the scholarship on the representation of the Holocaust on film. Based on a study of audience responses to select films, Stefanie Rauch demonstrates that the reception of films about the Holocaust is a complex process that we cannot understand through textual analysis alone, but by also paying attention to individual reception processes. This book restores the agency of viewers and takes seriously their diverse responses to representations of the Holocaust. It demonstrates that viewers’ interpretative resources play an important role in film reception. V...
What America Watched
Although television critics have often differed with the public with respect to the artistic and cultural merits of television programming, over the last half-century television has indubitably influenced popular culture and vice versa. No matter what reasons are cited--the characters, the actors, the plots, the music--television shows that were beloved by audiences in their time remain fondly remembered. This study covers the classic period of popular television shows from the 1960s through the 1990s, focusing on how regular viewers interacted with television shows on a personal level. Bridging popular and scholarly approaches, this book discovers what America actually watched and why through documents, footage, visits to filming locations, newspapers, and magazine articles from the shows' eras. The book features extensive notes and bibliography.
The Boy of Spirit
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MY METEORIC RISE TO OBSCURITY
"I was fortunate to work with some of the biggest stars in show business. People such as John Wayne, Lucy, Dick Van Dyke, Mary Tyler Moore, George Burns, Jack Benny, Cher, Hal Holbrook, Jaime Farr, Rob Reiner, Sharon Gless, Anne Francis, Jack Lemmon, and more. Many of them were dolls.a few were putzes. I, also, got to know lots of studio and network bosses.some creative, most dumb as a doorknob. I earned a heck of a good living during those fifty years. No regrets. Since this is my book, I intend to tell the truth about me and the people I met during my journey. I have no intention to purposely hurt or be ugly about anyone. However, I am honest about the people I mention in this book. My praise and gratitude might embarrass some of my friends and co-workers - but they will get over it. If some of the people think I was too rough or made them out as monsters - so be it. They'll get over it, too."
New York Magazine
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.
Black Fundamentalists
Reveals the history of Black Fundamentalists during the early part of the twentieth century As the modernist-fundamentalist controversy came to a head in the early twentieth century, an image of the “fighting fundamentalist” was imprinted on the American cultural consciousness. To this day, the word “fundamentalist” often conjures the image of a fire-breathing preacher—strident, unyielding in conviction . . . and almost always white. But did this major religious perspective really stop cold in its tracks at the color line? Black Fundamentalists challenges the idea that fundamentalism was an exclusively white phenomenon. The volume uncovers voices from the Black community that embra...
80
Eighty of Americais most famous 80 year olds reflect on their journeys to the big 8-0 and describe the passions that keep them young. These luminous and famous octogenarians seize the moment to reveal the secrets of longevity and share what is great about being 80, what is wrong with the young, what is wrong with the administration, what their days are like today, and what their lives were like in their prime. All were eager, from Mike Wallace and Lena Horne to George McGovern and Helen Thomas, to share their insights. Studs Terkel, 94, has broken his neck, had heart surgery at 93 and claims, iI should be dead, but Iim not for some reason or another.i What reason might that be? iFirst of all...
