#J. Altuna

[spyskrapbook]

“Sick Architecture” Exhibition, CIVA, Rue de l’Ermitage 55, 1050, Brussels, Belgium _ Conceived by Beatriz Colomina [guest curator, Princeton University], Silvia Franceschini [curator CIVA], Nikolaus Hirsch [artistic director CIVA] _  Assistant curator: Minne De Meyer Engelbeen [CIVA] _ Exhibition Architecture: OFFICE Kersten Geers David Van Severen & Richard Venlet _ 06.05.2022 - 28.08.2022 _ Photos by: Spyros Kaprinis [18.06.2022].

“Architecture and sickness are tightly intertwined. Architectural discourse always weaves itself through theories of body and brain, constructing the architect as a kind of doctor and the client as patient. Architecture has been portrayed as both a form of prevention and cure for thousands of years. With Sick Architecture, CIVA and guest curator Beatriz Colomina (Princeton University) highlight a topic that has shaped our lives since the outbreak of the COVID-19 pandemic.”

“Le CIVA établi dans l’ancienne usine d’électricité secondaire d’Ixelles, est un bâtiment construit en style éclectique dans la commune d’Ixelles à Bruxelles. Elle fut construite en 1895 par l’architecte Émile Devreux. [...] Un bâtiment contemporain a été adossé à l'ancien bâti, il est l’œuvre des architectes Bernard Quirot et associés J. Altuna, JP. Garric, V. Negre. La structure du bâtiment contemporain est réalisée en béton mais doublée d’un contre-mur en brique rouge qui fait écho au style de l’usine à laquelle il est associé.”

https://civa.brussels/en/exhibitions-events/expo-sick-architecture

https://sau-msi.brussels/en/news/sau-proposes-civa-site-europan-architecture-competition

https://fr.wikipedia.org/wiki/CIVA_%28Bruxelles%29

[editorialanuketblog]

TOP 10 DE LOS COMICS EROTICOS

El cómic erótico nació como un fenómeno contracultural, una forma de crítica social que se reía de las normas y de la censura. Su intención era provocar, parodiar y divertir. Con el tiempo se ha transformado en género con carácter propio, donde se siguen rompiendo tabúes pero lo artístico y lo sugerente, supera siempre a lo vulgar.

Como en cualquier manifestación artística, el cómic erótico también tiene su élite de artistas reconocidos y consagrados por su manera de impactar con sus obras. El cómic erótico no es un seguido de ilustraciones para adolescentes con las hormonas a tope. Si no que se trata de historias sofisticadas que elevan la imaginación del lector. Podemos destacar verdaderas obras de arte que dan rienda suelta a la fascinación, tras las cuales hay un auténtico trabajo creativo. Hoy les presentamos las 10 que más se destacan:

 PEACH

Sin llegar a los extremos del hentai, U-jin el maestro del manga erótico, despliega su estilo más liviano y divertido en Peach, una comedia en la que el joven y virgen Houshi Saito recibe una inesperada visita: una chica hermosa viene a confesarle que lo ama. Además, su jefa le ha impuesto la misión de seducir a las alumnas de la escuela de inglés donde trabaja para que las muchachas renueven la matrícula.

 CLARA DE NOCHE

Clara de Noche nació en las páginas de El Jueves en 1992 de la mano de Carlos Trillo. Ilustrado por Jordi Bernet, cuenta las aventuras de una prostituta entregada al trabajo del oficio más viejo del mundo, ganándose la vida para que su hijo Pablo tenga una educación y una vida digna, conjugando hábilmente comedia y tragedia.

 LORNA

Saga de humor, ciencia ficción y erotismo que narra las aventuras de Lorna, personaje creado en 1980 con guiones de Cidoncha e ilustraciones de Alfonso Azpiri para la revista erótica Mastia, y continuada por este último como autor completo primero en las revistas de Norma Cimoc y Humor a Tope y luego en formato álbum. Las historietas de Lorna y su robot se tradujeron a varios idiomas, publicándose también en revistas extranjeras como Penthouse, Heavy Metal o Lanciostory, y fueron recopiladas en varias ocasiones.

 VOYEUR

Voyeur es una recopilación de las historietas eróticas de Horacio Altuna para la revista Playboy. Altuna supo captar como nadie la feminidad y elegancia de la mujer. Esta recopilación es una edición especial en la que se reúnen historietas, ilustraciones y hasta bocetos de Altuna publicados en la mítica revista americana.

 VAMPIRELLA

Vampirella es una especie de heroína del cómic de terror y del género erótico. Fue creada por Forrest J. Ackerman para Warren Publishing y desarrollada por Archie Goodwin con los artistas Frank Frazetta, Tom Sutton, José González y Zesar Álvarez. Su primera aparición fue en 1969 y ahora Vampirella inicia una nueva etapa desde cero.

  ROBERT CRUMB’S SEX OBSESSIONS

A lo largo de su carrera, el más famoso de los dibujantes underground se ha visto irresistiblemente arrastrado a incluir sus fantasías eróticas en su obra. Él lo justifica como una catarsis compulsiva; sus admiradores consideran las fantasías eróticas de R. Crumb la máxima expresión de su talento.

En Robert Crumb’s Sex Obsessions, Crumb ha seleccionado las tiras e ilustraciones a página completa más íntimas y reveladoras para crear un viaje enciclopédico de 258 páginas a lo más profundo de su psique sexual.

 LOST GIRLS

El imprescindible Alan Moore y Melinda Gebbie firman una obra tan antológica como polémica sobre las travesuras sexuales de tres de los personajes femeninos más importantes de finales del siglo XIX y principios del siglo XX: Alicia de Alicia en el País de las Maravillas, Dorothy Gale de El Mago de Oz y Wendy Darling de Peter Pan.

En Lost Girls, se encuentran ya adultas en 1913 donde describen y comparten algunas de sus aventuras sexuales.

 DRUUNA

Creado por Serpieri en 1985, Druuna es un clásico del erotismo y la ciencia ficción. Su protagonista, una voluptuosa habitante del mundo caótico y peligroso del futuro, tuvo una generosa acogida desde su primer libro, Morbus Gravis, que vendió más de un millón de copias en 20 idiomas diferentes.

 VALENTINA

Guido Crepax, uno de los maestros del cómic italiano, creó en 1965 a Valentina, un personaje secundario que pronto se convertiría en la protagonista absoluta de historias oníricas y aventuras con pequeñas dosis de erotismo. Un personaje extraordinario, un ángel edificante que no conoce moralismos ni hipocresías.

 EL CLIC

Provocadora y sugerente, El Clic de Milo Manara es, indiscutiblemente, la gran obra maestra del cómic erótico. Cuatro volúmenes a lo largo de los cuales conoceremos la historia de Claudia Christiani, una bella mujer a la que se le ha implantado un chip por control remoto capaz de desatar sus deseos más ocultos. Solo un clic y Claudia da rienda suelta a sus pasiones más bajas, trastocando todo cuanto le rodea.

[thephotovoice]

References

Allen, S., DeLuca, D., Napoli, D. J. Societal Responsibility and Linguistic Rights: The Case of Deaf Children. (2007). Journal of Research in Education. 17:41–53.

Boons, T., Brokx, J. P., Dhooge, I., et al. (2012a). Predictors of spoken language development following pediatric cochlear implantation. Ear Hear, 33, 617–639.

Davidson, K., Lillo-Martin, D., & Chen Pichler, D. (2013). Spoken English Language Development Among Native Signing Children With Cochlear Implants. Journal of Deaf Studies and Deaf Education, 19(2), 238–250. doi:10.1093/deafed/ent045

Fink,  N. E, Wang N-Y, Visaya, J., Niparko, J. K., Quittner, A. L., & Eisenberg, L. S. (2007) CDACI Investigative Team. Childhood development after cochlear implantation (CDaCI) study: Design and baseline characteristics. Cochlear Implants Int, 8(2). 92–116. doi: 10.1002/cii.333.

Flaherty, M. (2015). What We Can Learn From Hearing Parents of Deaf Children. Australasian Journal of Special Education, 39(01), 67–84. doi:10.1017/jse.2014.19 

Giraud, A. L. & Lee H. J. (2007) Predicting cochlear implant outcome from brain organization in the deaf. Restor Neurol Neurosci.25:381–390.

Hall, M. L. (2020). The Input Matters: Assessing Cumulative Language Access in Deaf and Hard of Hearing Individuals and Populations. Frontiers in Psychology, 11. doi:10.3389/fpsyg.2020.01407

Kral, A., Dorman, M. F., & Wilson, B. S. (2019). Neuronal Development of Hearing and Language: Cochlear Implants and Critical Periods. Annual Review of Neuroscience, 42(1). doi:10.1146/annurev-neuro-080317-061513

Kral, A., Kronenberger, W. G., Pisoni, D. B., et al. (2016). Neurocognitive factors in sensory restoration of early deafness: A connectome model. Lancet Neurol, 15, 610–621.

Kronenberger, W. G., Beer, J., Castellanos, I., et al. (2014). Neurocognitive risk in children with cochlear implants. JAMA Otolaryngol Head Neck Surg, 140, 608–615.

Kushalnagar, P., Mathur, G., Moreland, C. J., Jo Napoli, D., Osterling, W., Padden, C. & Rathmann, C. (2010). Infants and children with hearing loss need early language access. J Clin Ethics, 21(2): 143-154

Lammers, M. J., van der Heijden, G. J., Pourier, V. E., et al. (2014). Bilateral cochlear implantation in children: A systematic review and best-evidence synthesis. Laryngoscope, 124, 1694–1699.

MacSweeney, M., et al. (2004). Dissociating Linguistic and Non-linguistic Gestural Communication in the Brain. Neuroimage, 22, 1605–1618.

Martin D, Bat-Chava Y, Lalwani A, Waltzman SB. Peer relationships of deaf children with cochlear implants: Predictors of peer entry and peer interaction success. J Deaf Stud Deaf Educ. 2010;16(1):108–120.

Mitchell, R.E., & Karchmer, M.A. (2004). Chasing the mythical ten percent: Parental hearing status of deaf and hard of hearing students in the United States. Sign Language Studies, 4, 138–163. doi:10.1353/sls.2004.0005

Netten, A. P., Rieffe, C., Theunissen, S. C. P. M., Soede, W., Dirks, E., Korver, A. M. H., … Frijns, J. H. M. (2015). Early identification: Language skills and social functioning in deaf and hard of hearing preschool children. International Journal of Pediatric Otorhinolaryngology, 79(12), 2221–2226. doi:10.1016/j.ijporl.2015.10.008

Nicholas J. G, Tobey E. A, Geers A. E, Brenner C, Altuna D., & Gabbert G. (2003). Factors associated with development of speech production skills in children implanted by the age of five. Ear Hearing. 24, 36S–46S. doi: 10.1097/01.AUD.0000051688.48224.A6.

[drzito]

Las 241 películas que he visto en 2018 (parte 2)

121. El jefe de todo esto  (Lars von Trier, 2006).

122. La muchacha que saltaba a través del tiempo (Mamoru Hosoda, 2006)

123. The devil wears Prada (David Frankel, 2006)

124. À l'intérieur (Julien Maury y Alexandre Bustillo, 2007)

125. Casual day (Max Lemcke, 2007).

126. Concursante (Rodrigo Cortes, 2007)

127. It’s a free world (Ken Loach, 2007)

128. La question humaine (Nicholas Klotz, 2007)

129. Los falsificadores  (Stefan Ruzowitzky, 2007).

130. August (Austin Chick, 2008)

131. Bienvenido a Farewell-Gutmann (Xavi Puebla, 2008)

132. Flash of genius (Marc Abraham, 2008)

133. Gigantes de Valdes (Alejandro Tossenberger, 2008)

134. Slumdog millionaire (Danny Boyle, 2008)

135. Tokyo sonata (Kiyoshi Kurosawa, 2008)

136. Exam (Stuart Hazeldine, 2009)

137. New in town (Jonas Elmer, 2009)

138. Rien de personnel (Mathias Gokalp, 2009)

139. The box (Richard Kelly, 2009)

140. The damned united (Tom Hooper, 2009)

141. The informant! (Steven Soderbergh, 2009)

142. The scam  (Lee Ho-Jae, 2009)

143. Made in Dagenham (Nigel Cole, 2010)

144. Notre jour vindra (Romain Gavras, 2010)

145. También la lluvia (Iciar Bollain, 2010)

146. Wall Street: Money never sleeps (Oliver Stone, 2010)

147. Cinco metros cuadrados (Max Lemcke, 2011)

148. Moneyball (Bennett Miller, 2011)

149. The adjustment bureau (George Nolfi, 2011)

150. A puerta fría (Xavi Puebla, 2012)

151. Arbitrage (Nicholas Jarecki, 2012)

152. Beasts of the Southern wild (Benh Zeitlin, 2012)

153. Le capital (Costa-Gavras, 2012)

154. Promised land (Gus van Sant, 2012)

155. The Lorax (Chris Renaud, 2012).

156. Total recall (Len Wiseman, 2012)

157. Upside down (Juan Solanas, 2012)

158. Il capitale humano (Paolo Virzi, 2013)

159. These final hours (Zak Hilditch, 2013)

160. The internship (Shawn Levy, 2013)

161. The shadow people (Matthew Arnold, 2013)

162. Creep (Patrick Kack-Brice, 2014)

163. Deux jours, une nuit (Jean-Pierre Dardenne y Luc Dardenne, 2014)

164. Draft day (Ivan Reitman, 2014)

165. El futuro (Luis Lopez Carrasco, 2014)

166. Hermosa juventud (Jaime Rosales, 2014)

167. Jack Ryan: Shadow recruit (Kenneth Branagh, 2014)

168. Selma (Ava DuVernay, 2014)

169. Stonehearst asylum (Brad Anderson, 2014)

170. The one I love (Charlie McDowell, 2014)

171. 99 homes (Ramin Bahrani, 2015)

172. Amama (Asier Altuna, 2015).

173. Cerca de tu casa (Eduard Cortes, 2015)

174. Daddy’s home (Sean Anders, 2015)

175. El desconocido (Dani de la Torre, 2015)

176. Eye in the sky (Gavin Hood, 2015)

177. La loi du marche (Stephane Brize, 2015)

178. Techo y comida (Juan Miguel del Castillo, 2015)

179. Ares (Jean-Patrick Benes, 2016)

180. Colossal (Nacho Vigalondo, 2016)

181. Doctor Strange (Scott Derrickson, 2016)

182. Esa sensación (Juan Cavestany, Julian Genisson y Pablo Hernando, 2016)

183. Gold (Stephen Gaghan, 2016)

184. I, Daniel Blake (Ken Loach, 2016).

185. Kubo and the two strings (Travis Knight, 2016)

186. La doncella  (Park Chan-Wook, 2016)

187. La punta del iceberg (David Canovas, 2016)

188. Los del túnel (Pepon Montero, 2016)

189. L’outsider (Christophe Barratier, 2016)

190. Money Monster (Jodie Foster, 2016).

191. Shin Godzilla (Hideaki Anno y Shinji Higuchi, 2016)

192. Split (M. Night Shyamalan, 2016)

193. Teenage mutant nija turtles: Out of the shadows (Dave Green, 2016)

194. The brothers Grimsby (Louis Leterrier, 2016)

195. The founder (John Lee Hancock, 2016)

196. The love witch (Anna Biller, 2016)

197. The Osiris child (Shane Abbess, 2016)

198. The shallows (Jaume Collet-Serra, 2016).

199. The thinning (Michael J. Gallagher, 2016)

200. Toni Erdmann (Maren Ade, 2016)

201. Train to Busan (Yeon Sang-ho, 2016)

202. Zootopia (Byron Howard y Rich Moore, 2016).

203. Atomic blonde (David Leitch, 2017)

204. All the money in the world (Ridley Scott, 2017)

205. Brava (Roser Aguilar, 2017)

206. Corporate (Nicolas Silhol, 2017)

207. Creep 2 ( Patrick Kack-Brice , 2017)

208. Daddy’s home 2 (Sean Anders, 2017)

209. Detroit (Kathryn Bigelow, 2017)

210. Estiu 1993 (Carla Simon, 2017)

211. Fe de etarras (Borja Cobeaga, 2017)

212. I don’t feel at home in this world anymore (Macon Blair, 2017)

213. It comes at night (Trey Edward Shults, 2017)

214. La llamada (Javier Ambrossi y Javier Calvo, 2017).

215. Logan Lucky (Steven Soderbergh, 2017)

216. Numero Une (Tonie Marshall, 2017)

217. Pieles (Eduardo Casanova, 2017).

218. Selfie (Victor Garcia Leon, 2017)

219. The disaster artist (James Franco, 2017)

220. The lost city of Z (James Gray, 2017)

221. The post (Steven Spielberg, 2017)

222. The sacrifice of a sacred deer (Yorgos Lanthimos, 2017)

223. The shape of water (Guillermo del Toro, 2017)

224. Tulip fever (James Chadwick, 2017)

225. Under the shadow (Babak Anvari, 2017)

226. You were never really here (Lynne Ramsay, 2017)

227. Anihilation (Alex Garland, 2018)

228. Ant-man and The Wasp (Peyton Reed, 2018)

230. Avengers: Inifinity War (Anthony y Joe Russo, 2018)

231. Batman: Gotham by gaslight (Sam Liu, 2018)

232. Batman ninja (Junpei Mizusaki, 2018)

233. Black Panther (Ryan Coogler, 2018)

234. Hereditary (Ari Aster, 2018).

235. Hotel Transylvania 3: summer vacation (Genndy Tartakovsky, 2018)

236. Jurassic World: Fallen kingdom (JA BAyona, 2018)

237. Mission Impossible - Fallout (Christopher McQuarrie, 2018).

238. Spider-Man: Into the Spider-Verse (Peter Ramsey, Robert Persichetti Jr. y Rodney Rothman, 2018)

239. Teen titans go! to the movies (Peter Rida Michail y Aaron Horvath, 2018)

240. The incredibles 2 (Brad Bird, 2018)

241. The night comes for us (Timo Tjahjanto, 2018)

[lil-area-sfw]

STYLES

A compilation of styles for all of you who ask for one of them ^ ^

Check this list before asking to see if it’s already done. I don’t know if I let some out, so that helps me too :)

#

101 Dalmatians Street

2k anime

6teen

90’s anime

A

Ace Attorney

Adam Warren

Adventure Time

Æon Flux

Afro Samurai

Aggretsuko

Altuna

Amphibia

Animaniacs

Annoying Orange

Anomalyah

Archie

Astérix and Obélix

ATLA

Atomicmangos

Ava’s Demon

Azumanga Daioh

B

Ben 10

Bee and Puppycat

Beetlejuice

Big O, The

Big Hero 6

Bill Watterson

Bleach

Bleedman

Bojack Horseman

Boku no Hero Academia

Boondocks

Bratz

Brawlhalla

Brokenlynx

Bruce Timm

C

CAD

Camp Camp

Carmen Sandiego

Cars

Cats don’t dance

Chuck Jones

Clone Wars

Code Lyoko

Condorito

Cowboy Bebop

Craig of the Creek

Crayon Shin Chan

Cyanide and Hapiness

Cybersix

D

Danganronpa

Danny Phantom

Dan vs

Daria

DBZ

Digimon

Disney

Don Bluth

Don’t Starve

Dragon

Dr. Seuss

Duck Tales

Duck Tales Reboot

E

Ed, Edd and Eddy

Eddsworld

Equestria Girls

El Tigre

Evangelion

F

Fairly Odd Parents

Fairy Tale

Family Guy

Final Space

Fist of the North Star

Flintstones

Foot 2 Rue

Forever Twelve

Foster for Imaginary Friends

Frank Frazzeta

Furry

G

Garfield

Ghibli

Goofy

Gorillaz

Gravity falls

Grojband

Gurren Lagann

Gumball

H

Hellboy

Henryart

He-Man

Hey, Arnold!

Home Movies

Homestuck

Hunter x Hunter

I

Infinity Train

Incase

Incognytimous

Invader Zim

J

Jack Kirby

Jackie Chan

Jelly Jam

Joe Madureira

John K

Jojo’s Bizarre Adventure

K

Katie Rice

Kenny the Shark

Kick Buttowski

Kid vs Kat

Kim Possible

King of the Hill

Klasky Csupo

KND

Kyoani

L

Leiji Matsumoto

Legend Quest

Lego

Liefeld

Lilo and Stitch

Little Witch Academia

LOK

Loli Rock

Loud House

Lucky Star

Lupin III

M

Mafalda

Mario Bross.

Maxx, The

Metal Gear

Metalocalypse

Monster High

Monster Musume

Moogle

Moringmark

Motorcity

Mighty Magiswords

Miraculous Ladybug

Mighty Magiswords

MLAATR

Mystery Inc.

Mystery Skulls

N

Naruto

Nemi

Nichijou

Nombrils, Les

Nutshack, The

O

Oban Star Racers

Octopus Pie

Ok K.O.! Lets be heroes

One Piece

One Punch Man

One Punch Man (One)

Osamu Tezuka

Ounpaduia, The

Ouran Host Club

Over the Garden Wall

Overwatch

Oxenfree

P

Panty and Stockings

Peanuts

Péchés mignons 

Penn Zero part time hero

Pepper Ann

Petit Prince, Le

Phineas and Ferb

Pichi Pichi Pitch

Pixel Art

Pokémon

My Little Pony Friendship is Magic

Pop Team Epic

Pucca

PPG

Psychonauts

Q

R

Ralph Bakshi

Randy Cunningham

Rankin Bass

Ranma ½

Realistic

Regular Show

Rick and Morthy

Robert Crumb

Rock Cocks

Ruby Gloom

Rule 63

RWBY

S

Sailor Moon

Sally Bollywood

Samurai Jack

Secret of Kells

Senpai

Seven Deadly Sins

Shantae Half Genie Hero

Simon’s cat

Simpsons

Skullgirls

Soul Eater

Song of the Deep

Sonic

South Park

Spatziline

Spirou

Sr. Amoníaco

Sr. Pelo

Star vs the forces of Evil

Steven Universe

Scott Pilgrim vs the World

Spectacular Spiderman

Splatoon

Stick

Swatcats

T

Tahilalats

Tangled

Teen Titans

Tex Avery

TG Weaver

Transformers Animated

Thundercats 2011

Tim Burton

Tin Tin

Total Drama

Totally Spies

Transformers

Trolls

Turma da Monica

Twelve Forever

U

Undertale

V

Villainous

Vintage

Vivziepop

Voltron

W

Wander over Yonder

Wakfu

Wendy

W.I.T.C.H.

Wynx Club

X

Xiaolin Showdown

Y

Young Justice

Yu Gi Oh!

Yuri on Ice

Yuyu Hakusho

Z

Zootopia

[duaneodavila]

What Happened At The NALP Recruiting Summit?

Two weeks ago, for the second time in three weeks, I found myself back on the road for a business trip. While my previous venture outside of Nashville was to meet with legal employers in the Washington, DC market, this trip was a bit different. After an inexplicable two hour delay on the BNA tarmac — on the plus side, I can say that both Netflix’s Sex Education and the recent Robert Caro piece in The New Yorker are quite good — I arrived in New York City to attend the sixth annual National Association for Law Placement (NALP) Recruiting Summit, which brings together some the nation’s top law schools and legal employers for a day long discussion on an array of legal recruiting topics.

With those in the NALP orbit still reeling from the decision made one month prior to abandon the recruiting guidelines which had been in place for more than four decades, and with the Summit representing the first time the various NALP stakeholders would all be in the same room, one might have thought this would be an all-day discussion as to what will fill the vacuum, or more simply, what happens next. Well, you would be wrong.  While there would be a time to discuss the post-Guidelines world, the Summit stuck to its established practice of taking a broad look at the legal recruiting universe.

The opening session saw Citi’s David Altuna provide an overview of the state of the legal economy. In short, the financial situation for the law firms continues to improve, though with some significant caveats. From 2010 through 2017, law firm revenue increased 4.4 percent year over year, which is a respectable growth rate for any industry. However, demand for legal services — measured by Citi as the total number of hours logged by attorneys at law firms — grew only 1 percent per year during this same period. How did revenue growth vastly outpace demand growth? Billing rates increased during this same period by 3.9 percent year over year. If you cannot get consumers to buy more of your product, you can bolster your bottom line by charging them more for the same thing. Of course, the concern is that, theoretically, you eventually hit a limit on how much consumers are willing to pay. The good news is that over the first nine months of 2018, the aforementioned figures all increased. Firm revenue shot up by 6.3 percent, demand increased by 2.5 percent, and billing rates increased by 4.3 percent. On the flip side, firm expenses also increased in the first nine months of 2018 by 5.9 percent, compared to the 4.2 percent rate of increase from 2010-17, but that increase is still less than the increase in firm revenue and can be explained, at least in part, by the bump in associate salaries to $190,000.

That was the good news. Not surprisingly, there was also some bad financial news. Much like the American economy as a whole, the growth in the legal market is primarily happening at the top — both in an inter- and intrafirm manner. Despite the fact that the top quarter of the Am Law 200 saw the largest increase in billing rates from 2010-17, those same firms saw the highest increase in demand for their legal services. In fact, the entirety of the growth in demand was limited to this top 25 percent. Those firms saw a 3.7 percent growth in demand post-Great Recession while the rest of the AmLaw 200 saw a contraction of demand by 0.5 percent. For the top 50 AmLaw firms, it is as if the Great Recession never happened. For the other 150 firms, well… at least the bottom is no longer falling out. Interestingly, boutique firms are actually on stronger financial footing than Am Law 50-200. And within firms, nearly the entirety of this increased revenue is flowing to the partnership.

Wearing his best flak jacket, NALP Executive Director Jim Leipold took to the podium next and reviewed the results of the recently completed recruiting survey. After a small dip, entry-level legal recruiting has returned to its post-recession peak. While the total number of students securing legal jobs after graduation continues to fall, that is due to the fact that the total number of graduating law students are at record lows. However, the current crop of national 1Ls is larger than the cohort that just graduated so we should finally see an increase in graduating law students in 2021 under President Gillibrand. 

The class of 2017 saw 54.4 percent of graduates working in private practice, which is near the historical norm and a vast improvement from the dark days of the recession when the figure fell below 50 percent. 28.1 percent of these graduates entering private practice went into Biglaw, i.e., firms with over 500 attorneys. Reflecting what David Altuna had previously explained, some law firms are showing growth in their recruiting efforts, both in terms of the size of their summer associate classes and the number of schools they visit for recruiting purpose, while other firms are retracting in both areas.  

One of the more interesting figures discussed is that for the just completed Fall 2018 Recruiting Cycle, 53 percent of callbacks resulted in offers and 35 percent of all extended offers were accepted. While those statistics are not remarkable on their face, what makes them worth mentioning is that both increased from a year before. An increase in either offer or yield rate is typical, but both increasingly simultaneously is unusual. In looking at post-graduation offers, 97 percent of 2018 summer associates received an offer and 88 percent accepted.  Both numbers are record highs, but while the former is only slightly above the peak, the 88 percent acceptance rate is significantly higher than the low to high-70s percent rate seen pre-recession. As Jim pointed out, this is likely due to a drop off in the 3L hiring market. Fewer students are willing to turn down a good job for the prospect of a landing a “better” position that is likely not going to materialize.  

Jim also reviewed the biennial student survey which included some interesting nuggets that confirmed my prior beliefs — students like employer swag, so keep cranking out those branded portable powerbanks. Perhaps the most interesting statistic of the entire presentation came during this section when those students surveyed said that 45 percent of all summer associate offers had been accepted by the end of August. For those of us in the legal recruiting world, this continual, for lack of a better phrase, calendar creep is not surprising, but to think that even ten years ago, callbacks routinely stretched into the September and October, this new timeline is remarkable.

The student survey also contained some fascinating narrative responses, including the following on OCI:

The entire OCI process was antiquated, stressful, and ultimately almost made me drop out of law school. I firmly consider it to be one of the lowest points of my life and wish that no other person has to suffer through it. The screener interviews are a complete joke that does very little in gleaning any substantive information about the firm. Every response is a stock answer that makes the interviewer look like nothing more than an automaton. In fact, there were multiple points where I wasn’t sure if I was actually being subjected to a Turing Test. Not only that, but I had numerous interviewers outright insult me. One called me a liar when I told him what practice area I was interested in, “You’re lying, you’re a liar, I don’t believe you.” Another mocked me for not being very good at hockey, “You were probably terrible . . . My son could skate circles around you.” My OCI experience was so negative that I rejected both offers from Vault 100 firms and decided to go into Public Interest where I might be treated with at least a semblance of respect. I hope the day comes soon where law students aren’t put up for auction in front of cruel people in nice suits.

I am not sure I have come across a more trenchant paragraph on the topic of OCI. If the author of this quote reads this column, know that you can reach out via email if you want to talk.

The remaining presentations had some interesting portions. I wanted to roll my eyes when 17-year-old Josh Miller discussed Generation Z, especially after he mentioned he was born in December 2001, i.e., after September 11th, but I found many of his insights quite valuable. Apparently, by a two to one margin, members of Generation Z are more interested in a job with financial security than doing something they love, a marked shift from millenials and something that raises long-term questions for all of the public interest capacity that law schools have built up in recent years. Also, Instagram is the most popular social media platform for Generation Z because of the inherent competition for likes. So basically, the Black Mirror episode “Nosedive” is about five years away from being a documentary rather than dystopian fiction. In a separate presentation, Summit attendees got to see some of the interesting video tutorials being developed by the Career Services Office at the University of Virginia School of Law.

However, as I mentioned at the start of this column, while the whole Summit was not devoted to our post-Guidelines world, an hour had been blocked off for round table discussions on the topic. As you might imagine, I was READY to talk.

Unfortunately, the cathartic moment I was craving did not come to pass. Rather than an open, free for all discussion, each table of 8-10 participants had a conversation with a NALP board member who served as the institutional voice explaining the decision. While other participants might have had a different experience amongst their small group, I do not think many minds were changed at our table. Those who came in with objections to the changes, myself included, seemingly only had their opposition harden. In my mind, the effect that the post-Guidelines world will have on first-generation college grads, those who do not come from a family of attorneys, and those who attended non-“elite” undergraduate institutions will be more acute than I originally thought. I also now wish I had taken at least one course in Antitrust Law while at NYU.

But while I might have wished for a slightly different structure and focus to the day’s events, at the end of the day, I was glad that I attended the NALP Recruiting Summit and as with all my trips to New York City, very much in the mood for some dumplings and pizza — not necessarily at the same time, but also not inherently opposed to such a combination.

(The views of this column do not necessarily represent those of Vanderbilt University Law School.)

Nicholas Alexiou is the Director of LL.M. and Alumni Advising as well as the Associate Director of Career Services at Vanderbilt University Law School. He will, hopefully, respond to your emails at abovethelawcso@gmail.com.

What Happened At The NALP Recruiting Summit? republished via Above the Law

[karoltabis]

Los Angeles, 1991. The streets are a hotbed of racial tension, ready to burst at any moment ... Today is an important day for Eladio: he is going to avenge the death of his older brother. But he is not the only one who has reasons to kill today. -------------------------- https://ift.tt/1PjKfND Los Angeles 1991 Awards RIVERSIDE SHORT FILM AND VIDEO FESTIVAL (United States) FIRST PRIZE FOR THE BEST SHORT FILM FESTIVAL INTERNACIONAL DE CINE EN GUADALAJARA (Mexico) BEST SHORT FIM CERTAMEN DE CORTOMETRAJES POR LA PAZ DE JIMENA DE SAN PABLO DE BUCEITE (Spain) 1st PRIZE RENDIBÚ CONCURSO DE CINE COMPRIMIDO (Spain) BEST SHORT FILM PORTO7 - OPORTO INTERNATIONAL SHORT FILM FESTIVAL (Portugal) AUDIENCE AWARD FIBABC - FESTIVAL IBEROAMERICANO DE CORTOMETRAJES ABC.ES (Spain) BEST SHORT FILM JURY AWARD DAKINO INTERNATIONAL FILM FESTIVAL (Romania) BEST SHORT FILM CORTOESPAÑA RUTE (Spain) BEST SHORT FILM FESTIFIL - FESTIVAL LA FILA DE CORTOMETRAJES (Spain) BEST SCREENPLAY MOSTRA DE CINEMA LLATINOAMERICÀ DE CATALUNYA (Spain) BEST SHORT FILM FESTIVAL DE CORTOMETRAJES DE AGUILAR DE CAMPOO (Spain) BEST SCREENPLAY & BEST EDITING GINÉS EN CORTO: FESTIVAL INTERNACIONAL DE CORTOMETRAJES (Spain) BEST SHORT FILM Official Selections BALLSTON SPA FILM FESTIVAL (United States) CALGARY INTERNATIONAL FILM FESTIVAL (Canada) FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE DE ELCHE (Spain) FESTIVAL VIDEO-CINEMATOGRAFICO "C'È UN TEMPO PER L'INTEGRAZIONE" (Italy) FESTIVAL DE CORTOMETRAJES CORTEN - CIUDAD DE CALAHORRA (Spain) FESTIVAL EUROPEO DE CORTOMETRAJES VILLAMAYOR DE CINE (Spain) CERTAMEN NACIONAL DE CORTOMETRAJES L'ALFÀS DEL PI (Spain) CORTOESPAÑA MORA (Spain) SALÓN INTERNACIONAL DE LA LUZ (Colombia) INTERNATIONAL FRONTALE FILM FESTIVAL (Austria) INDIE STREET FILM FESTIVAL (United States) CICLO DE CORTOMETRAJES DE FICCIÓN DE ALCANCES - MUESTRA CINEMATOGRÁFICA DEL ATLÁNTICO (Spain) FESTIVAL DE CINE DE MADRID FCM-PNR (Spain) TLANCHANA FEST - FESTIVAL DE CINE Y ARTE DIGITAL (Mexico) FEAR NO FILM FESTIVAL (United States) CEBU INTERNATIONAL FILM FESTIVAL - CEBU.IFF (Philippines) REVOLUTION ME FILM FESTIVAL (United States) SHORT SHORTS FILM FESTIVAL (Japan) LA MUESTRA DE CINE MÁS PEQUEÑA DEL MUNDO (Spain) FASCURT FESTIVAL DE CORTOMETRAJES DE EL MASNOU (Spain) CORTOESPAÑA MONTILLA (Spain) INTERNATIONAL SHORT FILM FESTIVAL DETMOLD (Germany) FESTIVAL DE CINE SOLIDARIO DE GUADALAJARA - FESCIGU (Spain) FESTIVAL INTERNACIONAL DE CINE BAJO LA LUNA ISLANTILLA CINEFÓRUM (Spain) FICBUEU, FESTIVAL INTERNACIONAL DE CORTOMETRAJES DE ---------------------------- A film by Zac&Mac Directed by Macgregor. Screenplay by Zac&Mac and Tim Hyten Based on the graphic novel "Hot L.A." by Horacio Altuna Additional writing by John Whalen & Leslie Gorenstein, Jack Daniel Stanley Produced by Macgregor , Tim Hyten , Bruno Zacarías Cast Jun Seo: Victor J. Ho Eladio: Zach Tellez JD: Jah shams Mike Egan: Chris Conrad Narrator: Gordon Capps Gangster #1: Antonio James Gangster #2: Koby Kumi-Diaka Edited by: Zac&Mac Music by: Rhian Sheehan Sound mixer: Barry Neely Supervising sound editor: Brandon Jones Re-recording mixer: Brandon Jones Color grading and VFXs: Bruce Allen, Miguel P. Gilaberte, Oskar Larsson, Zac&Mac Director of photography: Matt Garrett and Macgregor B camera operators: Hunter Hampton, Christopher Ripley Steadicam operator: Dave Baldwin Camera assistants: Drew Dawson, Matt Kelly, Megan Mccarthy, Antía Alvarez Gaffers: Randy Garcia, Adam Goral Art director: Caitlin Nicole Williams Set dressers: Jonathan Brock, Ian Lapidus, Taylor Slingerland Make up artist: Prell Charusanti Production manager: Clinton Trucks Production coordinator: Sean Van Dyke Production assistants: Jah-Dai, Lynn He, Jerry Pyle Special effects supervisor: Josh Hakian Prop Master: Bill Davis Stunt coordinator: Mathew Lorenceau Off duty cop: Steve Fisher Special thanks: Bruce Allen, Brent Lilley, Ruairi Robinson, Jesse Wigutow, Stephan Zlotescu, Horacio Altuna This motion picture is protected under the laws of the United States of America and other countries, and its unauthorized duplication, distribution or exhibition may result in civil liability and criminal prosecution. The characters and incidents portrayed and the names herein are fictitious, and any similarity to the name, character or history of any person living or dead is entirely coincidental and unintentional. © 2015 Blackmilk. All rights reserved.

[subsecretariadeculturazonan-blog]

La Film Chihuahua, un recuento

La Comisión Mexicana de Filmaciones (Comefilm) o Mexican Film Comission es la sección del Instituto Mexicano de Cinematografía (Imcine) que presta a los cineastas oriundos y extranjeros las facilidades para filmar en el territorio mexicano.

La Comefilm maneja para la promoción de producción cinematográfica distintos fondos económicos. El Fondo para la Producción Cinematográfica de Calidad (Foprocine), el Fondo de Inversión y Estímulos al Cine (Fidecine) y los provenientes del Estímulo Fiscal a Proyectos de Inversión en la Producción y Distribución Cinematográfica Nacional (Eficine 189).

Con base en Eficine 189, ley impulsada en sexenio de Vicente Fox por el entonces senador Javier Corral, se establece la Comisión Fílmica (FILM) en el estado con oficinas en Ciudad Juárez. Desde la Subsecretaría de Cultura Zona Norte en el interior del CCPN opera la FILM y desde marzo ha logrado impulsar la capacitación, producción, postproducción y exhibición de cine en Chihuahua.

En marzo logró que 3 cortometrajes se exhibieran en la muestra Cinema Oculto. Mientras que en abril se apoyó la gira Ambulante y se abrió a directores y productores el Programa de Estímulos a proyectos en etapa de postproducción; de los cuales resultaron seleccionados: Las noches invisibles de Alejandra Aragón, Absolución condenatoria de Jorge Carreón y Un mundo oculto de Juan Manuel Fernández.  

Además de brindar apoyo al cineasta Daniel Nájera para que presentara en Cannes su producción Vuelve a mi, se apoyó la gestión de permisos, transporte, hospedaje, entre otras cosas, a producciones como La Caja, Rift y La invención del mar.

Hacia junio fueron seleccionados para gira de exhibición, previa convocatoria, las producciones: Fariseos de Angel Estrada, 13,500 volts de Mónica Blumen, Después de azul de Octavio Gasca, El vitalismo de Miguel Ángel de Luis Salazar, Las tribus del desierto de Luis Sierra, Marina del otro lado del tiempo de Rodolfo Rodobertti y Mexican Dream, El camino de San Felipe y Sólo en esta tierra de Colectivo Vagón.

La Film Chihuahua se hizo presente en la Séptima Reunión de la Red Mexicana de Festivales Cinematográficos en la Cineteca del Festival Internacional de Cine (FICG) en Guadalajara.

En cuestión de capacitación organizó en mayo y junio diferentes módulos. El primero fue Dirección de cine documental y nuevas tecnologías que impartió el realizador bonaerense Flavio Florencio; mientras que el realizador y productor Emiliano Altuna impartió Dirección cinematográfica.

Los días 25, 26 y 27 de julio, Nicolás Celis, productor mexicano impartirá Desarrollo de proyectos en las instalaciones del Technology Hub de Ciudad Juárez.

Para mayor información comunicarse con: Luis Alberto Chaparro Villanueva, director de la Comision Fílmica de Chihuahua al correo electrónico siul.chaparro@gmail.com y al teléfono +52 (656) 123 8347.

La oficina de Film Chihuahua se encuentra en la Subsecretaría de Cultura Zona Norte en Calle Estocolmo y Anillo Envolvente J. Reyes Estrada S/N, Col. Progresista, C.P. 32315.

[hazvfx]

Los Angeles 1991 from Macgregor on Vimeo.

Los Angeles, 1991. The streets are a hotbed of racial tension, ready to burst at any moment ... Today is an important day for Eladio: he is going to avenge the death of his older brother. But he is not the only one who has reasons to kill today. -------------------------- firstshowing.net/2016/watch-powerful-crime-drama-short-los-angeles-1991-by-zacmac/

Los Angeles 1991

Awards

RIVERSIDE SHORT FILM AND VIDEO FESTIVAL (United States) FIRST PRIZE FOR THE BEST SHORT FILM

FESTIVAL INTERNACIONAL DE CINE EN GUADALAJARA (Mexico) BEST SHORT FIM

CERTAMEN DE CORTOMETRAJES POR LA PAZ DE JIMENA DE SAN PABLO DE BUCEITE (Spain) 1st PRIZE

RENDIBÚ CONCURSO DE CINE COMPRIMIDO (Spain) BEST SHORT FILM

PORTO7 - OPORTO INTERNATIONAL SHORT FILM FESTIVAL (Portugal) AUDIENCE AWARD

FIBABC - FESTIVAL IBEROAMERICANO DE CORTOMETRAJES ABC.ES (Spain) BEST SHORT FILM JURY AWARD

DAKINO INTERNATIONAL FILM FESTIVAL (Romania) BEST SHORT FILM

CORTOESPAÑA RUTE (Spain) BEST SHORT FILM

FESTIFIL - FESTIVAL LA FILA DE CORTOMETRAJES (Spain) BEST SCREENPLAY

MOSTRA DE CINEMA LLATINOAMERICÀ DE CATALUNYA (Spain) BEST SHORT FILM

FESTIVAL DE CORTOMETRAJES DE AGUILAR DE CAMPOO (Spain) BEST SCREENPLAY & BEST EDITING

GINÉS EN CORTO: FESTIVAL INTERNACIONAL DE CORTOMETRAJES (Spain) BEST SHORT FILM

Official Selections

BALLSTON SPA FILM FESTIVAL (United States) CALGARY INTERNATIONAL FILM FESTIVAL (Canada) FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE DE ELCHE (Spain) FESTIVAL VIDEO-CINEMATOGRAFICO "C'È UN TEMPO PER L'INTEGRAZIONE" (Italy) FESTIVAL DE CORTOMETRAJES CORTEN - CIUDAD DE CALAHORRA (Spain) FESTIVAL EUROPEO DE CORTOMETRAJES VILLAMAYOR DE CINE (Spain) CERTAMEN NACIONAL DE CORTOMETRAJES L'ALFÀS DEL PI (Spain) CORTOESPAÑA MORA (Spain) SALÓN INTERNACIONAL DE LA LUZ (Colombia) INTERNATIONAL FRONTALE FILM FESTIVAL (Austria) INDIE STREET FILM FESTIVAL (United States) CICLO DE CORTOMETRAJES DE FICCIÓN DE ALCANCES - MUESTRA CINEMATOGRÁFICA DEL ATLÁNTICO (Spain) FESTIVAL DE CINE DE MADRID FCM-PNR (Spain) TLANCHANA FEST - FESTIVAL DE CINE Y ARTE DIGITAL (Mexico) FEAR NO FILM FESTIVAL (United States) CEBU INTERNATIONAL FILM FESTIVAL - CEBU.IFF (Philippines) REVOLUTION ME FILM FESTIVAL (United States) SHORT SHORTS FILM FESTIVAL (Japan) LA MUESTRA DE CINE MÁS PEQUEÑA DEL MUNDO (Spain) FASCURT FESTIVAL DE CORTOMETRAJES DE EL MASNOU (Spain) CORTOESPAÑA MONTILLA (Spain) INTERNATIONAL SHORT FILM FESTIVAL DETMOLD (Germany) FESTIVAL DE CINE SOLIDARIO DE GUADALAJARA - FESCIGU (Spain) FESTIVAL INTERNACIONAL DE CINE BAJO LA LUNA ISLANTILLA CINEFÓRUM (Spain) FICBUEU, FESTIVAL INTERNACIONAL DE CORTOMETRAJES DE

----------------------------

A film by Zac&Mac Directed by Macgregor.

Screenplay by Zac&Mac and Tim Hyten Based on the graphic novel "Hot L.A." by Horacio Altuna Additional writing by John Whalen & Leslie Gorenstein, Jack Daniel Stanley Produced by Macgregor , Tim Hyten , Bruno Zacarías Cast Jun Seo: Victor J. Ho Eladio: Zach Tellez JD: Jah shams Mike Egan: Chris Conrad Narrator: Gordon Capps Gangster #1: Antonio James Gangster #2: Koby Kumi-Diaka Edited by: Zac&Mac Music by: Rhian Sheehan Sound mixer: Barry Neely Supervising sound editor: Brandon Jones Re-recording mixer: Brandon Jones Color grading and VFXs: Bruce Allen, Miguel P. Gilaberte, Oskar Larsson, Zac&Mac Director of photography: Matt Garrett and Macgregor B camera operators: Hunter Hampton, Christopher Ripley Steadicam operator: Dave Baldwin Camera assistants: Drew Dawson, Matt Kelly, Megan Mccarthy, Antía Alvarez Gaffers: Randy Garcia, Adam Goral Art director: Caitlin Nicole Williams Set dressers: Jonathan Brock, Ian Lapidus, Taylor Slingerland Make up artist: Prell Charusanti Production manager: Clinton Trucks Production coordinator: Sean Van Dyke Production assistants: Jah-Dai, Lynn He, Jerry Pyle Special effects supervisor: Josh Hakian Prop Master: Bill Davis Stunt coordinator: Mathew Lorenceau Off duty cop: Steve Fisher Special thanks: Bruce Allen, Brent Lilley, Ruairi Robinson, Jesse Wigutow, Stephan Zlotescu, Horacio Altuna

This motion picture is protected under the laws of the United States of America and other countries, and its unauthorized duplication, distribution or exhibition may result in civil liability and criminal prosecution. The characters and incidents portrayed and the names herein are fictitious, and any similarity to the name, character or history of any person living or dead is entirely coincidental and unintentional. © 2015 Blackmilk. All rights reserved.