By E.J. Stephens, Michael Christaldi, Marc Wanamaker
For over a hundred years, Paramount photographs has been pleasing motion picture and tv audiences all over the world with its attractive imagery and compelling tales. coming up from the collective genius of Adolph Zukor, Jesse L. Lasky, and Cecil B. DeMille throughout the 1910s, Paramount photographs is domestic to such enduring classics as Wings, sundown street, the 10 Commandments, Love tale, The Godfather, the Indiana Jones sequence, Chinatown, Forrest Gump, Braveheart, significant, and megastar Trek. Early Paramount Studios chronicles Paramounts origins, culminating within the construction and growth of the lot at 5555 Melrose street, the final significant movie studio nonetheless in Hollywood.
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After successfully shooting Ed, Joe attempts to stage the scene as a suicide. To leave powder burns on Ed’s hand, Joe fires a second shot into the wall. This shot, however, hits a woman working in the nextdoor office, whom Ed must then also kill – but not until after a janitor has witnessed him assaulting her. All told, he shoots two people who were never his intended targets, and these shots in turn start a fire and set off the building alarm system, compelling Joe to flee in a panic. The originating author of these absurd events is mere chance or random bad luck: two innocents die, simply because they are in the wrong place at the wrong time.
The scene opens with Joe and Ed in friendly conversation, glibly mocking a “totally freak accident” – presumably the very accident which in the first narrative spares Rita’s life. After successfully shooting Ed, Joe attempts to stage the scene as a suicide. To leave powder burns on Ed’s hand, Joe fires a second shot into the wall. This shot, however, hits a woman working in the nextdoor office, whom Ed must then also kill – but not until after a janitor has witnessed him assaulting her. All told, he shoots two people who were never his intended targets, and these shots in turn start a fire and set off the building alarm system, compelling Joe to flee in a panic.
Parfit offers a sustained defense of it in Reasons and Persons (1987: see especially §86). IDENTITY AND AGENCY IN MULHOLLAND DRIVE 35 6 Are we avoiding the background question here of whether or not this practical self-conception is an illusion? Korsgaard follows Kant (and Strawson) in holding that this is a question we can only address theoretically; as agents, our practical natures must reject it. She comments, “We may regard ourselves as objects of theoretical understanding, natural phenomena whose behavior may be causally explained and predicted like any other.