annenberg media ♪ by: narrator: welcome to destinos: an introduction to spanish.n this episode, raquel begins her search for angel the son of rosario and fernando. remember to let the actions and the situations guide your understanding. se llama angel castillo. el que puede saber es josé. ijosé! arturo: ud. puede conocer a angel castillo, mi hermano. ¿ya hablaron con héctor? no. ¿quién es? in this episode, you will learn the words for fish... and shellfish... todo el pescado y los mariscos que hay aquí están frescos. a ver... ...as well as other seafood items. you will also learn the words for several other food items. aquí tengo el pan... el arroz... el otro pan... y el aceite. you will get a glimpse of the geography of argentina. narrador: chile, al oeste bolivia y el paraguay, al norte el brasil... dime. tengo una imagen en mi memoria-- angel está en un barco-- pero no sé si es real o imaginaria. ¿quién es? mario, doña flora. unos señores quieren ver a josé. ¿a josé? ¿para qué? captioning of this program is made possible by the annenberg/cpb project and the ger

annenberg media ♪ provided by: narrador: en este episodio raquel y arturo siguen con la búsqueda de angel hijo de rosario y fernando. el viejo amigo de angel, héctor, llama a arturo. tiene una carta con la dirección de angel en san juan, puerto rico. hola, héctor. también, la atracción entre raquel y arturo es cada vez más profunda. te voy a extrañar. yo también a ti. en este episodio, vamos a aprender vocabulario relacionado con las legumbres y las verduras. raquel: cebollas... chícharos... ejotes... lechuga... tomates... zanahorias... papas... chiles. y vamos a ver cuáles son algunas de las ciudades más importantes de la argentina. en el centro del país está córdoba una ciudad histórica de un millón de habitantes. en el oeste, casi en el límite con chile, está mendoza. señorita. ¿está bien el señor? captioning of this program is made possible by the annenberg/cpb project and the geraldine r. dodge foundation. en el episodio previo raquel se preocupa por arturo. arturo está muy pensativo porque tiene un mal presentimiento sobre angel, su hermano. ¿sí? tengo un mal presentimiento. raquel

annenberg media ♪ narrator: welcome to destinos: an introduction to spanish.s our story unfolds most of what you hear will be in conversational spanish. bueno, es un poco tarde. tenemos que irnos. sí, es tarde, es verdad. camarero, por favor. hay un mensaje para ud., señora. you will not understand every word you hear. let the actions and the situations guide your understanding. tengo que hacer una llamada de larga distancia. tengo que llamar a méxico. eh, muy bien. ¿adónde? a la ciudad de méxico. at other times, you will hear narration in spanish that is spoken just for you. narrador: miguel va al colegio de san francisco de paula. miguel es un buen estudiante. estudia mucho. as you enjoy the story, you will also learn the names of certain school subjects in spanish. tu mamá dice que tienes siete asignaturas. ¿qué materia te gusta más? bueno, realmente me gustan todas pero la verdad es que mis favoritas son las ciencias naturales. tengo unos minutos, y voy a apuntar... at the end of the episode raquel will review some of the story with you. primero. ¿cómo se

annenberg media ♪ provided by: narrator: welcome to destinos: an introduction to spanish.s you watch our story unfold, remember-- don't try to understand every word while the characters speak in conversational spanish. listen and try to understand as best you can. ( se aclara la voz ) iah! alfredo. buenos días. buenos días, raquel. ¿qué tal pasó su primera noche en madrid? estupendamente, gracias. mire, aquí le traigo su cartera. you should use the context and the characters' actions to get the general idea of what's being said. un momento. ( suspira ) alfredo, yo sé que ud. me hizo un gran favor al encontrar mi cartera, pero... no diga "pero". pero soy abogada, y tengo la obligación de respetar la confidencialidad de mi cliente. at other times, you will hear a narrator tell you something about the story in spanish. narrador: todas las mañanas, teresa suárez va al quiosco y compra un cupón de lotería. in this episode, you will learn the seasons and months of the year in spanish. you will also learn the words for some basic colors. color morado... ( suspira ) "querida raque

annenberg media ♪ by: narrador: en este episodio raquel sale para puerto rico.ientras espera su vuelo, escribe una carta. en la carta raquel describe lo que ha pasado en la argentina. raquel: estimada señora suárez: ojalá que cuando reciba esta carta se encuentre bien de salud. narrador: no hay vocabulario nuevo en este episodio. tampoco hay nuevo información sobre la argentina. ud. se conoce la estancia? sí. conozco todo la zona. ahora estamos por escobar, cerca de los cardales. vamos a recordar y repasar los puntos más importantes de la investigación de raquel en buenos aires. empecemos por ahí. hombre: no lo conozco. no quiere volver nunca más a la argentina. quieres decir que irías a puerto rico? captioning of this program is made possible by the annenberg/cpb project and the geraldine r. dodge foundation. ¿cómo querés pasar tu última noche en buenos aires? quiero que sea inolvidable. en el episodio previo la última noche de raquel en buenos aires ella y arturo bailan el tango. después, salen al jardín y piden unos deseos a las estrellas. les pido a las prim

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annenberg media ♪ annenberg media ♪ 1932. nation is in the depths of depression. 1/4 the work force is idle. income has been cut in half. banks and businesses are toppling. how long can this depression go on? "the depression can last indefinitely," according to british economist john maynard keynes. but is anyone listening? and can government intervention move us out of these terrible times? keynes and roosevelt met only once. each thought the other well meaning but ineffectual. however, they changed the course of the world. what did we learn from the depression? we'll investigate that with the help of economics analyst richard gill on economics usa. hard times. we've seen a lot of them over the years. 1932 and the years that followed were different. the hoover administration tried to popularize the word depression. they thought it a milder word that would soothe the american public. by 1932, hope was about gone. the depression was more than an economic problem. it was human calamity. millions went hungry, some to starvation.

annenberg media ♪ annenberg media ♪ st.rustrated congress wanted to measure the depths of the great depression. as the u.s. entered world war ii, how did a system of accounting become the key to building the american arsenal? by 1970, america was uncovering the negative effects of pollution. should we measure these hidden costs of economic growth? most of us decide how well we're doing economically by what we can afford to buy. can we calculate a nation's economic well-being by adding up those individual measurements? can we compare national figures over time to determine if our economy is making progress? u.s. economic growth-- what is the gross national product? with economic analyst richard gill, we'll explore that question on this edition of economics usa. i'm david schoumacher. these computer tapes at the bureau of economic analysis in washington document 50 years of america's economic growth. they provide access to the accounting system known as gnp. when the united states faced its worst economic crisis, the great de

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perlmter annenberg media ♪ for information about th and other annenberg media programs call 1-800-learnernd visit us at www.learner.org.

perlmutter annenberg media ♪ for information about this and other annenberg media programs call 1-800earner and visit us at www.learner.org. you have the right to remain silent. you have the right to be heard. anything you say can be used against you... what you say will be listened to with dignity and respect. you have the right to information and assistance. [ cell door closes ] justice isn't served until crime victims are.

annenberg media ♪ and: with additional funding om these foundations and individuals: and by: and thennual financial support of: hello, i'm john lithgow. welcome to "american cinema." in "the man who shot liberty lance," john ford's great film a newspaperman says, "whethe legendecomes fact, print the legend." that may not be good journalism but it makes a good western. the history of the western is often a history of legends, billy the kid, wyatt ear the nfht at the ok corral. not the real west, but a mythical place full of images that are uniquely american: the enrontier, the outlaw, the solitary, often reluant hero. the western is also landscapes; a unique stage on which dramas from the american experience get played out. a young man rebels against his stepfathern "red river." an uncle beces obsessed with finding his niece in "the searchers." a reformed killer is caught up in a venance out of control in "unforgiven." since "the great train robbery" of 1903, hundreds of westerns have been made. it's the great american form, our equivalent of classic greek tragedy, where we replay and

annenberg media ♪ and: with additional funding from these foundations and individuals: and by: and thennual financial support of: hello, i'm john lithgow. welcome to "american cinema." in "the man who shot liberty valance," john ford's great film a newspaperman says, "when the legend becomes fact, print the legend." that may not be good journalism but it makes a good western. the history of the western is often a history of legends, billy the kid, wyatt earp, the gunfight at the ok corral. not the real west, but a mythical place full of images that are uniquely american: the open frontier, the outlaw, the solitary, often reluctant hero. the western is also landscapes; a unique stage on which dramas from the american experience get played out. a young man rebels against his stepfather in "red river." an uncle becomes obsessed with finding his niece in "the searchers." a reformed killer is caught up in a vengeance out of control in "unforgiven." since "the great train robbery" of 1903, hundreds of westerns have been made. it's the great american form, our equivalent of classic greek trag

annenberg media ♪ gam made possible by the financial support of...nd the following individuals and foundations... corporate funding for art of the western world is by movado, makers of the movado museum watch, the watch dial design in the permanent collections of museums throughout the world. captioning made possible by the annenberg/cpb project for the first time since classical antiquity, a western artist aerts his own vision and western art finds its own distinctive style-- romanesque. although the roman empire was conquered by the barbarians and the lands of western europe were overrun by pagan tribes in the dark ages, roman civilization, and above all roman christianity, triumpd in the long run. converted to the new faith, the former barbarians became the heirs of rome and the founders of modern europe. in the 11th and 12th centuries, the period we call romanesque, there was a remarkable revival of art and especially architecture. in the words of a contemporary, "it was as if the whole earth had cast off her old age "and was clothing herself eve

annenberg media ♪ and: with additional funding from these foundations and individuals: and by: and thel support of: hello, i'm john lithgow. welcome to "american cinema." some people say the star is the greatest invention of american cinema. american films have to have big names in bright lights. in the old days of the studio system, there was a structure for developing stars. they were owned, body and soul, signed to long-term contracts. a powerful publicity machine, run by the studio, they could reach an audience of millions. but that alone did not guarantee success. the problem for the studio was to find the one personna out of many possible characters to boost an actor to stardom. humphrey bogart, for instance, played as a cheap hood before he was recast and ultimately immortalized as rick in "casablanca." stars today are still a unique match of individual flair and audience aspiration. with the studio collapse, stars catapulted to power and became the most bankable commodities in hollywood, who can often determine whether or not a film is made. in this program, narrated by kathlee

annenberg media ♪ gam made possible by the financial support of...nd the following individuals and foundations... corporate funding for art of the western world is by movado, makers of the movado museum watch, the watch dial design in the permanent collections of museums throughout the world. captioning made possible by the annenberg/cpb project architecture, sculpture, painting, even the landscape, create a vision of a perfect place, a place of fantasy and myth where gods might walk with men, somewhere, of course, which has never existed in history. it is imagined, yet it has been created out of fragments of half-dreamt, half-remembered ancient greece and rome. the poet shelley wrote at the beginning of the 19th century, "we are all greeks. "our laws, our literature, our religion, our arts "all have their roots in greece. "but for greece, we might still have been savages and idolaters." the human form and the human mind attained to a perfection in greece which has impressed its image on those faultless productions whose very fragments are the despai

annenberg media ♪ and: with additional funding from these foundations and individuals: and by: and thennual financial support of: hello, i'm john lithgow. welcome to "american cinema." during the golden age of hollywood, the film studios became incredibly powerful. they controlled production, distribution and exhibitio the mass pduction system that made ford motors a success worked for the lm studios as well. a very efficient assembly line was built that enabled a studio to release a film a week. adventures, comedies, romances, westerns, gangsters, musicals. ford was famous for one model; thstudios had many. but the genius of the system was although they were factories,s. individual artists were still able to pursue their vision and create some of the best pictures ever made. take paramountictures, for example. it was home to billy wder, josef von sternberg, and ernest lubitsch, great artists who left their individual stamp on the films they made. the paramount story is a model of what happened in hollywood over the last 70 years. a rporate giant that suffered with the fall of the syst

annenberg media ♪ and: with additional nding from these foundations and individuals: and by: and thennual financial support of: hello, i'm john lithgow. welcome to "american cinema." american romantic comedies are bright, witty, silly -- and loaded. in 1934, the motion picture "it haened one night" broke hollywood records and won 5 academy awards. its appeal was in its modern version of romance, which played with certain acts. that same year, the motion picture production code was instituted which explicitly prohibited certain acts, themes words and implicatio. the code didn't mean you couldn't have romance. it meant there were limits. writers enjoyed testing the limits, changing a battle of the sexes into a playful intrigue that turned on double meanings and double dealings, launching a dede of fast-talking romantic comedies known as "screwball." some of the most elegant actors and actresses in hollywood did their best work making wisecracks and taking pratfalls proving the battle of the sexes is best as a battle of equals. from the screwball comedies of the 30s and 40s to their res

annenberg media ♪ and: with additional fundingfros and individuals: and by: and the annual financialupport of: hello, i'm john lithgow. welcome to "american cinema." american romantic comedies are bright, witty, silly -- and loaded. in 1934, the motion picture "it happened one night" broke hollywood records and won 5 academy awards. its appeal was in its modern version of romae, which played with certain acts, themes, words and implications. that same year, the motion piure production code was instituted which explicitly prohibited certain acts, themes words and implications. the code dn't mean it meant there were limits. writers enjoyed testing the limits, changing a battle of the sexes into a playful intrigue that turned on double meanings and double dealings, launching a dede of fast-talking romantic comedies known as "screwball." some of the most elegant actors and actressein hollywood did their best work maki wisecracks and taking pratfalls proving the battle of the sexes is bt as a battle of equals. from the screwball comedies of the 30s and 40s to their resurgence with contemp

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media system right now. and it's really funny. i enjoy that. >> host: annenberg school of communications dean michael x. deli or carpini is our guest here on booktv on c-span2. dean delli carpini, you mentioned that you have progressive views or tend toward progressive views and look at the huffington post, slate, etc. are we in a period, also, of stovepiping our views? >> guest: there's a lot of evidence that that's happening. a lot of evidence that, um, readers and viewers now are gravitate towards news outlets that are most similar to their own. and so if you look at the viewership of fox news, it tends to be more conservative. msnbc tends to have more liberal. -- to be more liberal. there are some people who will go and watch something that's different from what they believe partly because it gets them worked up, um, which can also be an enjoyable part if you're a political junkie. but there is evidence of people beginning to fragment themselves into audiences that kind of create what kathleen jamison here at the annenberg calls an echo chamber where you're hearing views you already agree with. what