annenberg media ♪ by: narrador: bienvenidos al episodio 50 de destinos: an introduction to spanish.n este episodio raquel sigue contándole a don fernando y su familia de su investigación. escuchen bien mientras raquel cuenta como conoció a angela y lo que le pasó en puerto rico. carmen: en el nombre del padre, del hijo y del espíritu santo... ¿qué pasó? su hermano tuvo un accidente en la excavación. captioning of this program is made possible by the annenberg/cpb project and the geraldine r. dodge foundation. entonces, fui a san juan para buscar a angel. disculpe. estoy buscando la calle del sol, número cuatro. la calle del sol, es ésa que está en el frente. el número cuatro es a la derecha. ¿a la derecha? exacto. gracias. de nada. ( timbre suena ) señorita, ¿a quién busca? buenos días, señora. busco al señor angel castillo. ¿no sabe ud., señorita? el señor castillo murió. ¿cuándo murió? hace poco. es una pena, tan buenos vecinos que eran. nunca se repuso de la muerte de su esposa. ¿entonces era casado? sí, su señora era una mujer muy linda. era escritora. pero murió ya hace varios

annenberg media ♪ annenberg media ♪ there's an old saying thathe best things in life are free -- thingse fresh air, sunshine, clean water. a company in minnesota found that "ain't necessarily so." what happened, and who should pay the cost of cleaning up the environment? and what happened when the environmental protection agency orderes angeles to clean u, no matter what the cost? should we spend billio to mitigate climate change? or wait and see what really happens? since the late 1960s, ere has been a consens among americans that the air we breathe and the water we drink should meet certain standards of cleanliness. but, like most things of value, those standards come with a price tag attached. pollution -- how much is a clean environment worth? economic analyst richard gill and i willxamine that question on this edition of "economics usa." i'm david schoumacher. the united states has always been blessed with vast natural resources, including some things we used to take for granted, like fresh water and clean, healthy air. but not any longer. in the past few decades, we've learned tha

annenberg media ♪ and: with additional funding from these foundations and individuals: and by: and thennual financial support of: ♪ ("american cinema" theme playing) ♪ ♪ (music plays) howard, what are you doing up here? (man) i'm thinking. well, don't think! talk. talk to me! jesus christ! you can't walk out of a meeting like that. you say, "excuse me." you say, "pardon me." otherwise they think it's something that they said. did they say anything? (man) no. howard, talk to me. listen to me. let me remind you of the upside here; okay? you put in a million dollars -- a year, maybe two -- three at the most -- you're walking out with four million bucks. i understand the math, lenny. i just want to rethink things; okay? ♪ (music plays) talk to me, howard. listen to me. let me remind you of the upside here. you put in a million. a year and a half, maybe two -- three at the outside -- you take out four million, maybe more. i understand the math, lenny. i just want to rethink things. ♪ (music plays) don't do it, howard. i said, "don't do it." i said, "don't do it." (man) do you know her? hi.

annenberg media programs call 1-800-learner and visit us at www.learner.org.

annenberg media ♪ and: with additional funding from these foundations and individuals: and by: and thennual financial support of: ♪ ("american cinema" theme playing) ♪ ♪ (music plays) howard, what are you doing up here? (man) i'm thinking. well, don't think! talk. talk to me! jesus christ! you can't walk out of a meeting like that. you say, "excuse me." you say, "pardon me." otherwise they think it's something that they said. did they say anything? (man) no. howard, talk to me. listen to me. let me remind you of the upside here; okay? you put in a million dollars -- a year, maybe two -- three at the most -- you're walking out with four million bucks. i understand the math, lenny. i just want to rethink things; okay? ♪ (music plays) talk to me, howard. listen to me. let me remind you of the upside here. you put in a million. a year and a half, maybe two -- three at the outside -- you take out four million, maybe more. i understand the math, lenny. i just want to rethink things. ♪ (music plays) don't do it, howard. i said, "don't do it." i said, "don't do it." (man) do you know her? hi.

annenberg media ♪ and: with additional funding from these foundations and individuals: and by: and thennual financial support of: ♪ (theatrical music playing) movies are the culture of the 20th century. they have affected people in everything, from determining how they dream ... to how they kiss. so much of moviemaking is moving the audience's eye. when are we going move it? how are we going to move it? what do we want them to see? (bell ringing) it's very important to watch every detail in a film, particularly with a director like fritz lang, who's not going to leave anything up to chance. everything is calculated. ♪ (dramatic music plays) no, johnny! no. well ... maybe. (narrator) never has a woman been more beautifully brutal. oh, i'm sorry i can't ask you to come up, but i share my apartment with another girl. a chance encounter becomes a tale of lust, betrayal, and murder. it's only blackmail, baby, when you're dumb enough to get caught. (knocking on door) you will see it all on "scarlet street," universal's terrific suspense drama. if i weren't a gentleman ... "scarlet street" wi

annenberg media ♪ and: with additional funding from these foundations and individuals: and by: and thenancial support of: to order videocassettes for information about this and other annenberg media programs call 1-800-learner and visit us at www.learner.org.

annenberg media ♪ annenberg media ♪ schoumacher: it was the 1920s.t of the nation seemed to be experiencing an era of unprecedented prosperity. what then could force tens of thousands of farmers to abandon their land? 1932, the depth of the great depression. while many of the poor went hungry, why were farmers dumping thousands of gallons of milk? since 1933, we have subsidized farming in america. is that a good idea? and who benefits? the small farmer, big agribusiness, or, at the end of the chain, the consumer? the story of the american farmer is one of the great ironies of the modern era. incredibly productive, but frequently unprofitable. it's a story that too often ends like this. "perfect competition and inelastic demand: can the farmer make a profit?" economic analyst richard gill and i will examine that question on this edition of "economics u$a." i'm david schoumacher. you can see the forces that control a farmer's economic wellbeing at work here at this farmers' market. taken together, it demonstrates a concept that economists call "perfect

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 lot 42. the claude monet nympheas of 1908. £3 million is bid for this lot. i have a bid of £3 million. 3,200,000. 3,500,000. 3,800,000. 4 million. at £4 million now. at £4 million. 4,200,000. 4,400,000. 4,500,000. 4,600,000. the paintings of this period are among the most familiar images in art. the greatness of the artists is a commonplace of western culture. it's yours. but the impressionists started out as radicals. when it was first exhibited, their art was rejected as disturbing, inept, incomprehensible, even immoral. why were people so hostile? what was the accepted art of the period? in mid 19th-century france, as so often in the story of the art of the west, art was a serious business loaded with poli

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 "at first, the doctors thought it was sciatica, "and then they admitted it was gangrene. "the old man suffered greatly those last days, "and then, on the 31st of august 1715, "the clergy gathered around him, "and they began, timidly, to chant the ave maria. "all through the night, they carried on chanting. "then, at 8:15 in the morning "in the royal bed in the great chamber "in the center of the palace, "louis xiv, the sun king, died, like every man." so wrote a contemporary diarist. it's often said that when louis died, an age died with him. the age of absolute monarchs, the age of which versailles is a symbol, was drawing to an end. things would never be the same. for louis, versailles was intended first to

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 musms throughout the world. captioning made possible by the annenberg/cpb project as the 16th century ended and the 17th began, here in catholic rome there was a feeling of jubilation, a sense of rebirth. pope paul v, in the year of our lord 1612, has brought water 35 miles from the healthiest springs in bracciano through new and restored aqueducts. what better way to sigl the revival of the ancient grandeur of rome than to restore its renowned system for bringing water from distant mountains to the city streets? pope paul's new water supply, the acqua paola, or paul's water as it was called, was soon rushing into the daylight from fountains all around the city. the finest of these fountains was designed by sculptor and architect, gian lorenzo bernini. it was built in the piazza navona which

annenberg media ♪ gam made possie 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 museumsthrougut the. captioning made possible by the annenberg/cpb project the first 15 years of the 20th century saw changes in the theory and practice of art among modern artists in western europe which were so remarkable they've been compared with the great advances made in science and technology at the same time. there's no simple explanation for why this period was so dynamic, nor was the dynamism confined to one center. although paris had long been the focus of modernism, it had its rivals in brussels, barcelona, and munich. but it was a time of growing tension in western culture, of continued rapid industrialization, of imperialism abroad and rivalry within the states of europe, and, at the same time, scientific breakthroughs, which not only questioned our way of seeing the world, but

annberg media ♪ annenberg media ♪ the american economic machine. man, one company, had a monopoly of than oil industr could anything break it? at a time when the government was breaking up a monopoly in oil, why did it sanction a monopoly in the telephone industry? would antitrust laws still apply in a new economy whose major product is intellectual property? monopolies -who's in control? with the help of our economic analyst richard gill, we'll find out on this edition of "economics usa." i'm david schoumacher. we like to think of our economy as one that runs on competition. for instance, we can choose the brand ofasoline we buy. if one station sets its prices too high, thene can simply go across the stet if one station for a lower price.o high, if enough drivers pass the high-price station by, sooner or later it goes out of business. of course, if in order to attract business a station sets its prices too low and can't cover costs, sooner or later it'll go out of business, too. but what happens to prices if one company, or one person, controls al

annenberg media ♪ and: with additional funding from these foundations and individuals: and by: and thennual financial support of: hello, i'm john lithgow. welce to "american cinema. what do the directors "star wars" and goodfellas" have in common? they both went to film school. yet when the filmmakers of this generation graduated they had no plans to work for the studios. in fact, if hollywood was on their minds at all, it w as an example of what to do differently. the first feature of a filmmaker frousc named george lucas had a title that read like a license plate, "thx 1138." a film with striking imagery, it perplexed studiexecutes. he later made "star wars." the first feature of a filmmaker from nyu named martin scorsese was picked up by an independent who changed its title and put it in local theatres. named martin scorsese wasit didn't st long.ndependent he later made "goodfellas." steven spielberg, francis ford coppola, brian depalma. though their early work was not mainstream hollywood, their later work would ultimately represent what hollywood did bes with works like "e.t.," "t

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." what do the directors of "star wars" and goodfellas" have in common? they both went to film school. yet when the filmmakers of this generation graduated they had no plans to work for the studios. in fact, if hollywood was on their minds at all, it was as an example of what to do differently. the first feature of a filmmaker from usc named george lucas had a title that read like a license plate, "thx 1138." a film with striking imagery, it perplexed studio executives. he later made "star wars." the first feature of a filmmaker from nyu named martin scorsese was picked up by an independent who changed its title and put it in local theatres. it didn't last long. he later made "goodfellas." steven spielberg, francis ford coppola, brian depalma. though their early work was not mainstream hollywood, their later work would ultimately represent what hollywood did best, with works like "e.t.," "the godfather," an

annenberg media ♪ ed by: iosito!r: welcome to the fifth episode of destinos: an introduction to spanish. as you know much of what you hear is in conversational spanish. yo voy por esta calle, y ud., vaya por ésa. sí, sí, pero espere. ¿dónde nos encontramos? en la giralda, a las once y media. you should not be concerned about understanding every word. let the actions and the situations help you follow the story. ¿has visto un perrito negro, así de este tamaño? no, no lo vi. también estoy buscando a un niño.

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." at the edge of hollywood and beyond, new filmmakers are making some of the most interesting films in america today, films that have made hollywood stand up and watch. these filmmakers work against great odds on shoestring budgets. if they succeeed, they can get a chance to make hollywood pictures, like quentin tarantino and "pulp fiction." but going hollywood has its price, one that some of these filmmakers won't pay. in this program, narrated by frances mcdormand, we will look at some visions from "the edge." aaahh! (big band music playing) independent films are the most important there are in the usa. they're the lifeblood of the industry. they set the new standards and the trends, and they have the wildest ideas and most interesting stories. and they're usually the best of the pictures in the country. you're not mr. purple. some other guy is mr. purple. you're mr. pink. these independent directors hav

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." at the edge of hollywood and beyond, new filmmakers are making some of the most interesting films in america today, films that have made hollywood stand up and watch. these filmmakers work against great odds on shoestring budgets. if they succeeed, they can get a chance to make hollywood pictures, like quentin tarantino and "pulp fiction." but going hollywood has its price, one that some of these filmmakers won't pay. in this program, narrated by frances mcdormand, we will look at some visions from "the edge." aaahh! (big band music playing) independent films are the most important there are in the usa. they're the lifeblood of the industry. they set the new standards and the trends, and they have the wildest ideas and most interesting stories. and they're usually the best of the pictures in the country. you're not mr. purple. some other guy is mr. purple. you're mr. pink. these independent directors hav

[music] annenberg media ♪ and: with additional funding from these foundations and individuals: and byand the annual financial support of: ♪ (theatrical music playing)

program and accompanying materials, call: or, visit us online at: and accompanying materials, call: annenberg media ♪ narrator: welcome to destinos: an introduction to spanish. as our story unfolds most of what you hear will be in conversational spanish. hola. hola. ando buscando a una señora-- la señora teresa suárez. ¿la conocen? sí. es mi abuela. iah! ¿vive con ustedes? ya no. you will not understand every word you hear. let the actions and the situations guide your understanding. jaime, ¿qué haces aquí? ahí está una señorita que busca a la abuela teresa.

annenberg media ♪ funding for this program was provided by...

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