Typical pattern with the EITC is that you get deeper and deeper into debt over the course of a year, Ruben says, then you use the big payment at tax time to try to pay everything off and break even. Giving people the option to receive the credit on a monthly basis will help people plan their budgets on a more immediate basis. Benefits like food stamps are delivered monthly, so families receiving both will have a more accurate sense of their financial landscape.
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The conversation ranged from Quattrone remembrance of a 25 year old Steve Jobs coming in to talk to his Stanford business school class before Apple IPO to his early days at Morgan Stanley and his thoughts on the prospects for the tech IPO market ever opening up again. On the IPO market, he notes that the market is waiting for earthshaking companies to file to go public, but hasn seen them yet. Investors are waiting for Facebook, Twitter, or Zynga to go public.
The woman, who said she was among about 10 passengers on the car, pulled out her phone and called 911. Another passenger, she said, moved forward on the train to get help. Police said Spires robbed other people on the car, although the timing was not immediately clear.
The popular models developed for the study of documentary film by Western scholars are applied to African women’s documentaries in order to explore their innovative and stimulating practices; to determine the degree to which such models are fully adequate or, instead, are challenged, subverted, or exceeded by this new context of application; and to address the films’ wider implications regarding the documentary medium.Chapter One outlines the theoretical framework underpinning the thesis and engages with existing methodologies and conventions in documentary theory. Chapter Two considers women centred committed documentary, analyses the ways in which these films uncover overlooked spaces and individuals, provide and promote new spaces for the enunciation of women’s subjectivity and ‘herstories’, and counter hegemonic stereotypical perceptions of African women. Chapter Three addresses recent works of autobiography, considers the filmmaking impulses and practices involved in filming the self, and points to the emergence of a filmmaking form situated on the boundary between ethnography and autobiography.