gift pillow cases

Cross
St-Edmund-Hall College Oxford Coat Of Arms.svg St Edmund Hall
St-Hilda's College Oxford Coat Of Arms.svg St Hilda's
St-Hughs College Oxford Coat Of Arms.svg St Hugh's
St-John's College Oxford Coat Of Arms.svg St John's
St-Peters College Oxford Coat Of Arms.svg St Peter's
Trinity College, Oxford.svg Trinity
University College Oxford Coat Of Arms.svg University
Wadham College Oxford Coat Of Arms.svg Wadham
Wolfson College Oxford Coat Of Arms.svg Wolfson
Worcester College Oxford Coat Of Arms.svg Worcester
The Permanent Private Halls were founded by different Christian denominations. One difference between a college and a PPH is that whereas the former are governed by the fellows of the college, the governance of a PPH resides, at least in part, with the corresponding Christian denomination. The six current PPHs are:
Blackfriars Hall Oxford Coat Of Arms.svg Blackfriars Hall
Campion Hall Oxford Coat Of Arms.svg Campion Hall
Regent's Park College Oxford Coat Of Arms.svg Regent's Park
St Benet's Hall Oxford Coat Of Arms.svg St Benet's Hall
St-Stephen's Hall Oxford Coat Of Arms.svg St Stephen's House
Wycliffe Hall Oxford Coat Of Arms.svg Wycliffe Hall
The PPHs and colleges join together as the Conference of Colleges, which represents the common concerns of the several colleges of the University, and to discuss policy and to deal with the central University administration.[54][55] The Conference of Colleges was established as a recommendation of the Franks Commission in 1965.[56]
Teaching members of the colleges (i.e., fellows and tutors) are collectively and familiarly known as "dons", although the term is rarely used by the University itself. In addition to residential and dining facilities, the colleges provide social, cultural, and recreational activities for their members. Colleges have responsibility for admitting undergraduates and organising their tuition; for graduates, this responsibility falls upon the departments. There is no common title for the heads of colleges; the names used include warden, provost, principal, president, rector, master and dean.
Finances[edit]


The dining hall at Christ Church. The hall is an important feature of the typical Oxford college, providing a place to both dine and socialise.
In 2011/12, the University had an income of £1,016m; key sources were research grants (£409m), teaching funding (£204m), and academic fees (£173m).[57] The colleges had a total income of £361m,[58] of which £47m was flow-through from the University.[57]

ense that it receives some public money from the government, but it is a "private university" in the sense that it is entirely self-governing and, in theory, could choose to become entirely private by rejecting public funds.[52]
Colleges[edit]
Main article: Colleges of the University of Oxford


Chapel of Keble College, one of the constituent colleges of the University of Oxford
To be a member of the university, all students, and most academic staff, must also be a member of a college or hall. There are 38 colleges of the University of Oxford and six Permanent Private Halls, each controlling its membership and with its own internal structure and activities.[53] Not all colleges offer all courses, but they generally cover a broad range of subjects.
The colleges are:
All-Souls College Oxford Coat Of Arms.svg All Souls
Balliol College Oxford Coat Of Arms.svg Balliol
Brasenose College Oxford Coat Of Arms.svg Brasenose
Christ Church Oxford Coat Of Arms.svg Christ Church
Corpus-Christi College Oxford Coat Of Arms.svg Corpus Christi
Exeter College Oxford Coat Of Arms.svg Exeter
Green-Templeton College Oxford Coat Of Arms.svg Green Templeton
Harris-Manchester College Oxford Coat Of Arms.svg Harris Manchester
Hertford College Oxford Coat Of Arms.svg Hertford
Jesus College Oxford Coat Of Arms.svg Jesus
Keble College Oxford Coat Of Arms.svg Keble
Kellogg College Oxford Coat Of Arms.svg Kellogg
Lady-Margaret-Hall Oxford Coat Of Arms.svg Lady Margaret Hall
Linacre College Oxford Coat Of Arms.svg Linacre
Lincoln College Oxford Coat Of Arms.svg Lincoln
Magdalen College Oxford Coat Of Arms.svg Magdalen
Mansfield College Oxford Coat Of Arms.svg Mansfield
Merton College Oxford Coat Of Arms.svg Merton
New College Oxford Coat Of Arms.svg New College
Nuffield College Oxford Coat Of Arms.svg Nuffield
Oriel College Oxford Coat Of Arms.svg Oriel
Pembroke College Oxford Coat Of Arms.svg Pembroke
Queens College Oxford Coat Of Arms.svg Queen's
Somerville College Oxford Coat Of Arms.svg Somerville
St-Anne's College Oxford Coat Of Arms.svg St Anne's
St-Antony's College Oxford Coat Of Arms.svg St Antony's
St-Catherines College Oxford Coat Of Arms.svg St Catherine's
St-Cross College Oxford Coat Of Arms.svg St

mmunities. Among the earliest such founders were William of Durham, who in 1249 endowed University College, and John Balliol, father of a future King of Scots; Balliol College bears his name. Another founder, Walter de Merton, a chancellor of England and afterwards Bishop of Rochester, devised a series of regulations for college life; Merton College thereby became the model for such establishments at Oxford, as well as at the University of Cambridge. Thereafter, an increasing number of students forsook living in halls and religious houses in favour of living in colleges.
In 1333–34, an attempt by some dissatisfied Oxford scholars to found a new university at Stamford, Lincolnshire was blocked by the Universities of Oxford and Cambridge petitioning king Edward III.[14] Thereafter until the 1820s, no new universities were allowed to start in England, even in London; and, subsequently, Oxford and Cambridge had a duopoly unusual in western European countries.[15][16]
Renaissance period[edit]


Magdalen College - founded in the mid 15th century.
The new learning of the Renaissance greatly influenced Oxford from the late 15th century onwards. Among university scholars of the period were William Grocyn, who contributed to the revival of Greek language studies, and John Colet, the noted biblical scholar.
With the Reformation and the breaking of ties with the Roman Catholic Church, Recusant scholars from Oxford fled to continental Europe, settling especially at the University of Douai. The method of teaching at Oxford was transformed from the medieval Scholastic method to Renaissance education, although institutions associated with the university suffered losses of land and revenues.
In 1636, Chancellor William Laud, Archbishop of Canterbury, codified the university's statutes. These, to a large extent, remained its governing regulations until the mid-19th century. Laud was also responsible for the granting of a charter securing privileges for the University Press, and he made significant contributions to the Bodleian Library, the main library of the university. From the inception of the Church of England until 1866, membership of the church was a requirement to receive the B.A. degree from Oxford, and "dissenters" were only permitted to receive the M.A. in 1871.
The university was a centre of the Royalist party during the English Civil War (1642–1649), while the town favoured the opposing Parliamentarian cause. From the mid-18th century onwards, however, the University of Oxford took little part in political conflicts.
Modern period[edit]


An engraving of Christ Church, Oxford, 1742.
The mid-nineteenth century saw the impact of the Oxford Movement (1833–1845), led among others by the future Cardinal Newman. The influence of the reformed model of German university reached Oxford via key scholars such as Edward Bouverie Pusey, Benjamin Jowett and Max Müller.
The system of separate honour schools for different subjects began in 1802, with Mathematics and Literae Humaniores.[17] Schools for Natural Sciences and Law, and Modern History were added in 1853.[17] By 1872, the latter was split into Jurisprudence and Modern H

Contents  [hide]
1 Early years
2 Metro-Goldwyn-Mayer characters
3 Golden Age of American animation
3.1 Early years
3.2 Harman and Ising return
3.3 Hanna-Barbera: Tom and Jerry
3.4 Tex Avery
3.5 1950s, CinemaScope
3.6 Later years
3.7 Legacy
4 Notable crew members
5 Productions
5.1 Theatrical cartoon shorts series
5.2 One-shot theatrical shorts
6 See also
7 Notes
8 References
Early years[edit]

To promote their films and attract larger theater audiences, motion picture chains in the 1930s provided many features to supplement the main feature, including travelogues, serials, short comedy subjects, newsreels and cartoons. During the late 1920s, Walt Disney Productions had achieved huge popular and critical success with their Mickey Mouse cartoons for Pat Powers' Celebrity Pictures (distributing for Columbia Pictures). Several other studios, Metro-Goldwyn-Mayer among them, took note of Disney's success and began to look for ways to get Disney or compete.
MGM's first foray into animation was the Flip the Frog cartoon series, starring an anthropomorphic talking and singing frog. The series was produced independently for Celebrity Pictures by Ub Iwerks, formerly the head animator at the Disney studio. Celebrity Pictures' Pat Powers had hired Iwerks away from Disney with the promise of giving Iwerks his own studio, and was able to secure a distribution deal with MGM for the Flip the Frog cartoons. The first Flip the Frog cartoon, Fiddlesticks, was released in August 1930,[7] and over two-dozen other Flip cartoons followed during the next three years. In 1933, the Flip character was dropped in favor of Willie Whopper, a new series featuring a lie-telling little boy. Willie Whopper failed to catch on, and MGM terminated its distribution deal with Iwerks and Powers, who had already began distributing their Comi-Color cartoons on their own.[8]
In February 1934 MGM signed a new deal with the Harman-Ising studio, which had just broken ties with producer Leon Schlesinger and the Warner Bros. studio over budget concerns, to work on a new series of high-budget color cartoons.[2] The director team brought with them much of their staff from their time with Schlesinger, including animators and storymen such as Carmen "Max" Maxwell, William Hanna, and brothers Robert and Tom McKimson.[9] (The McKimsons would later return to Schlesinger.) Also following Harman and Ising from Schlesinger was Bosko, a successful character the duo had created for the Warner cartoons.
The first entry in MGM's new Happy Harmonies cartoon seri

Douglas's opinion reiterated the facts and history of the case and reviewed the District Court's opinion, agreeing that its conclusion was "incontestable".[5] He considered five different trade practices addressed by the consent decree:
Clearances and runs, under which movies were scheduled so they would only be showing at particular theatres at any given time, to avoid competing with another theater's showing;
Pooling agreements, the joint ownership of theaters by two nominally competitive studios;
Formula deals, master agreements, and franchises: arrangements by which an exhibitor or distributor allocated profits among theaters that had shown a particular film, and awarded exclusive rights to independent theatres, sometimes without competitive bidding;
Block booking, the studios' practice of requiring theaters to take an entire slate of its films, sometimes without even seeing them, sometimes before the films had even been produced ("blind bidding"), and
Discrimination against smaller, independent theaters in favor of larger chains.
Douglas let stand the District Court's sevenfold test for when a clearance agreement was a restraint of trade, as he agreed they had a legitimate purpose.[6] Pooling agreements and joint ownership, he agreed, were "bald efforts to substitute monopoly for competition ... Clearer restraints of trade we cannot imagine."[7] He allowed, however, that courts could consider how an interest in an exhibitor was acquired and sent some other issues back to the District Court for further inquiry and resolution.[8] He set aside the lower court findings on franchises so that they might be reconsidered from the perspective of allowing competitive bidding.[9] On the block booking question, he rejected the studios' argument that it was necessary to profit from their copyrights: "The copyright law, like the patent statutes, makes reward to the owner a secondary consideration".[10] The prohibitions on discrimination he let stand entirely.
Frankfurter[edit]
Frankfurter took exception to the extent to which his brethren had agreed with the studios that the District Court had not adequately explored the underlying facts in affirming the consent decree. He pointed to another recent Court decision, International Salt Co. v. United States (332 U.S. 392 (1947)) that lower courts are the proper place for such findings of fact, to be deferred to by higher courts.[11] Also, he reminded the Court that the District Court had spent fifteen months considering the case and reviewed almost 4,000 pages of documentary evidence.[12] "I cannot bring myself to conclude that the product of such a painstaking process of adjudication as to a decree appropriate for such a complicated situation as this record discloses was an abuse of discretion", he said.[12] He would have modified the District Court decision only to permit the use of arbitration to resolve disputes.[13]
Consequences[edit]

Movie studios previously charged low rents to exhibitors because they were owned by the studio. When the studios were forced to sell their theaters, the result was higher rental rates charged to exhibitors (rising from an average of approximately 35% to its current level of approximately 50%), so the studios could recoup their expenses.[citation needed] The inability to block-book an entire year's worth of movies caused studios to be more selective in the movies they made, resulting in higher production costs and dramatically fewer movies made. This also caused studios to raise the rates they charged theaters, since the volume of movies fell.