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When pressed at oral argument for evidence that the banks were in fact net borrowers, plaintiffs had none. Tr. 10:1-9. 13 As to the necessary parallel intent to be net borrowers, Plaintiffs have neither allegations nor evidence that this parallel intent existed or would be logical. In so acting, UBS sought to avoid negative media attention and, relatedly, sought to avoid creating an impression that it was having difficulty obtaining funds. In other words, the DOJ explained x2014 borrowing from Barclays employees comments in internal communications x2014 the purpose of the strategy of under-reporting Dollar LIBORs was to keep Barclayss head below the parapet so that it did not get shot off. Identidade. 182 71(c) (quoting Non-Prosecution Agreement between the United States Department of Justice, Criminal Division, Fraud Section and Barclays Bank PLC, Appx A, Statement of Facts 182 40, June 26, 2012) (emphases omitted). Because the projection of financial soundness is the only sufficiently pled goal of the persistent suppression conspiracy, we adhere to our earlier ruling that the contacts relevant to specific jurisdiction are only those in the forum containing the office from which a defendant determined, or transmitted, a false LIBOR submission. In this context, plaintiffs entreat us to rely on the sales of LIBOR-based financial products in the United States regardless of the motive of the defendants. Such reliance would be misplaced since defendants need not engage in any market transactions at all. The sales of LIBOR-based products are not meaningful in a jurisdictional analysis because they were not within the scope of the conspiratorial agreement and the scope of the agreement cannot be broadened retroactively by the fact that the conspirators took steps after the conspiracy which incidentally had a particular effect. In re Aluminum Warehouse Antitrust Litig. 90 F.

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Battle of the Bastards: “Ramsay surprises his audience. Jon retaliates. Dany is true to her word. The Winds of Winter: “A queen comes forth. This leads credence to my belief that Lady Stoneheart will appear at the end, although not in the way I initially theorized. Further, the men who visit Septon Ray's camp say “Night is dark and full of terrors,” a popular saying among the followers of the Lord of Light and Thoros of Myr is reportedly returning this season. Plus, the Brotherhood Without Banners, who The Hound claimed these men were part of, previously helped the small folk, but that would change if Lady Stoneheart took over (as it happened in the books). Lastly, and this is more tangential, but a friend pointed out that the music played during the final scene with The Hound is similar to the music played when Brienne swore her oath to Catelyn. Or the showrunners plan to merge Arya and Stoneheart storylines. Or that was Jaqn wearing Arya mask and testing the waif. I certainly hope that's the case because it does seem very foolish that she would be standing out in the opening on that bridge and let her guard down when the old lady appeared (it seemed obvious to me based on the shot she was sinister). She could have quickly slit her throat if she wanted it to be quick. Not the finest performance, just him grunting and being raped by a bear. As we’d expected and hoped, House Stark was triumphant but there was a steep cost in the form of lives.

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But gradually the directing role was taken over by African nationals. Egypt led the way with the founding of the locally financed Misr studios in the mid-1930s. Other African countries gradually followed suit: GuineaBissau and Kenya in the 1980s; Burundi, Cape Verde, Chad, Tanzania, and Togo in the 1990s; and, most recently, the Central African Republic in 2003. Whatever the complexities of its funding and whatever foreign cultural influences may be present, these productions are usually clearly separable from those big budget foreign productions (from Raiders of the Lost Ark to The English Patient) which use Africa as a mere backdrop for non-African narratives. Only in South Africa before 1994—when the majority was denied a voice, and the attitudes, Introduction assumptions, and divisions of colonial rule persisted under the apartheid system—did national film output remain inextricably linked, creatively as well as financially, with European and American interests, so that genuinely South African films and foreign films using South African locations are virtually indistinguishable. Under the colonial system, the prejudices of the colonizers made it impossible for them to imagine that an African could actually make any sort of film, let alone a feature film. As a result, Vieyra’s first, collaboratively made, work had to be the 20-minute short Africa on Seine (1957), shot in Paris. After shooting footage, from the Turkish side, of the Italian invasion of Libya in 1911, Chikly became one of the dozen cameramen employed by the French Army film service (along with 3 Abel Gance—future creator of Napoleon— and Louis Feuillade—author-to-be of both the Fantomas and Judex series), filming at the front at Verdun in 1916. Though television companies throughout the world help to co-finance films which have an initial commercial distribution in cinemas (and therefore deserve an entry here), I have not listed films shot purely for television screening— what the French call “telefilms” (though, where possible, I have mentioned significant television work in the filmmaker entries). Also omitted are purely video works of feature-length fiction. This is due in part to the logistical difficulties caused by the Nigerian situation (Pierre Barrot gives an estimate of seven thousand video features made between 1992 and the beginning of 2005). But, in any case, these Nigerian home videos are destined not for public projection but for domestic consumption within a family context. Though technological developments and new promotional strategies are likely to lead to a totally different situation in the coming decade, at the present time the economic base for video work—as well as its shooting and distribution strategies—is totally different from that shaping any sort of true film activity. As the veteran filmmaker Eddie Ugbomah, who later turned to video, put it: “a (video) 4 Dictionary of African Filmmakers film made with three million on Monday can bring you back ten million on Friday.

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Bhosle has sung many songs for Rekha in her films. Rekha continued: “I remember, Asha tai once met me at Raj Kapoor’s party and literally instructed me to perform better in the songs of Umrao Jaan as she had sung all my songs in that film. So when I was shooting for Dil cheez kya hai or In aankhon ki masti, that time I was only remembering instructions of Asha tai. So whatever you have seen of me in that film is all because of her”. The event also saw Parineeti Chopra, Padmini Kolhapure, Poonam Dhillon, Alka Yagnik, Jackie Shroff and Jaya Prada in attendance. Directo Search Value Name Baal Veer - Episode 205 - 9th July 2013 SAB TV Baalveer becomes Black Cloud All the members of Mahesh's Family are extremely happy and excited about Manav's Birthday. Suryaputra Karn - ? ? - Episode 205 - 1st April, 2016 SET India In this episode Shakuni introduced a chain to bind Vasudev. Duryodhan wants to check whether the chain is strong enough to mortgage him. Going forward in. Kundali Bhagya - Hindi Serial - Episode 205 - April 24, 2018 - Zee Tv Serial - Webisode Zee TV ZEE5 Now available in 190 countries. Gangaa - Hindi Serial - Episode 205 - December 14, 2015 - And Tv Show - Webisode And TV ZEE5 Now available in 190 countries. Uttaran - ?

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