内容摘要：like Marshalls and K&G Fashion. “Part of the thing that made me rebel against looking like ‘Super Fly’ or ‘Shaft’ is I didn’t want to look like everybody else.”

like Marshalls and K&G Fashion. “Part of the thing that made me rebel against looking like ‘Super Fly’ or ‘Shaft’ is I didn’t want to look like everybody else.”

The state’s highest court recognized “Harvard’s complicity in the horrific actions surrounding the creation of the daguerreotypes,” saying that “Harvard’s present obligations cannot be divorced from its past abuses.”In a statement, Harvard said it had “long been eager to place the Zealy Daguerreotypes with another museum or other public institution.”

“This settlement now allows us to move forward towards that goal,” the university said. “While we are grateful to Ms. Lanier for sparking important conversations about these images, this was a complex situation, particularly since Harvard has not confirmed that Ms. Lanier was related to the individuals in the daguerreotypes.”Tonya M. Matthews, the CEO of the International African American Museum, called Harvard’s relinquishing of the images a moment “175 years in the making.”“The bravery, tenacity, and grace shown by Ms. Lanier throughout the long and arduous process of returning these critical pieces of Renty and Delia’s story to South Carolina is a model for us all,” she said in a statement.

The South Carolina museum has committed to working with Lanier and including her in decisions about how the story of the images will be told.In Lanier’s lawsuit, she asked for Harvard to acknowledge its complicity in slavery, listen to Lanier’s oral family history and pay an unspecified sum in damages. An undisclosed financial settlement was part of the resolution with Harvard announced Wednesday, but Koskoff said Harvard still hasn’t publicly acknowledged Lanier’s connection to them or its connection to perpetuating slavery in the U.S., Koskoff said.

“That is just left unanswered by Harvard,” he said. Koskoff said he wants to be clear that Lanier and his team “firmly support”

against the administration of U.S. President Donald Trump as the White House moves toBut like scaffolding that’s been left up too long, the strain of renovation shows in Webb’s film, particularly in its awkward handling of Dopey, Sneezy and company. The seven dwarfs, like the fawns and squirrels, are rendered in CGI. You could argue that this acknowledges the artificiality of a dated and offensive trope. But it also gives “Snow White” an uncanny quality, with all human characters but the dwarfs being played by real people. As if to Band-Aid over this, one of the woodsmen is played by an actor of short stature (George Appleby) whose presence seems like yet another atonement, only one for this “Snow White,” not 1937’s.

You might be thinking: But what about the movie? The problem with “Snow White” is that you never stop thinking about these much-strategized and sometimes superficial efforts to recontextualize the original movie. Erin Cressida Wilson’s screenplay remakes Snow White’s story as less a princess awaiting her Prince Charming (the song “Someday My Prince Will Come” has been jettisoned) than an heir to a throne who loses her gumption. Though taught as a child to be “fair” as a leader by her father king (Hadley Fraser), Snow White has lost any ambition by the time Gadot’s Evil Queen takes over the kingdom.Gadot sinks her teeth into the Evil Queen, a spikey, slinky villain who moves with a metallic rustle (the costumes are by Sandy Powell). But she feels cut off from the movie, without the lines that would elevate her flamboyant performance into something memorable. The prince has been altogether scrubbed; instead Andrew Burnap plays the blandly cocksure bandit Jonathan who encourages Snow White not to wait for her father’s rescue.

Presumably one of the reasons to bring actors into remakes of animated classics would be to add a warm-blooded pulse to these characters. Zegler manages that, but everyone else in “Snow White” — mortal or CGI — is as stiff as could be. You’re left glumly scorekeeping the updates — one win here, a loss there — while pondering why, regardless of the final tally, recapturing the magic of long ago is so elusive.“Snow White,” a Walt Disney Co. release is rated PG by the Motion Picture Association for violence, some peril, thematic elements and brief rude humor. Running time: 109 minutes. Two stars out of four.