
<oai_dc:dc xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:oai_dc="http://www.openarchives.org/OAI/2.0/oai_dc/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/oai_dc/ http://www.openarchives.org/OAI/2.0/oai_dc.xsd">
  <dc:title>udk_8-19-2002-12-12-2002/0444.tif</dc:title>
  <dc:subject>comedy films</dc:subject>
  <dc:subject>film reviews</dc:subject>
  <dc:subject>African American cinema</dc:subject>
  <dc:subject>psychological thrillers</dc:subject>
  <dc:subject>Robin Williams</dc:subject>
  <dc:description>&apos;Barbershop&apos; Signifies Mature Shift in Ice Cube&apos;s Acting -- &apos;One Hour Photo&apos; Develops Sense of Emptiness, Voyeurism</dc:description>
  <dc:description>Descriptive metadata for this item has been generated in part using AI (artificial intelligence) technologies and may be incomplete, misleading, or inaccurate. Please contact the Kenneth Spencer Research Library with specific questions or concerns.</dc:description>
  <dc:description>Digitized from microfilm reel: NP 10153 (2002-08-19 to 2002-12-12)</dc:description>
  <dc:publisher>University Daily Kansan</dc:publisher>
  <dc:date>2002-09-19</dc:date>
  <dc:type>Text</dc:type>
  <dc:type>newspaper</dc:type>
  <dc:format>electronic</dc:format>
  <dc:format>image/tiff</dc:format>
  <dc:format>1 page</dc:format>
  <dc:identifier>ku-udk:35605</dc:identifier>
  <dc:identifier>https://digital.lib.ku.edu/ku-udk/35605</dc:identifier>
  <dc:rights>This Item may be protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).</dc:rights>
</oai_dc:dc>